Jump to content

Baltasar Thomas

Basic Member
  • Posts

    71
  • Joined

  • Last visited

Posts 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. 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!

     

     

  3. 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 :). 
  4. 16 hours ago, AJ Young said:

    I would caution the Black Magic cameras when it comes to pairing it with the Aaton. It has no log profile, so they definitely won't match on set. The high fidelity files the camera records, however, are easy to grade and can match in post. ?

    Thanks for the heads up! Yes, I was mostly thinking about post. ?

    • Like 1
  5. 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. ?

  6. 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

  7. 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. 

  8. 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! 

    • Upvote 1
  9. 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. 

  10. 3 hours ago, Satsuki Murashige said:

    Is it possible that you might have pulled your eye away from the eyepiece while the camera was rolling? Any stray light that enters the eyepiece can bounce back onto the film in the gate, so you have to either cover it with something or use the built-in eyepiece shutter.

    Other possibilities include accidentally opening the film mag door in the light, or an error in the lab. Or using pre-flashed film without knowing it, which is a possibility when buying re-cans and short ends.

    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. 

    3 hours ago, Satsuki Murashige said:

    Re: color correction 

    I guess you could try key framing a contrast, color temperature, and color saturation change in your color grading software. But I don’t think it would work that well, as there’s not likely not enough color info left on the film negative in the flashed portions to correct it back to normal.

    The best solution would be for the editor to cut around the problem if possible. Use alternate takes, or play the scene with your other coverage. Or if you have no choice, then re-shoot the shot. 

    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. 

    3 hours ago, Bruce Greene said:

    This light flash is so even that I think it’s possible that it’s not on the film negative.

     

    find the shot in the original negative and tale a look on a light table. If the edges of the film don’t show a light leak, scan the negative again.

    Thanks Bruce, it's definitely worth taking a look so I'll ask the lab :). Fingers crossed. 

  11. 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.

     

     

     

  12. 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:

    1. you can actually use it to unscrew the core (of course you could also use a flathead screwdriver).
    2. 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.

     

     

×
×
  • Create New...