David Sekanina

47 minutes ago, Boris Kalaidjiev said:

Hello everyone,

would the 100ft daylight spools also work on a XTR Prod? 
 

thanks! 

Only on the feed side. On the take-up side you need to use a core, because of the friction clutch. There are several posts on this topic on this site.

FS Standard16 prime lens Carl Zeiss Distagon 1:2, 8mm, T2.2, Aaton mount

Smooth focus, aperture not declicked, no fungus, no scratches

333€

https://drive.google.com/drive/folders/1rF0zkiGWywE5btqhCf3vW5ODn2ZHIIuJ?usp=share_link

No caps, but can 3D print them.

12 minutes ago, Nathaly Pinheiro said:

I just counted and in each second of the video there are 6 images, each one repeated 4 times. 

Sure, I did some tests and 1/48, even moving very fast it wasnt as blurry as the reference. Something around 1/15 was closer. 

Great. That means you should shoot at 6 fps. The longest exposure time for 6fps is 1/6s. If this results in a too blurry picture, try 1/12, while still shooting 6fps, then 1/25s, still shooting 6 fps. Import these clips into a 24 fps timeline and pick the one that comes closest. If your Komodo can't shoot 6 fps, just use your DSLR in Photo mode, it can surely shoot 6 fps.

26 minutes ago, Nathaly Pinheiro said:

I was testing my sony a7iii camera and recording at 24fps I could get until 1/4 shutter speed. Is  it posible to do the same with more profesional cameras? RED and Alexa .

If I devide one second of time into 24 sections (that's what 24fps means), the longest shutter speed with a 360 degree shutter is 1/24s.

If I put a shutter speed of 1/4s on my camera, I can only shoot 4 frames per second. (Unless you travel at the speed of light where time behaves differently ?)

So either I don't understand you correctly, or your camera does some frame blending internally, where it combines 6 frames into one resulting in a virtual "1/4s shutter speed"

44 minutes ago, Nathaly Pinheiro said:

But how did he get the motion blur then? A 1/48  shutter speed wouldnt give this amount of blur 

The camera where the motion blur is strong moves very erratically. If I make 90 degree pan in a quarter of a second, the blur will be very pronounced even at a 48th of a second shutter speed. (I'm looking at the section around the 40 second mark)

EDIT: looking at it again, it was probably shot at either 4fps, 6fps on a film camera, resulting at 1/8s or 1/12s shutter speed (180 degree shutter angle of a film camera).

Do some tests with your Sony, shoot at those low frame rates and resulting shutter speeds and import the footage into a 24 fps timeline.

Given that Chungking Express was shot on film, the shutter speed was probably 1/48 (180 degree shutter). You can shoot the scene digitally also at 24fps, reinterpret the footage to a 8 fps footage in the software, and then put that 8fps footage back into a 24 fps timeline.

at 12 fps, every picture will be shown twice in a 24fps timeline - that's not very choppy. Hand drawn animations are actually shot that way, to reduce the amount of drawings. Analise the Chungking Express footage image by image and count how many times the same frame is displayed - I suspect 6 to 8 times, resulting in 3-4 fps

As Mark said, this is step printed. At 24 fps, the longest shutter speed with a digital camera is (shutter angle at 360 degrees) is of course 1/24s. If you shoot at 8fps, the longest shutter speed is 1/8s. Then bring your footage into a 24fps timeline and each frame will be repeated 3 times, resulting in that choppy but blurred look you're after.

But at 1/8s exposure the motion blur will be very pronounced, so maybe choose a shorter shutter speed.

It's the film mag

1 hour ago, Jorge Castrillo said:

 do you mean still photographers? Can you help me with these links or with the name of them?

Yes, stills photographers.

7 minutes ago, Jorge Castrillo said:

if its possible to push the negative

Do you want to cross-process it as a negative like for the show Euphoria? Have a look at Lewis' video:

If you want to develop it as a positive, there are several photographers who pushed the film 1-3 stops and have shown the results on YouTube.

35 minutes ago, Robin Phillips said:

yikes... talk about all the eggs in one basket. May its construction be robust and its maintenance regular

well, it's a 1.5 billion dollar basket, so I don't see how they can easily ramp up production, other than what they did already, work in three shifts, Monday through Saturday.

There's a wonderful youtube channel called 'film courage' and they've interviewed film makers on this topic.

EDIT: J. Horton also has a YT channel where he explains how much the model with Netflix and Amazon changed over the last two years for Indie film makers, and also interviews film distributors.

33 minutes ago, Daniel D. Teoli Jr. said:

Kinetta?

I had looked into them years ago, but could not find out much or how to buy one.

With money.

Try to contact John of Fresh Ground Pictures - he did a lovely restoration of a 16BL a few months ago:

Can you measure the thickness of the beam splitter with a micrometer (or a caliper if you don't have a micrometer)? Metric, not imperial. It's a French camera ? Thank you

It's thicker than a pellicle beam splitter - and you wouldn't have the space for a frame (necessary for a pellicle beam splitter) anyways. But thinner than any off the shelf beam splitter I've seen.

Beam splitter in my XTR Prod:

...and then he was bitten by a spider ?

Both the mounting interface and the electrical connections are different, but there are mag throat adapters to mount compact mags onto an SL camera (see last image).

If you still have a digital camera (with a macro) try to film the pulldown with the strobe to get a magnified view.

It's an escrow. The buyer will be paid automatically after 48 hours of you receiving the goods unless you complain. You only have 24 hours to examine the goods, and cancel the transaction if there is a discrepancy in the description of the goods by the seller, and what you actually received. This is very short for film cameras, if you want to do a steadiness test, have it developed and scanned within 24 hours. They have a youtube video explaining it:

The mag release lever can be used to not only to release the mag but also engage it, so it doesn't require a hefty push. Disengage the spring loaded mag release lever and gently slide in the mag, and then engage the release lever, instead of having it raise and catch the mag lock pin automatically with the mag push. At least on the XTR it works.

Other than that, have a tripod plate with a locating pin engaged in the rotation lock hole, and the plate being pushed back before screwing it down, so the camera can't be moved forward anymore.

Machine or 3D print a sleeve that grabs the bottom of the body and fix that securely on the tripod plate.

10 hours ago, Joshua Robert Dy said:

The downside I see to this is that there is a lack of movement of the background

Pure coincidence, I'm watching 'Deer Hunter' this morning. Vilmos Zsigmond has a shot where he tracks the camera from left to right, while maintaining the size of the actors walking towards the camera by zooming out. It's an interesting effect, combining the field of view change with a parallax change:

You're welcome ?

Last puzzle piece: my Optex focal extender protrudes 29mm to the back and fits the the SR3 as well as the Aaton.

So even the widest of the anamorphic lenses protrudes less than my focal extender, so therefore it'll fit.