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Toto D Guerra

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About Toto D Guerra

  • Birthday 10/08/1985

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    Los Angeles
  • My Gear
    Arriflex SR3, Canon 8-64 T2.4
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  1. Looking for the aforementioned kit.
  2. Or, I calculated that in Low Light setting, the X008 Beaulieus are 1/4Ø slower than the fastest low light super 8 with a 75/25 prism. There, done 😄
  3. Did some more research over the weekend and calculated the following, which could help you set your light meter: Beaulieu X008 Cameras have the equivalent shutter angle of 100° in normal mode and 144° in LL mode. On other cameras, once we factor in the 0.75 transmittance due to the beam splitter, the calculated shutter angle would range from 142.5° to 172.5°. I was interested in doing this exercise to understand whether Low Light super-8 cameras could bring in more light to the film than other film cameras with a max shutter opening of 180° like my 16SR3, but it appears they don't. That is, if I didn't f*ck anything up in my spreadsheets, ahem. 😅
  4. Also found this in a white paper written by @Michael Lehnert Beaulieu is known for being the only manufacturer to incorporate mirror reflex shutter systems in Super 8 cameras. Normally, Super 8 cameras use a beamsplitter or prism of varying optical quality that diverts 75% of the incoming light onto the film and 25% into the viewfinder. Obviously, that approach somewhat compromises both usages, especially under bad light conditions. Beaulieu's unique patent solution is a typically French invention: a guillotine (up and down) shutter with a 45° mirror that – as Beaulieu brochures proclaim like a mantra – lets alternatingly 100% light onto the film and 100% light into the viewfinder. Due to the required timing of the alternating phases of the guillotine shutter, the maximum exposure time at 24 fps is 1 /86 sec ( 1 /87 sec for 25 fps). As this is shorter than in most other Super 8 cameras, the shorter exposure time gives the impression of producing sharper pictures: motions do look more accentuated and static shots much crisper. In effect, the guillotine shutter leads to a higher fidelity reproduction of what is being filmed for both the viewer in presentations and the camera operator on location.
  5. Hey Trev, Here's what I found for your camera. should help you set your meter right.
  6. I have some magazine footage scales for the 416s and the SRs available for sale. $35, just hit me up.
  7. Any 416/SR3 fiber screens available for sale with markings other than 1.78?
  8. Thanks Dan, and thanks for the kind words. I've thought about side options for the tape hook. Will include that in my next iteration.
  9. I'll have a working proto for the non-IVS handle by Feb. 21st. I'll update the post then with more details about the rigging of the side plate too, thanks for your interest Cole.
  10. Fellow filmmakers, I've been working on this for a while, having too much time on hand like many of us for the last 9 months and a couple colleagues encouraged me to share where I was at with this project. I have a side plate and a top handle extension to offer for $220 and $280 respectively. I designed this coming from my experience as an AC and operator with my own package and many others. I tried to think of where I'd like the stuff sit on and around the camera and placed "the matter" where it was needed to achieve that and nowhere else. No generic statements, square plates with copy/paste tapped holes, or unnecessary weight. Here's what my design aims at doing: SIDE PLATE: clearing space below the side plate for users who have the DC/DC2 box or the DCC109 clearing access to pitch adjust and rosette Mounts on the IVS cold shoe or directly on the body depending on your choice speed up your workflow with the steadicam operators by simply pulling the side plate with all the gac on it and remount it on when needed top edge of side plate sits at the right distance to offer mounting an MDR right on top of the mag and swing it away with UL arms or a short noga when changing mags back mounting point ideal for Teradek, same for the middle top one. front top mounting point ideal for a forward mounting of AC monitor top front mounting point ideal for a motor rod. clears VF in all positions on assistant side TOP HANDLE works with IVS video handle or default handle or elbow handle depending on your choice at puchase (WIP) offers 4 3/8" and 2 1/4" on top, one 3/8" per side doesn't obstruct any of the moving parts of the camera like the VF Tape hook at film plane (I've always hated how you have to go around the VF on operator side or under the IVS cable on AC side) Alternate design with an ultra low profile available for users who have clearance issues in their cases or want the bare minimum which is 3 top 3/8" instead of 4 and the rest is the same. Targeting mid-spring to fulfill first orders. Money accepted in Euros or USD. No minimum quantity or order shenanigans of the sort. Any comments welcome, still able to work feedback in. Hope to get a fully accessorized package in picture with my designs by end of winter.
  11. The future of film isn't just in the hands of the manufacturer of the recording medium. Half of the the celluloid budget goes to getting film processed and scanned. And that's with a friendly price. Kodak will continue to exist as a company for a while. Will they abandon their film division? Maybe. Like someone pointed out it's poorly managed, they stopped caring about smaller projects making a lot of filmmakers feel like poop when reaching out because they're no Chris Nolan or Tarantino. Kodak is so slow to adapt that it's probable they'll have plenty of film for you to purchase and no lab that's close enough or affordable enough for you to take the film you shot using their product to the finish line. A lot of small LA based shoots still ship to a lab in Mass. because it's cheaper than some L.A. labs including transportation and associated risks. So Kodak will survive COVID. Will the small labs too? Not sure. It'll all depend on local orders to restrict business, the timing of that state by state, etc. We might as well end up with just Kodak and Fotokem, a couple mobile labs, all for big bucks productions and the story stops here. 5 DPs a year shooting over the length of Sunset Boulevard on a production week and the rest buying film grain packages to overlay on their dailies until they realize the highlights are gone anyways and the skin tone isn't quite there yet. 😘
  12. I second Bruce. No need for IR correction on film. Opt for a piece of actual glass tinted in the mass, like a tiffen, schneider, century etc.
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