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Ryan Fleet

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Ryan Fleet last won the day on June 25 2018

Ryan Fleet had the most liked content!

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About Ryan Fleet

  • Rank

  • Birthday 01/15/1991

Profile Information

  • Occupation
    Editor
  • Location
    Buffalo
  • My Gear
    Bolex Rex 4
  • Specialties
    Video Editor - Colorist

Contact Methods

  • Website URL
    http://www.Cumbo.com

Recent Profile Visitors

4110 profile views
  1. Will, My original model Scoopic was pretty accurate as well, after I found the film plane and then marked on the outside as Dom suggested and Robert did. I have no complaints with the original Scoopic other than the obvious lens is just not sharp on the original Scoopic. I've since sold the Scoopic and bought a Bolex Rex 4 which I'm happier with. However, the Scoopic is a great camera and one day I would definitely love to try out the MS version.
  2. Robert, Sorry, just seeing this now. The Canon Scoopic original model viewfinder does NOT loose light when you change the aperture. Good news is, I'm sure everything in your camera is in working order. Here is a test I did with my Canon Scoopic original model.
  3. Sandra, In short, it is all of the above. But It really depends on the project (commercial, web, theatrical, etc..) and the people involved. Strictly talking feature films the term "Directors cut" is not from the editor making all the choices, but more of the Producers and Studio having the final say. The Producers and the Studio and whoever owns the rights to the movie, generally have the final say in the edit and what gets released to the public. Then, if the director wants too/allowed too, he will work on a (Directors cut) with the editor. This can be released outside of the theatrical public release dependent on what the Producers and Studio allow. As a Director, you generally don't own the movie, you were hired to Direct. Same with the Editor, you were hired to Edit the movie according to the script/creative. Obviously, there is always room for creativity but ultimately you don't have full creative freedom and make all the decisions yourself. There are teams of people behind projects and it's a very collaborative process. At the other end outside of Hollywood productions and feature films you might be delivered a hard drive full of footage and given very limited creative input and you just need to make something "good" for an event edit or product edit, etc... You could be in charge of the edit, music, color, gfx all at once. This is a very short answer and I'm sure others will have better input but I hope this gives you a basic idea.
  4. Selling an FSI AM210 2019 NAB Floor model. I bought as an advance purchase back in March and don’t need it anymore. The monitor arrives tomorrow. Which will have never been opened or used by me. Free Fed Ex ground shipping. Attached my invoice for the advance purchase.
  5. After reading "A T-stop is an f-stop mark corrected for actual transmission (exposure)." - it would be correct for me to say... When I use my Sekonic L-478D meter to measure the light and it gives me a reading of F5.6, I can set any lens marked with T stops to T5.6 and it will be a more accurate exposure compared to any lens marked with F stops to F5.6? What I"m really trying to figure out is since my meter gives me an F stop reading will a cine lens marked with T stops be an issue for me or is it as simple as just setting the T stop to the F stop reading?
  6. Dom, Thank you so much, this is very helpful!
  7. Exactly what I was looking for. Thank you so much!
  8. My topic title is clunky but what I'm trying to understand is how 1 stop of light is calculated in all the different measurements. I'm guessing there is a chart somewhere but I couldn't find anything that seemed reliable or that had any explanations to what the math was. What are the increments of one full stop for F-Stops is F2 to F2.8 is that one full stop and what are the stop increments before and after that and how are they calculated. What are the increments of one full stop for shutter speed do you just double it? 1/50 to 1/100 is that one stop? What are the increments of one full stop for ISO/ASA is 100 to 200 one stop? is 160 to 320 one stop? do you just double this as well? I searched the forums but the search function didn't turn up what I was looking for. If this is already discussed can you please point me in the right direction. Thanks, Ryan
  9. Digging this thread up from way back... I have a Kern Switar 10mm Preset lens with no front cap and I'm trying to purchase one for it. Does anyone know the filter/thread size? I also need a lens cap for my Switar 16mm lens which stated above is 33.5 filter size. When I eBay search for the lens caps I don't see anything near 33.5 the best I can find is a 30mm lens cap. I'm specifically looking for the aluminum ones that say Kern Paillard on them. Just by looking at the 10mm preset next to the 16mm its clearly a lot larger than 33.5mm if thats the correct measurements for the 16mm. Any ideas on where to get these lens caps? Thanks!
  10. Dom & Simon, Thank you so much for taking the time to explain this I really appreciate it and I'm excited to shoot my rex 4 tomorrow! Dom, awesome site to link me to exactly what I was looking for! Thanks, Ryan
  11. Hey guys! Digging this up from the past. I have a Sekonic L-478D lightmeter which does not allow me to set my shutter angle to 133 it's either 135 or 130. Regardless of that issue though, I'll set my meter to 130 shutter angle for this experiment. I usually shoot 500T and when I shoot 500T I rate it at 320 on my Scoopic because I like that extra over exposure cushion like many people. But with my Bolex Rex 4 I know I'd have to compensate another 1/3rd because of the light loss in the prism. So if I was shooting 500T with my Bolex Rex 4 trying to match the exposure with my scoopic on the same film stock and using the same principal I would rate my 500T at 250 ASA with my bolex, correct? Just like Richard said I want to just stick to ISO/ASA rating of the light loss. That way I don't have to deal with shutter speeds when I switch frame rates. What I don't understand is that Richard said there is two reasons to light loss; 1.) The prism (1/3rd loss) and then 2.) The Shutter (1/3rd loss) why is the shutter causing a loss in light in this calculation? Is it because it's a spring wound motor? Because if that was the case then according to the 2/3rd light loss just because of the design of the bolex and then the extra 1/3rd exposure adjustment that I personally make to cushion my shadows that would equal me exposing a full 1 stop over to compensate using the bolex. Does anyone still have any more patience with this subject to clarify this, Ha? Also, does anyone have a proper bolex manual that they can link me too? I've been finding them in google searches but they don't have correct information; some state the RX lenses allow more light which is false and some say the bolex is 144 degree shutter which is not true for the REX series. Thank you! Ryan
  12. Hey Guys, Looking to buy a 16mm H16RX lens. Anyone have one they can part with? -Ryan
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