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Jay Young

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Everything posted by Jay Young

  1. Jay Young
    I just watched Harry Potter 5 at my house, and Harry Potter 2 on Saturday Night because a mate had never seen it. Does that count?
  2. Jay Young
    I have the Angenieux 10-150mm, and the Russian 16OPF 12-120mm zooms. In truth my Russian lens is in far better condition than the French, but both show about equal amounts of vignetting in the middle of the zoom range; viz. from about 30mm through 70mm on close focus only. Focused to infinity, it coveres a micro 4/3's sensor of my Blackmagic Pocket camera excellently. The image circle may not be large enough for the URSA.
  3. Jay Young
    Why do you want to get one of these? Is there something that you can not achieve with your current camera (owned or rented) that this will allow you to achieve? They were pretty terrible back in the day, and I haven't seen one used in at least 8 years.
  4. Jay Young
    I sure wish I had $2000 to burn.
  5. Jay Young
    Yes, its the CP-16. The SR is fine, and it doesn't happen every time. The take-up belt is new, and when engaged is at least strong enough to keep me from moving the core by hand. The inside of the magazine has a single guide roller and the spindle. Black velvet (or some have been replaced with corduroy?) lines both sides. There seems to be at least a 2mm clearance from the back of the core to the actual fabric material however I notice sometimes the film wants to bottom out and wrap itself around the core while touching the side of the mag. The doors don't have any signs of wear, and the back of the mags seem to also not show much sign of wear. Maybe I should try loading the mag upright instead of laying it down. These magazines are basically the standard Mitchell magazine except with doors instead of screw on covers.
  6. Jay Young
    Twice now over two weeks I have went into the changing bag only to find about an inch of tightly wound film on the core on the takeup side of the mag, and about 300 more feet of floppy mess. Its as if the core stopped spinning and the camera pushed the rest of the film through into the mag... If the core is locked with the pin, I don't see how that can happen. When I watch the camera, running an entire roll of 400' through it works every time. But for some reason, starting and stopping like normal, with takes ranging in the 50 - 90 foot realm I get a floppy pancake. Has anyone else ever experienced this problem? It doesn't seem to do it every time, and I'm forced to wind it back onto the core by hand otherwise it wont fit in the black bag. I'm sure the lab loves me. HA!
  7. Jay Young
    There are several on eBay right now: http://www.ebay.com/itm/FRIES-MITCHELL-65-70mm-Motion-Picture-Camera-System-5-8-perf-Minty-L-K/281375353168?_trksid=p2047675.c100009.m1982&_trkparms=aid%3D888007%26algo%3DDISC.MBE%26ao%3D1%26asc%3D39241%26meid%3Dae1eedb3b7bb437bb2423e8e51b19580%26pid%3D100009%26rk%3D2%26rkt%3D2%26sd%3D311562447814
  8. Jay Young
    Why do you not want to add more light?
  9. Jay Young
    I saw the trailer for this at the cinema yesterday, looks interesting. I'll have to catch the pilot.
  10. Jay Young
    I think the ship design looks fantastic. I liked Prometheus, and I hope I enjoy this film. The presentation will make all the difference for me tho - need to drive to a real cinema. Who cares if it's not scientifically accurate? I sure don't. But, I am sure that it will be lit with the same psudo-naturalism, no shadows, all soft light ever, and will look flat and terrible because that's what's in.
  11. Jay Young
    I'm working on a feature right now, and just yesterday the only mention of shooting at 4k was when we needed a wider angle, but we only had a 25mm available. 4k was mentioned as a work around, but the old Alexa's we're using are limited to 2k. P.S. That film looks interesting. Hope it is good.
  12. Jay Young
    I didn't see a whole lot of BTS, but I do have two questions, having just shot for 30 hours I may be a little delirious; why for that subject matter (Story OR BTS) did you select 45-degree shutter? Was this purely a function of the amount of light you wanted to cut? Second, on my own tests with the Pocket's ISO, I find 200 to be the worst setting in strong light, as it skews the shadow sensitivity to the plus side, reducing the number of dynamic stops available for highlights. Do your findings suggest otherwise?
  13. Jay Young
    Cinemas in the 50's showing 70mm had five speaker systems up front that were way better than most of the sound systems in cinemas today - of course that is a point of conjecture, and an argument for a different thread. The six tracks were: left / left center / center / right center / right, and rear (which could be panned, left to right). Up front, the five speaker system was able to give precise aural location and even show spatial movement across the screen - something that really wouldn't happen again until SONY's SDDS 8 channel system came about. The single surround channel could be automated left side / right side / rear, and sometimes even overhead to simulate aircraft flying. Something I personally hate about Dolby's new Atmos overhead and too loud speaker system - in my area, it just sounds terrible.
  14. Jay Young
    Hmm.. Sorry David, I must have gotten mixed up there! Maybe it was the wide field of view lenses they used on the front of the train I was confusing for 3-panel Cinerama. I might have also been thinking of "Seven Wonders of the World".
  15. Jay Young
    I would say you need to see at least one Todd-AO Musical in your life - Oklahoma is perhaps my choice. And you should look at one of the big 70mm musicals if only for the beautiful photography, and for the fact that if it were done today, most of the song and dance props would be inserted digitally - for whatever reason. Take a look at a 3-strip picture: Around the World in 80 days. Then there are the big space epics: 2001: A Space Odyssey, Interstellar, Solaris (Tarkovsky 1972), The Scandinavian film that have come out in the last 20 years are simply superb: Rare Exports: A Christmas Tale, Rams I feel everyone should watch Downfall at least once, its long, German, and excellent. While you are there, you should check out Faru im Mond, and M. Fritz Lang will appreciate you for it. The double exposure/holdout matte work in Frau is enough alone.
  16. Jay Young
    Let me just say that using a 12-120mm zoom, I wish I had wider than a 12mm. 16mm is not going to be wide enough for you. And that 85 will let you see into the future - I have attached that Rokinon 85mm to a BM-Pocket, its very long. Those are fine lenses, but you really need to find a set with some wider options. 5.6mm, 8mm, 10mm... The Tokina 11-16 works pretty well.
  17. Jay Young
    I thought a 50 is a 50 is a 50.
  18. Jay Young
    Unknown, they were listed on the officially supported BM card list, but then were removed. They apparently (confirmed! I own two) do not support the sustained write speed.
  19. Jay Young
    I have had no issues with the SanDisk Extreme Pro 95MB/s line. However I have two PNY cards that are supposedly Class U3 and 95MB/s but my Blackmagic cameras will not record to them in raw. This leads me to believe that PNY was a little optimistic about the capabilities of their cards. I still use the cards if I have a ProRes job.
  20. Jay Young
    For sure the Pocket can run for 4 (or 17!) hours in 30c temps without being powered off... I've done it. I also sweated just a bit.
  21. Jay Young
    I saw the new Tiffen "Sunset" graduated sort of warming filter and it looked very nice, for specific uses of course. I almost never use an 85. I tend to travel with ND.3, .6, and .9 - Pro Mists are nice, but I hardly use them, I do use nets tho. To each his own I guess. I do own an E81 warming filter, but I've never found a real reason to use it. Now a nice haze filter can do wonders for plate work. 00 Frost? Old school, but it works.
  22. Jay Young
    Doesn't really bother me, but I find learning what something is called (Photometeric Data) helps one remember it for future use. Now chances are that I answered the specific question, the OP didn't actually learn anything - I am hoping he will follow that link and play with the program, learning about photometric data in the process.
  23. Jay Young
    Compact has 96 footcandles at 45 feet on full flood PAR has 135 footcandles at 45 feet on full flood I found this information using the Arri Photometric calculator - and you can too: http://calc.arri.de/calculator The reason, I think, is because the Compact has a wider beam angle (61-degrees) vs. the PAR (52-degrees). The PAR is the more concentrated source, even at flood. This smells like homework.
  24. Jay Young
    Perhaps the right exposure changes because of the way the light meter works on the camera? Like taking an incident reading, then switching to a spot meter? Or does the maximum aperture change when zooming in?
  25. Jay Young
    Brent, I'm sure the test will be of great benefit to myself and many others! I may, perhaps, be confusing two different tests and for that I apologize if I am. I would love to be a part of the next test, maybe I can throw in a couple hundred to rent that elusive Baltar set for the day. I'm sorry if I sound condescending, sometimes I come across that way and don't mean to be. I guess I can understand that, Tyler - its just that I've never ever seen a test that took different brands of the same focal length and compared them side by side at a decent stop. Perhaps I'm one of the few that doesn't shoot wide open all the time. Or, maybe I'm just wrong. Anyhow, sorry to ruffle the feathers.
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