Jay Young

If I was close, or next time I'm in the city, for sure! I'd love to shoot 2-perf with you.

YES!!!!!! I CAN'T EVEN! So now, I take some gaff tape and a piece of card to at least block the one that is in my seat! If I could get them to replace the "safety lights" on the pathway out of the theatre it would be awesome, but I doubt that's going to happen. Interesting that you comment this, as I can see fine at 500 ASA when my light meter says.. "no". Too bad my meter doesn't go down to T 0.4...

As the resident professional musician in the room, piano wire may be actually easier to get in a sufficiently thin gauge. You can get harpsichord wire made of bronze or brass or whatever alloy you wish but it may not actually be strong enough for these purposes. Pressures on a harpsichord are generally in the "not a lot" range. Pressures on a piano however are sufficient to make it literally implode. Altho in the upper register, those wires are pretty thin, but bending them might present a challenge. I still vote for plastic/poly wire (fishing or otherwise). 10 pound test line should work well, AND it's mostly translucent so it will cut down on reflecting any lighting.

Sekonic 758 has both. So does the Gossen Starlite Do you actually need a spot meter? I don't know that I've seen anyone use a spot meter for cinematography. Could be useful tho.

How much are you looking to get?

I believe it's done by something like a thin piece of tape, maybe fishing line. You can see that the feathers get caught in whatever is pulling the glass. You could use some sellotape or other thin, clear single sided tape with adhesive face up. Attach it to the bottom of the glass and pull very gently. As long as you don't get any reflections off the tape with your lighting, it SHOULD work... Test it out! Edit: Also MAGNETS! Or telekinesis. Maybe it wasn't fake?

I'm glad I can spur conversation. I'm also glad my wild ideas don't get immediately shot down... No, I'm not rich. And I deliberated over which camera system to purchase for a long while. I ended up with my CP because it was a good price over the others. Yes, I would have preferred to get an Arri 16BL, or even an SRII. However at the time those were in the "not quite affordable to ridiculous" price range. I'm very pleased with my CP as far as mechanical workings. I'm waiting on a camera test to come back from the lab. Perhaps I'll share it here. Actually those Ikonoskop cameras look amazing, but I gather they are $10,000+ when you can FIND one. The only reason I mentioned the Angie zoom is because it is the physically longest lens I own. AND If I want to use my anamorphic setup with that lens then I'll need support for the anamorphic glass in front. I measure that 25mm is the widest I can go on this particular anamorphic without vignetting. It's not the zoom lens that needs the support. I don't actually know how long the 25mm lens housing is, but working on that, the final rod length would be less. Much less hopefully. I emailed smallrig. They seemed to not really know anything and felt that the steel rods would get scratched.... not sure why that mattered - maybe pretty is better than functional? LOL I'll chalk that up to non celluloid guys. So far, I figure I need a baseplate that I can attach to the camera and allow me to mount it on a tripod, followed by a rod clamp to actually hold the rods. Ultimately I'll need an equatorial mounting lens support (ring support) of 114mm. Now, that setup WILL likely bend rods that are not sufficiently stiff. If there was a way to build a top support also, that might be wise. First I found this: http://www.alibaba.com/product-detail/MB-1000-Swing-away-Wide-Angle_137735259.html Forget the matt box, the rod system is more like what I need. Then I found this: http://www.adorama.com/IAELELS.html?gclid=CjwKEAjwjMauBRDH-bOCo56b13wSJABA2-Hvo9yjYE6XBt6se3D10mt4qzjcM9W2juf0KeqPE9d5sxoCkjXw_wcB Which is likely what I'll need to get since no one makes ... THIS is what I need http://cavision.biz/R19-104X10U.aspx It's also not "someone is getting ripped off somewhere" prices. I'm sorry, but $500 for 4oz of machined aluminum is insane. I'm sure millions of hours of engineering time went into the design of some of these products, but I can't justify paying for product branding when they're all made in the same factory in china.

That smallrig looks awesome! I think I can build what I need from there, AND the prices are not ridiculous. I do however need a circular ring support for the lens.

I think its a concern on the CP-16r too. There is not a lot of distance between the flange and the mirror surface. I know some of the super wide lenses will contact the mirror, and have read recommendations against it - I don't recall which focal lengths do but its mostly the ones with small protrusion as opposed to the conical shape I think.

Charlie, I have not seen that miniseries, but I just looked at a couple of samples online. I love the look, and the lighting. However it is an atrocious telecine.... I think I'm going to have to purchase some parts and just build a system myself. If the maker of the camera had to do the same... I'm in the same boat now. For my wishes, I wish I could get the TV safe markings off the ground glass, and replace with... something else? Nothing? I like the center crosshair, thats about it. 1.85 crop markings might be ok. I wish I could rig a video tap, maybe with a small camera like a gopro or my neato sony sports cam. Off to find a not $1000 baseplate with 19mm rod support.

Its funny that there have been quite a few comments about the actual projection of the film. The other forum I frequent solely about film projection talks about how their craft, that of the projectionist, is also an art to be mastered. Years ago I went around to various theatres only to be turned down every single time; I wanted to be the projectionist, so I could ensure that films actually looked (and sounded!) great. I was turned away at every theatre because projection is a "managers job", but they're too busy making sure the mass of 12 year olds they hired to serve popcorn are actually doing their job. We all be to our fair share of crappy films with various problems. Complaints are met with "we can't fix that" because the managers wouldn't know a Super-Simplex B if the arc lamp bit them! It's not only the studios that are multinational corporations, it's the actual movie house too! The theatre in my home town is owned by I think eleven individuals. After 15 years, it was as run down as possible. The next town down the road built a new cineplex and everyone started to go there. Instead of actually fixing broken seats, burnt out lights and warn carpet, they decided to build a HUGE new screen with "stadium seating"... Still not impressed. Please fix my old theatre. If I had 10 million, I'd buy it today - Actually, I'd open a two screen cinema of my own. And Regal. Yes, I like the European style seating situation, yes I like the reclining seats but WHY IN THE WORLD do you have to put BLINDING BLUE LED's EVERWHERE!? The 4" round buttons that make the foot rest move are bright shining beacons of blue terribleness. My wish for the world is that the blue LED be uninvented. Know what's a good idea? Lets put the wavelength of light thats most damaging to night vision in humans everywhere - that's sure to sell more tickets. I didn't mean to rant, but I'm not sorry. This is why I visit the local two screen, because no LED's anywhere, and I can buy beer!

Its interesting that you say you might have a bit too much contrast, as I feel the opposite. Perhaps we're only talking about 10% more or less. I think your images look great! On that scene with the sun pool you let blow out a bit, I agree that it may be too bright. Was a ND gradient filter ever considered? That chicken really pops.

Here are some answers: CP-16r - Currently only line powered, not battery at the moment. It'll spend most of its life mounted. It has the standard Cinema Products mount. I DO have a CP>Arri standard mount. I'm constructing an anamorphic system for my CP. Using the Angenieux 10-150 as the physically longest lens I have, adding in front of that another lens of 163mm length, 130mm front diameter, 5.85lbs. It does not have anything built in, lens support would need to be added. However the balance point of this housing is more towards the rear, which has a diameter of 114mm. This comes to a total length past the camera flange of just under 30cm. As it is right now, my closest focus is about 10' I COULD rehouse the elements and move them closer together, but I"m not sure what sort of focus issues that would give me. I have a 25mm Schneider on the way, as well as likely going to purchase a 12.5mm. Using these will reduce the overall needed rod length, and move the balance point of the whole thing back towards the camera body.

I should mention that I'm all regular 16 over here. Nothing super... well, most of the time I think I'm personally super. HA!

I'm looking to understand what I need. I'm also a bit confused and might even be miffed (but only directed towards manufactures of products aimed at SLR people). I need a baseplate to mount my camera on which will accept rods extending a minimum of 30cm past the lens mount and support at least 3 Kg. I got some heavy glass. I can't seem to understand if a thing exists, and can find no conversation or documentation about these products. I see on the B&H website they give me the dimensions of the BOX IT SHIPS IN, which is literally not helpful. 40cm past the lens mount would be wonderful and allow for a matbox and or follow focus. This is really the maximum length I think I would ever need as I currently do not forsee getting a lens that is longer! A shoulder support system is not necessary, however if the system was based on that principal but could easily be mounted on a tripod, that would be acceptable. Not that I really want to shoulder mount a 12 pound camera with 8 pounds of glass in the front... lol - I guess it's been done by someone. Thoughts? Will the standard 15mm system support the weight? I feel like the larger system is more warranted, but I don't know.

Gregg you bring up a very good point. When I think normal, I think eyeball. And to my eyeball, a 50mm on a 35 still camera is normal - to me. When I think 16mm, I get the same sensation from about 32mm lens. Lets call it a little bigger than 30. When I see 25mm, it gives me the ability to move the camera about more if I need to frame a bit tighter, or I need to place the camera in a weird local. 25mm to me provides simply more movement. It's interesting to you that 25mm feels long, because 10mm feels REAL wide. I don't know that there are a lot of choices between those two numbers unless we're talking big bucks. Perhaps an 18mm for compromise?

A quick read on the subject says Eastman Color Negative film 5248 25T introduced in 1952 EASTMAN Color Negative film, 5248. Tungsten, El 25. Daylight, El 16. Speed increase and image structure improvement. Replaced 5247. -- Awarded OSCAR -- (25th Academy Year) Class I. Scientific or Technical Award. Replaced by 5250 in 1959 Read more: http://www.motion.kodak.com/motion/About/Chronology_Of_Film/1940-1959/index.htm#ixzz3iiixegql

Yes, I'm scouring the internet looking for that lone nad lonely 25mm Cinema Products prime. Someday I'll find one.

I very much love my CP-16. I found at an incredibly low price a Arri B/standard to CP mount adapter - it's the unit that Visual Products sold a while back. So, where have all the Arri B/Standard mount lenses gone? I'm looking to build a prime kit. I would like to find a normal or wide to start with, 25mm or 18mm or so. For that matter, where are all of the CP primes? I'm totally open to using Russian glass as well, provided I don't need to completely rehouse the lenses. For those that might be tempted: No, I would rather not sell my cp-16 and buy (insert name of "better" camera here). For that matter, I don't wish to purchase a new set of whatever for $60,000... I also refuse to pay $5000 for a single 50 year old prime. If it comes to that I'll just buy a new one. Not trying to be hateful, just where my thoughts are currently. Edit: I may not be totally opposed to changing the camera to PL mount, if that's the way things just... "are".

I'm trying to find a Filmo, or other cheap, tiny windup 16mm camera I can throw in my pocket and have a motion picture camera whenever I want. This is the second sort of discussion of this nature in the past few months, and I can't help but wonder if the people asking are really trolling, OR if they truly don't understand the film process but WANT to understand. Sometimes trolling questions can be teachable moments, but the internet thinks everyone is a troll. I'm not sure why the belief that film scanning can be beat simply by purchasing a digital camera still prevails. A crap image on either medium is still crap. If I buy a 35mm camera today, I'll still be able to get professional results out of the camera if I put professional results IN FRONT of the camera. Resolution and Image Quality should no longer be an argument.

I attend the local 2 screen. I MUCH prefer the stereo only, smaller theatre in which they usually show Art-house and off A-list films. In the large theatre they have some sort of digital [redacted] surround system and DCP. It's ok. BUT, I still only pay $6.25 per show, AND I can order BEER! Or Whiskey!

I would call, on the phone, Cinelab. Maybe you've not had great results with them, but I find actually phone conversations to be excellent. And, since they don't have an email published, it's faster to call. The owner? posts on this forum regularly. I know they develop Super8, and can do 2K scene to scene scans if you wish. I've had nothing but great response from them.

Sorry, I simply meant to use a key light with red gel.

It seems like you've answered your own questions: So maybe find a practical that will provide some fill, use the LED's and gels to get your color contrast - maybe red key one of the people, and bring lots of cheap reflectors. I have not used the iPhone to shoot anything, but I find those types of cameras hard to light for. If you can gain control over the camera in software, I would choose an aperture that allows for the amount of light you have (lets say f/4 or whatever), and use a light meter to set up the stage, and allow the shadows fall off into black. I assume because of your want of chiaroscuro, you'll have the LED's more hard lit than defused. Shooting the conversation is all up to you for setup. Are you going to do over the shoulder? Are you going to shoot coverage/reactions... is this a one take... there are still a lot of questions you could think about. Just some suggestions. The thing I would be worried about is digital gain on the iPhone...