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Baltasar Thomas

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Everything posted by Baltasar Thomas

  1. Hi Emils, this looks good! A few questions come to mind. I can send you an email but it might be good to post it here as others might have the same questions. - I use a lot of different sized filters (3x3, 4x4, 4x5.65), would it be an idea to offer adapters to fit 3x3 and 4x4 filters inside the MB designed for 4x5.65? - Similar question: can the 4x4 MB hold similar sized 100x100x2 filters? - Are you thinking of offering side flags? - Are you thinking of offering adapters for different sized lens barrels? Maybe even for non standard sizes so the MB could be used with stills lenses as well?
  2. Take a look at the JVC GY-LS300CHE, might be exactly what you're looking for.
  3. Hi, I'm looking to buy a S16 Zoom, preferably in Aaton mount. Other mounts might work out as well, as I have the option to convert my Aaton to PL and Arri-S adapters are available. However, I'm not sure I'm able to cough up the current market value, therefore I'm interested in wide-angle primes that cover S16 as well. I'm located in Europe. Please let me know if you have anything that might fit this need and are looking to sell. Thanks!
  4. For anyone interested in this topic in the future, I did a little test to find out the latency of the Blackmagic Micro Cinema Camera through HDMI and compared it to a GH5. All tests were run at 25 fp/s. I ran a timecode window in Premiere Pro for 30 seconds for each test and filmed the iMac monitor and my Portkeys BM5 monitor placed next to each other, so I could read the difference in frames between the actual timecode and the signal sent from the camera to the Portkeys monitor through HDMI. Afterwards, I repeated this process with a Small HD 502 Bright monitor, to see if an industry standard monitor might obtain better results than the Portkeys monitor. These were my results: Portkeys BM5: 1: BMMCC RAW: 3-4 frames / 120-160 miliseconds 2: BMMCC RAW 3:1: 34 frames / 120-160 miliseconds 3. BMMCC 422: 2-4 frames / 80-160 miliseconds 4. GH5 4K 10 bit ALL-I: 6-7 frames / 240-280 miliseconds 5. GH5 1920x1080 10 bit ALL-I: 6-7 frames / 240-280 miliseconds Small HD 502 Bright 1: BMMCC RAW: 2-5 frames / 80-200 miliseconds 2: BMMCC RAW 3:1: 3-4 frames / 120-160 miliseconds 3. BMMCC 422: 2-4 frames / 80-160 miliseconds 4. GH5 4K 10 bit ALL-I: 6-8 frames / 240-320 miliseconds 5. GH5 1920x1080 10 bit ALL-I: 6-7 frames / 240-280 miliseconds I might do another test with a shorter cable, these were 2 meters, I think ?. Good quality though. Results were very similar between the two monitors overall and favored the BMMCC over the GH5. It seems the GH5 takes about twice as long to process the signal. Further testing will reveal if 120-160 miliseconds is good enough for my purposes :).
  5. Thanks for the heads up! Yes, I was mostly thinking about post. ?
  6. I'm looking at this one for my LTR as well. I can't really think of any downsides, I use M42 full frame stills lenses on my LTR as well and those produce excellent results.
  7. Good point AJ! That would have been an added bonus with any of those EVF's I mentioned. It seems strange that Portkeys didn't implement it with the new and very well priced LEYE. I have had times with my Aaton (it's an older model without video assist) where a monitor would have made things a lot easier. However, most of the times the viewfinder was sufficient. Right now, I figured I would just pack my 5" monitor as well, just in case. So Blackmagic camera's have minimal delay as well? I wonder if the older model BM Micro Cinema Camera has a lot of delay through the HDMI. That sensor with DNG recording might make a good companion to the Aaton. ?
  8. Thanks for sharing AJ. Well, latency is the main thing. Brightness, resolution, size, 3D Lut support, input signals, these count as well. But the affordable EVF's that I'm looking at seem to have those covered quite well (yet to try them out though). I'm looking at the Portkeys OEYE, the Portkeys LEYE and the ZCAM EVF.
  9. Hi, I'd like to try and get as close to replicating the experience of operating through an optical viewinder on a budget. Monitors aren't doing it for me. There's a view affordable EVF's on the market now that might do the trick, but mirrorless or other budget cine-oriented camera's often have too much latency. It bugs me, definitely for documentary-type work. From what I've gathered, any delay lower than 100ms is not perceivable. I was wondering if anyone knows of a resource that lists camera's with sub 100ms latency. Testing will prove what works, but there's just so much to try, I'd like to see if I can trim down the possibilities before I start any testing. Cheers! Baltasar
  10. If you use the Shape shoulder pad, aren't you able to attach 15mm rods to the back? That would allow for some mounting options to the bottom of the rods. Other options that come to mind are adapting your LTR to take v-mount batteries, or wearing a battery on your belt. The base of your LTR looks modified and huge, what is that? Looks peculiar! It protrudes into the section where your shoulder normally goes.
  11. Like David has pointed out, you only need a grid really. However! I do have a chart that was kindly sent to me by forum member and Senior Technician/Designer) at Visual Products @Paul Scaglione. I'm sure Paul does not mind me sharing, PM me your email and I'll send it over :).
  12. Willem, hit me up if you need help - I have experience in both Resolve and Premiere Pro. Personally I don't see the need to do anything frame by frame. In your NLE, change the resolution of your timeline to the resolution you would like to finish your project in and fit/frame/crop the content you place in the timeline to your liking. Very curious to see more frames of your short btw!
  13. Hi Scott, thanks for the offer, I'm already a proud owner of one of these by now though ;)!
  14. I can recommend Onno Petersen in Amsterdam: http://www.onnopetersen.com/digitaliseren/index.html.
  15. Just wanted to chime in and say: excellent work Sam. This is something that could be quite a game changer for those among us who process at home and/or are part of small, independent film labs. Lomo tanks are great, but very fragile and expensive because the are scarce. The bakelite tanks break easily and the spirals can't withstand heat very well (if you use homebrew drying constructions). If the design could be extended to tanks and different sizes, I would not only print them, I would purchase them. And I don't think it's hard to offer reasonable prices compared to 100ft Lomo tanks.
  16. Hi Satsuki, thanks for taking a look. I was afraid that it might be light coming through the eyepiece. I read about the possibility of that happening last week, but I was definitely unaware during shooting. I actually remember taking my eye of the eyepiece a few times during the making of this film, there's a lot of fixed shots so I felt confident to look around for a bit at times. I was very careful while loading and unloading the magazines so I would be very surprised if that would be the problem. All the film was fresh stock. Yes, I agree, I suspect it's too far gone to save the shot so creative editing or re-shooting would be my best options. Thanks Bruce, it's definitely worth taking a look so I'll ask the lab :). Fingers crossed.
  17. Hi everyone, I recently shot my first short narrative film, written and directed by a friend of mine. It was shot on 16mm (an Aaton LTR). I found the analog workflow quite challenging but it was a lot of fun at the same time and hearing the film run through the camera with my ear to the magazine was quite something :). Initially I was happy with how the film came back from the lab, it seemed exposed properly! However, right now it’s with the editor and they’re discovering some weird things that I had not accounted for. The biggest issue is some sort of blue fogging in a crucial scene. It comes and goes. https://vimeo.com/431845218/3386d6d51a Does anyone recognize this sort of fogging? Any idea of the cause and do you think something magic can be done in grading to correct it? Thanks for looking.
  18. Hi, Looking for one of these Sekonic Lightmeters. Preferably in Europe! Thx
  19. Hi, Looking for the 6x9,5B zoom to complement my 10x12 zoom, in Aaton mount. If you happen to have it and are willing to sell, preferably in Europe, hit me up! Thanks, Baltasar
  20. Happened to be figuring this out with my newly acquired Aaton and wanted to make a small but important addition to Robert's explanation. In the feed side of the magazine, in the top left corner, there's a small thumbscrew screwed into the bottom of the magazine. This screw serves two purposes: you can actually use it to unscrew the core (of course you could also use a flathead screwdriver). it screws on top of the 100ft daylight reel once you've placed that on the shaft. This is actually quite important because it keeps the reel from moving around inside the magazine, which would make it noisy and could cause other problems.
  21. Hi Carl, what's that mount, cameflex?
  22. Very cool to hear these kids speak so enthusiastically about shooting on film. Celluloid Dreaming must be a rewarding endeavor, Tyler :). Will be tuning in for the next epsiode.
  23. Does anyone happen to have a service manual saved to their hard drive? Nothing to be found at aaton.com (suspect it's been that way for a few years) and the only manual I can find is this instruction manual: https://tfma.temple.edu/sites/tfma/files/site-pdfs/AatonLTR.pdf. Thanks!
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