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Evan Walsh

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Everything posted by Evan Walsh

  1. #3 looks like some sort of run/stop remote switch. It should have either a Lemo 1B 6pin or a Lemo 0S 2pin on the end unless someone cut it off. #7 is a bag of fuses. The cylindrical ones would go inside of the batteries they should be rated for 5A if you look as the inscriptions on them. The Shorter silver one would go into the body and should also be rated for 5A. The small oval shaped one with the long leads is the style you'd typically see with an SR but I have heard of people trimming them to fit into an Aaton fuse compartment when in a pinch.
  2. Sigma cine zoom's Why: Speed, size/weight, quality, brand recognition, people won't be suspicious if you show up with one as silly as it sounds. They have been available for while now and I have not heard any people have serious issues with them so they have been proven in that regard. They are also readily available from many rental houses now so if one of your lenses goes down you could easily rent a replacement in most markets. Why not: Breathing, the 50-100 especially. Mount is not user swappable.
  3. I know there are Nikon mount adaptors for the Aaton mount, one came with my XTR when I bought it. There may be others but the diameter of the Aaton mount may be the limiting factor in what kinds of lenses you can adapt to it. Try Serious gear and/or VP they may have some mount adaptors in stock.
  4. Does your setup use screw in rods as seen in some shape or zacuto baseplates? Screw in rods can be troublesome for lens motors, if that's not the case try calibrating on a lower torque setting. Do the lenses telescope as they move through the focus range? This can also cause motor issues if you're using a clip on matte box as the weight of the matte box will cause the focus mechanism to bind and the motors will kick off. If none of the above apply, try calibrating at a lower torque and as Kyryll said apply gentle force to the motor to keep it on the lens. Once it is calibrated you shouldn't have to worry about it hitting an endpoint and kicking off.
  5. Check eBay, there's several nicely priced 435's as well as many 35-3's, Moviecams etc.
  6. No it worked pretty good. That gasket I speak of was just tape doubled over, you could comfortably smush your face into it as it would flex around you, the velcro on the other end help seal it to the monitor as well. I made it while on a feature a few years ago out of necessity, we were shooting in open fields with minimal shade and direct sunlight, did the job well enough.
  7. If there was a way to make it fold flat that sounds like a good idea. This was my rather gross looking coroplast and gaff tape solution, made the face "gasket" out of doubled up black gaff. Served me well enough for a while,
  8. Honestly you're on the right track with the goggles thing, Tvlogic even makes an extended hoodman with a curve on the end to comfortably stuff your face into it. That's about as good as it gets, I made an extended hoodman for mine out of black coroplast and gaff tape.
  9. I'm assuming you're asking about the aesthetics of the lenses but there are some big differences technically speaking between Arri and Panavision lenses. Flange depth and lens compatibility is going to be the biggest one. Panavision is 57.15mm and Arri is 52mm. This is why you can "Panavise" most film and digital cameras from other brands whereas you would not be able to use non Panavision lenses on a Panaflex body. There are exceptions to this with some lenses like the Angeniuex zooms which can be adapted to both. Panavision also used different gear pitches for iris and zoom up until recently. From an AC perspective this can be a pain since since no other company really does this (Zeiss HS MK1/2's had different iris pitches). This was because the Panavision model was a proprietary one for a long time, they would provide every nut and bolt and had a specific accessory ecosystem designed around their platform. Arri doesn't actually make their own lenses, Standards, HS, Ultra's, MP's, LWZ etc. etc. are made by companies like Zeiss and Fujinon and cobranded as such. Aside from things like Master Anamorphic flare sets, factory uncoated elements or 3rd party modified lenses like Cam-Tec's uncoated Ultra Primes. "Arri" lenses will come with a set look for each series since they are intended for sale on the open market. Some rental houses will do some of their own modifications but generally "Arri" branded lenses will stay the way they came from the factory. Panavision made/makes a lot of their products in house. Even though they may outsource some of their manufacturing it will still be something designed and made under the Panavision brand. This is also the basis of Panavisions "de-tuning", since they make their own lenses they can offer levels of customization lens to lens that other rental houses/vendors cannot.
  10. A friend recently replaced the front element on their Mk1 so Schneider/Century may still have some stock on these. Might also be worth hitting up rental houses like VER, Bexel others that specialized in an ENG type field. I could see them having an Extreme fisheye somewhere in the inventory that they might be willing to sell. Also big fan man.
  11. When you shot your tests did you have a lens on and in a lit environment? Might be worth running a bit of film with no lens, eyepiece closed and the camera covered in a dark room to rule out it originating from inside the camera somehow.
  12. Is the fogging on the perforations as well or only in the image area? Since its on the left side of the image it would have originated on the right side of the negative. Maybe the top magazine port had a small leak or something in the video tap assembly or eyepiece was introducing stray light? Thankfully its small and subtle enough that you still have a large useable image area if you decide to crop.
  13. Evan Walsh

    RED KOMODO

    I feel its meant to cater to the demand for a quality camera that isn't 20k+ or an A7S but can operate like a $20k camera. The BMPCC4k/6k shoots established codecs but its form factor makes it a pain for rigging, lots of quirky work arounds, plastic body and bad on board power options. In the case of the 6k, not having interchangeable lens mount options in this day and age is a bit strange, sure there is the PL conversions but they're just coarse threads into plastic so you can very easily ruin the camera. The price point is nice though. Z-cam is also interesting but pretty much came out of no where and has a higher price point than black magic. It does offer interchangeable lens mounts and even an electronic ND option which is cool. However It has Proprietary RAW that NLE's don't support at the moment, mixed reviews of build quality and reports of camera failures which for now makes it a risky buy in my opinion. If Komodo lands at the reported $6k it could definitely take a lot of the DSLR for video market as well as the high quality action and specialty cam niche. A cage, some mount adaptors and media would put you at around $10k and you now have a camera that shoots established codecs and will play nice with common professional aks.
  14. Try Andree Martin at AM Camera in LA, its worth a shot.
  15. I'm not sure if they do, they may still have some in stock. My friend had bought his XTR Prod package from Oppenheimer a few years ago and it came with some accessories they had manufactured like the NP battery adaptor. Might be worth shooting them and e-mail, they may be able to point you in the right direction if anything. Could also try Pierre Michoud (pierrem@aaton.com) he still works for Aaton/Transvideo and I've heard they still have some stock of Aaton factory parts. If they don't have anything like that he could also probably point you in the right direction.
  16. I've never seen a long extension like that before but the short one's were pretty common. I'd try places like Oppenheimer, Alan Gordon, VP, Serious Gear, Rental houses or maybe the Aaton Anonymous facebook group to see if anyone has one lying around they'd want to sell. RE: Left handed grip, my friends XTR package came with one but I haven't seen one since. I think it may have been made by Oppenheimer camera and it also featured a double sided LW 15 clamp so you could use L/R wooden grips at the same time. There's also these foam grips floating around that you can attach to either side, I'm not sure who made it but it came with my XTR when I bought it.
  17. There are several adaptors for the Aaton mount that would allow other lenses to be used without having to convert the camera body to PL. Arri B, Nikon and I believe a few others. Lenses like the Canon s16 zooms can also be easily converted to Aaton mount, the AA mounts for those are floating around eBay and visual products if thats a route you want to explore.
  18. Hi Arnaud, When you say tools do you mean items like screw drivers and such? The later part of the post about split diopters refers to equipment AC's would use rather than their basic tools they would bring.
  19. Aaton's require continuous contact closure to run. The rocker switch is a simple mom-off-on type of switch similar to a microforce run switch. The momentary side just briefly connects the start pin to ground which phases the camera. The on side of the switch closes the circuit and holds it until the switch is moved back to the neutral position which allows the camera to run instead of just phase. This is the case for most of the Aaton's, 12v Arri film camera's and Panaflex cameras. In the case of the XTR Prod, Xtéra and Penelope, Preston MDR's support a continues run/stop from the 8pin Lemo on the camera. I'm in the process of making a converter box for my Aaton that will allow momentary run/stop commands to work from a wireless follow focus. I'd be happy to share the results with you when it is finished.
  20. I've flown with exposed and unexposed film before with no real issue, basically what Shawn said above. You may have to request a supervisor or older TSA agent as younger ones may have no idea what you mean when you say it cant be X-rayed and that it is motion picture film. While I've never had to do it, I've heard several anecdotes about TSA asking to open the cans to verify the contents so bring a changing tent/film just in case.
  21. **Edit to the post above, It's not a bug in pCam so disregard that bit. I didn't take into account that the DOF calculator is using a different circle of confusion between the two formats. While CoC does matter in depth of field calculations it doesn't make that big of a difference as you are arriving at similar numbers.
  22. I checked this against my pCam and got the same result. I'd chalk it up to a programming error as a 50mm lens at T4 set to the same focus distance should net you the same result on both formats. It's a misconception that a larger format means less depth of field as it doesn't have anything to do with the format size it self but rather the focal lengths you will be using to achieve the same FOV of the super35 images we are so used to. If a lens had an infinite image circle that could cover any format, think of that image circle as our "pie". The size of your format is effectively the "slice" of that "pie" that we are taking. The physics of the lens remain the same in regard to the DOF. This is how on s16 a 50mm lens feels more like a 100mm lens in terms of field of view but it has the DOF of a 50mm lens. If you put that same 50mm on s35 it would feel like a 50mm FOV (if we're using s35 as our baseline) you're now just taking a larger "slice" of the 50mm "pie". On a "full format/LF/VV/" camera, that 50mm is going to feel more like a 32mm but its going to have the DOF of a 50mm, you're just now taking an even larger "slice" of the 50mm "pie" in terms of FOV.
  23. Try Cine Facilties in the Netherlands https://www.cinefacilities.com/
  24. If you're looking for accessory power from an Aaton it is a Lemo 1b 6pin for 12v. You're more likely to find a 6pin Lemo to 4pin XLR for monitor power. The Hirose 6 pin on transvideo monitors is for the combo power/video cables commonly found with Arri IVS systems and certain Aaton video tap's. That cable would be a 6pin Hirose to 4pin Fischer. Try Abel Cine LA or Alan Gordon
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