Vince Sweeney

It's important to consider that 500asa 16mm specifically will often produce a distracting amount of grain for a lot of people, compared to switching to 200 or slower stocks. I think when someone says this or that was shot on 16mm, it can mean very different things depending on speed. In my own testing before a feature project, with new film and normal processing/2K scans, showed a very noticeable jump in most situations when using 500 stocks. The 50D stock looked a lot like 35mm in the color suite as far as grain went. A DP I know who saw it even asked me if we switched to 35 for those shots. You can see the heavy grain in several larger features that went with mostly or all 500asa film and this can confuse what's possible with 16mm to the new-comer. If someone wants film's texture/color without the overly heavy grain, you can stay with 200asa 16mm assuming lighting isn't an issue (a horror movie set at night may not be economical) although I'm always surprised at how well the V3 200 stock does in just about all but dark conditions. I also noticed a lot more grain issues with 500 speed film that was stored for a while, compared to slower stocks stored in the same (in a freezer) conditions so keep that in mind if you are dealing with short-ends, etc.

Works great on the Aaton 35. I'm selling a PL version.

It's easy now to get one serviced (picking up a 35-3P in a few days after a full inspection and lube service in the LA area) and was even easier to get done then. Looking great. I'd also think that prime would make the interior shots a lot easier, for exposure's sake too.

$2500

I'm researching wide primes below 24mm for the least amount of distortion and wondered if anyone is aware of any tests that have been done that may help speed up the process of targeting lenses for further testing. Due to budget issues all the wide primes available can't simply be rented and this is why I'm asking. Top tier DP interviews I've found talk up the below 18mm Master Primes for being relatively distortion free, even at 12 or 14mm, but then another preferring to use the older Super or Standard speeds at 14-20mm for their ultra wide shots, etc. so was wondering if there's a more scientific test done that's available somewhere, written or online? The still's world has plenty of tests posted but I'm only looking at cine PL lenses. And this is concerning people in the shots, not landscape and architectural content, but I'd think the less line distortion a test shows the more accurate a face is going to render.

Lightly used GL Optics 18-35mm zoom for sale. Arri PL mount. No blemishes. Like having an 18, 24 and 35mm prime in one lens. Sharp and very fast. This one has the 300 degree focus rotation option. $3500 when new. Comes with a brand new B&W compact case. $2600 Pick up and/or test near LA. Will ship for free in the 48.

Be sure. There's only one or two people on earth that can service it anymore, and neither are in Canada.

Check out "The Last Laugh" on Netflix. S16mm documentary. Ballsy move to do all the interviews on film. Very clean scans and appears to be shot with a zoom lens.

Thanks Gregory! That solidly confirms the idea. 48/359 may be worth experimenting with but as this will be shot on 35mm film, 22 is more attractive.

Looking for experiences doing car or general action scenes shot at a slightly slower frame rate. The goal in this case is to help slightly speed up two cars in a simple chase while keeping it realistic looking. An experienced DP once told me that he had done that for some car action shots and found that 22fps was a sweet spot to give the cars more drama, since the stunt cars had to be driven slower than the director was wanting for safety. He said 21fps was where it became noticeable and 23 didn't make enough difference. I recall what seemed like slower rates being used on Hal Needham movies like the Cannonball Run and often on 80's TV shows like Knight Rider. I assume they were dipping down to 20 or more. I would think that it may be useful, and maybe even more so when a person isn't in frame which could make unnatural speed movements more obvious.

Still available.

Still for sale and a must-have for any SD video tap and transmitter (Modulus 3000) kit.

https://www.amcamera.com/ground-glasses/

Well it should be in decent shape overall. Andree was likely the last person to work on it at Clairmont. That's where he came from before starting his new shop in Santa Clarita.

I don't think, and have never found, that variations in loop size can affect how steady the frame is unless it's way off, so I'd wait to test your rolls until after it's been serviced. Where did your camera come from and do you know how it was taken care of? I assume it's 4-perf?

It's closer to a very loose (medium to large male hand) two finger size. This is my experience. I think Tyler has done a lot of recent loads so he may have a better recall on that. I don't think you can or should assume a simple descriptive drawing would have an accurate scale representation. I've only seen the tool for the Penelope. It's just another thing to keep up with and to lose in my opinion, and likely won't change the results much compared to getting it close after some practice. When actually using a mag of this style, sometimes the loop will land slightly differently each time you mount the mag and that can give different results. Sometimes just taking it out and snapping it back in solves the noise. What did you mean by "steadiness"? The 35III has an extremely steady film movement so if you have issues, taking it to Andree is a very good idea.

Back view

Fluke

Yes it is, strangely. And this is a 5600K unit, just to clear that up.

Hate to sell but here it goes. Great condition Mattebox. Made in Germany. Made to last. Ideal for medium and smaller diameter lenses and compact set-ups. Comes with 4x4 and 4x4.56 filter holders. 15mm rod clamps Also comes with a rubber donut I used with 80mm front element lenses (Super Speeds) which is pictured. And comes with a deep tube 110-80mm insert ring, ideal for 80mm lenses that move when they zoom. $550 - pick up near LA or will ship free

Still for sale.

Different question: Is it common for some commonly used professional spherical lenses (maybe a certain brand?) to get out of synch with it's marks, and is this a possible more common reason for general focus issues, as opposed to an AC being "rushed" or ...whatever?

That last paragraph is all that was really needed, the rest was useless. You assume I didn't read the other posts when I have. You also come across as having an attitude by asking me if I shot IMAX and 35mm anamorphic, T1.4 stops, etc.. Yep, done all of that except for 65mm, and I own a pro 35mm film camera kit, and a S35mm sized digital kit, and have done 1000's of shots on numerous projects over the last 12 years, starting with my own 16mm Aaton kit, and worked with AC's and alone many times. You assume I don't know how hard focus is. Wrong. What's your point Dom? Is this thread just going to be some ego thing now? An "I know it all and you don't get it" kinda thing? You and others also didn't seem to read my repeated example of a wide shot that was locked off and was buzzed. None of your redundant examples have a thing to do with that kind of shot being screwed up. No time restraint matters there, no marks needed, no reason for any take to be out on a set-up like that. Again, no excuse for that being soft other than a technical lens issue, which is the focus of my posting here, OR someone needs to be fired. Simple as that. Not sure what else I'm missing other than more redundant answers from people not in the position responsible for doing that job on those kinds of movies. Or maybe since I've recently spent time on 3 feature docs doing 1000's of shots where you have to move and shoot all day long and land workable shots on the fly with no planning or help, until you can barely move your arm, I have an even harder time understanding how the enormous resources of studio sets who employ people who's job it is to land focus perfectly, could get much wrong. Maybe this thread needs to be shut down before more people who have nothing to do with being an AC on big sets chimes in. I mean seriously, what good does it do? Edit: My post was made while David posted and I didn't get to see his reply before posting to Dom's post. Done.

You don't see how an AC that works on multi-million dollar films might know something more about this... ok.

Still on the market. Will do $525. There's no cheaper price to be found...