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JJ Walker

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  1. JJ Walker
    I sold all my OBB-2 batteries and chargers. The money I got back nearly covered the cost of purchasing the Oppenheimer ARRI 416 Battery Adapter. Now I can power the camera with V-Mount batteries, and thankfully, can sleep well at night.
  2. JJ Walker
    I suppose this same complexity afflicts the Arricam LT, as well. Indiecam in Austria makes an HD Video Assist for the LT, priced at 11,700 EUR.
  3. JJ Walker
    Is it too complicated to do for the ARRI 416?
  4. JJ Walker
    Hi Attila, I'm looking for Ultra 16 lenses, not S16 Super Speeds. And that price is... Well, I'll just say I'm not interested. :) -jj
  5. JJ Walker
    Thanks, Robin. I was aware of that set and previously submitted an offer. I'm still looking. -jj
  6. JJ Walker
    Hi Attila, I'm referring to the Super 16 lenses. -jj
  7. JJ Walker
    Hi, I'm looking for any ARRI Zeiss Ultra 16 lenses for sale. Seeking a set of five or six lenses. Feet markings. Open to single lenses. Preferring in this focal range: 8, 9.5, 12, 14, 18, 25mm. Feel free to message or email me any offers or leads. jjwalker.work at gmail dot com. Thanks, -jj
  8. JJ Walker
    I'm curious about this, too. Can anyone enlighten us?
  9. JJ Walker
    Thank you for those suggestions. I look forward to reading Jon Fauer’s book; I imagine it will be an excellent resource. The last printing was in 2005, so I wonder if there have been any advancements regarding the camera’s operation that are worth noting? Previously, I did download many useful PDFs from the ARRI sites (after some hunting), though it still has left some questions unanswered. Is there a particular belt and battery combination to recommend? I am still weighing the cost-to-benefit ratio. Maybe a block battery is a better initial choice, especially since I don’t know how much wattage I’ll need for operating the camera. I’ve looked at many photos of the cameras being used in recent productions to get a sense of how it’s being configured and rigged, but it’s only partly helpful since the rig becomes a tangle of wires. In a behind-the-scenes clip, I saw Sean Bobbitt, BSC; using an Arricam in hand-held mode with a battery belt, but I couldn’t determine what type it was. Out of curiosity, does anyone have a well-informed guess as to how many of these cameras were manufactured?
  10. JJ Walker
    Hi, is anyone willing to share their knowledge on using the Arricam system of cameras? I’ll be shooting with the Arricam LT and I don’t have any experience with it (or film cameras, in general). Regarding battery solutions, the Anton Bauer Cine VCLX batteries seem to be the closest thing to the de facto standard battery for this 24V camera. And while I’m open to using a block battery, I’m curious if there are any other preferred battery solutions, especially concerning hand-held use. While I’ve heard of battery belts, I’ve never used one myself and I don’t know how comfortable I am strapping large batteries around my waist. Maybe it is a good solution though, considering the alternatives. How much wattage does the camera consume while filming at different speeds? It’s been difficult to find this information. The manual states the Power Bridgeplate is the standard plate used with this system. Will other ARRI plates, such as the BP-8 bridge plate, fit as well? The standard video assist system (IVS) operates on the aged NTSC/PAL system (and I have little hope of getting my hands on the HD-IVS). It seems the best signal output is S-Video. This isn’t an ideal connection for production use, but can anyone recommend a monitor that has an S-Video input? Or, should I just stick with the BNC Composite signal? Or, is it worth it to use a convertor box to covert the signal to SDI? Any modern-day, practical advice regarding these cameras would be very helpful. Thanks!
  11. JJ Walker
    Thanks for the great advice. It seems, not surprisingly, Kodak has conservative timeframe recommendations regarding the storage of film stock. So far, the consensus seems freezing film stock adds little benefit versus the risks, as compared to refrigeration. For modern stocks, it seems long-term refrigeration can result in very little loss of quality.
  12. JJ Walker
    Thanks for sharing. That looks surprisingly good considering its age and storage environment. A bit more grain than usual I suspect, but impressive. If I had the resources, it would be fascinating to conduct a test involving modern film stocks stored in various environments over a period of months and years, and observe the effects this had on the image quality. That’s something to consider. Though it’s hard to determine if an even temperature is being maintained over the entire surface of the can, though it does seem worthwhile to rotate and reposition the can in the fridge every few months.
  13. JJ Walker
    I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!
  14. JJ Walker
    Tom, you aren't able to receive any new messages currently.
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