Robin Phillips

I ca't quite tell from the photo, are the focus scales ft or m?

I've been trying to set up my gmt-s to drive a smart slate. the Origin C+ is definitely feeding data to it (show ID, start TC etc), however I've noticed that the FPS is definitely controlled by the tiny dial inside the GMT-S (see attached photo).

Does anyone have a diagram or know what dial settings = what base timecode FPS?

Paul at Shruco Tool is who Andree at AM uses IIRC, I think hes the last guy around that resurfaces them (at least Arri ground glasses). I know hes about to do a batch of them this month, might want to email him this week at shurcotool@aol.com. Hes a bit old school, so email turnaround tends to be a few days to a week

Anyone have an Aaton XTR Prod era 1.85 or 1.78 ground glass they'd be willing to sell? Would also be interested in a 2.35 one if someone happens to have one

alan gordon, visual products, ebay, broadcast solutions etc

a cheap but solid super 35 sensor camera (maybe a used APS-C dslr, or something like a used sony F3 type of camera), and maybe 3 or 4 used fresnel lights, and then some occasional white/silver insulation boards to act as bounce and you should be golden. going much beyond that and you're gonna be wasting money that should go into projects on gear.

a 435 3 perf movement should pop in if Im not mistaken. Contact Adnree at AM camera, he does movement conversions still (and has done several 2 perf 435 cameras while at Clairmont) - AMcamera.com

try to stay in the darkest room you can even with the 500T daylight spools. If you can do a bag its helpful, cause you never know if the tension on the film might loosen up a tad and you'll have 10 or so ft semi-loose in the camera body, which may get some orange flashing on it. that being said I've done 500T 100' changes mid day in the cab of a truck, no windows blacked out or anything, and was just fine. but you may not want to take that risk

new interview, looks like it was super 16 with cooke S4s, some older zooms thrown in at times https://filmmakermagazine.com/106202-the-thrill-of-the-chase-cinematographer-joe-anderson-on-capturing-robert-redfords-ride-into-the-sunset-in-the-old-man-the-gun/#.W9Nj2xNKi_V

this looks great, resolved surprisingly well for an adapter. any chance you shot charts?

 

Good convo & just because this topic popped up, here's a recent experiment I did with S16 and 1.3x Anamorphic. I wanted to understand the usefulness of the format even with this sketchy windup camera setup. The extra FOV obtained by the 1.3 squeeze was great (since there are very few wide lenses for a K3) and shooting through the 'sweet spot' of the anamorphic was bonus.

 

For another set of movies to look at and compare, rent / stream "The Wall" for an anamophic s16 and maybe Silver Linings Playbook for 2perf. Once you get into considering anamorphic anything, the "feel" of it as as important as the math re: FOV. 2 perf and x1.33 s16 definitely feel different when viewed, and its worth considering that before the budget questions come into play

 

Yep, sorry, I have jumped over into another topic a bit there. I've no intention of watching 2 perf on a projector, so I see what you mean. Just can't help but compare S16 and 2 perf.

They do kinda look like an out of phased shutter... how were you powering the camera? new/healthy battery cells? any weird sounds from the motor?

 

I've done steady tests on both Bolexes and Arris and you'd be surprised how stable a well serviced Bolex can be, at least at standard speeds. But of course an amateur grade camera with a very simple claw mechanism and aluminium parts can't hope to compete with the precision engineering of more professional cameras. These days however, with everything going through a DI, steadiness in-camera is not as big an issue as it once was.

 

The bigger drawback I think is that the lenses and viewfinder aren't up to the same level as pro gear, and so nailing focus can be harder. But Bolexes have been used on films that got theatrical release, and even won Academy awards.

 

 

 

Not sure I know what this means. The SR3 FFD is 52.000 - 0.010 mm which gives about one hundredth of a mm tolerance. A high speed SR3 gets set to 51.970 - 0.010 mm, which has the same tolerance but is three hundredths of a mm shorter due to the design of the high speed mag pressure plates. If you mix HS and normal mags you might get focus issues, but otherwise those tolerances work fine for each camera type. I worked for a rental house as a tech setting these things for years and we never had issues. Of course you also need both the FFD and the ground glass depth to be correctly set for eye-focussing, and the lenses properly collimated for taping out.

I'd have to go digging thru records to check. This was on a 4K test. The 2k comparison test was acceptable (and IIRC uprezed to 4k with greater detail than the 4k scan itself). it was a minor adjustment, but when it was made there was a bump in quality in the charts.

A 416 without video tap sold for around 11k last year. Only one I saw sell this year went for around 20k USD.

If you're trying to max out super 16, you really want a modern, serviced camera with Ultra16 lenses (or ultra primes generally). On the Arri side, the Arri SR3 Advanced (the one with the gate guides) and up, or an Aaton XTR Prod and up. You also need to make sure your lenses are dialed in to the max. These cameras have the minimum amount of any side to side movement of the film, and are very robust/reliable.

You also need to do tests with any gear prior to a shoot, incase something just isnt right somewhere in any of the gear. On the SR3, the FFD range listed by arri is a tad wide range wise, and if you're too close to the shallow limit you will be a tad softer than if you are closer to the SR3 HS flange depth. (I learned this the hard way lol)

If I were you, I'd be looking for an Aaton XTR, XTR Prod, or SR3 Adv. I've seen all of those show up for under 3k every now and then, though they can be found easier for around 5k+ USD. Arri parts seem easier to get in the Los Angeles area, though Ablecine in LA I've recently learned has a nice stockpile of Aaton spare parts. I will say the biggest advantage of the Aatons is they are sooo much easier to shoulder.

 

Yes, sorry, I didn't read your post carefully enough. I should have known that. Ultra 16 is really an amateur format.

 

Does anyone know if there is any discernible registration problem with Bolex cameras when projected digitally on a big screen, compared with Arri 16mm cameras? I know Bolex don't have pin registration. I'm thinking of getting an SBM as my personal camera, for making short films with MOS and dubbing in post, and hiring Arri cameras for sync sound shooting further down the track.

To clarify, Mother was super 16 on Ultra16 lenses, the Arri/Zeiss high end and last generation of dedicated super 16 lenses.

I'm wondering if I might actually find it easier to attract funding for a film project if I shoot on 35mm, as it would be resurrecting this film stock here. No one in Australia shoots on 35mm any more that I know of. The government is willing to support filmmakers for some projects, and I already have a camera. Still, S-16 is a very attractive option as I like the look of film grain. I did see Mother at the cinema, purely for the fact it was shot on S-16. I didn't realise it was shot on Ultra 16. I liked the look of it very much, however it was shot with many close-ups, so really worked well for 16mm.

you'll certainly find shortends and recans for 35mm easier than you will s16. 2 perf spherical is always a great option if you can get the camera bodies.

I will say, I actually really like s16 spherical cropped to 2.39. The feel of 1.3x anamorphic is a bit nicer, but from what I've seen those hawk lenses do have some sharpness issues the wider open you get, vs say the Ultra16 spherical lenses. If you can check out some stuff shot on each. "The Wall" was hawk 1.3x anamophic s16, IIRC "Mother!" was Ultra16 cropped to 2.39 s16

I might email Volker in Germany, who sometimes posts here. He modified a projector to S-16 and enjoys wonderful home movies. If I can find out details will post on this thread. Thanks guys for very worthwhile advice above. I'd like to be up and running with a projector soon, in time for Ektachrome release here (assuming processing etc is going to be fine in Australia). But my main longterm aim is to continue shooting Vision 3 and release digital movies shot on 16mm (and later 35mm if I can). The projection idea is just to satisfy a craving to see and experience real film "with my own eyes," (... to quote Darth Vader).

 

Considering the apparent huge cost of the best S-16 anamorphic glass, I wonder if for a short film 35mm spherical, cropped to 2.40:1, might actually work out cheaper, or about the same production cost.

Hopefully more details will show up in some interviews, as the spots fooled me into thinking it was s35. the dof is so shallow it makes me wonder if they shot just shy of wide open the whole time

Ablecine will work on Aaton film cameras still. I didnt ask Girvan if they will do anything else, especially the more esoteric or rare cameras (I would guess not but ya never know)

Jorge at cinematechnic might be able to help http://cinematechnic.com/ (based out of HotRod Camera's building). Andree from clairmont now has his own shop and he may be able to help too https://www.amcamera.com/ both are in LA

Girvan at Able said this caused a lot of confusion when these came out. Im just thrilled someone is still around in the US who knows about them and their quirks (and has spare parts in stock)

Ohh intersting. Yea I figured it was something silly like that. I honestly didn't know the Xtera had a run switch near the battery release. Obviously for the AC to start/stop the camera, but still that's odd.

was able to get it by Able. Im less than pleased with the fact that the manual does not label the run lever that sits near the top battery release... That was fully depressed, leading to it immediately running when power was supplied. So I was doing something dumb and not realizing it.

As an Arri guy, I gotta say these Aaton design quirks are starting to make me dislike the french lol

Hi all, wondering if anyone has any insights on this problem I'm having.

I got my hands on an Xtera that's been in storage for 5+ years, and while its in darn good condition its got one weird problem - attaching the battery results in the camera instantly running. The test/run wheel's position seems irrelevant to this behavior. I've swapped the body fuses, but theres no change in this behavior.

Im using the only battery that will actually charge, attached the VHR shows the battery at 13.7v

Anyone ever experienced this or something similar and have any insights? Any chance Im doing something dumb and not realizing it?

I too highly recommend looking at the F35. I own one, and its alot easier to record data from (as well as has actual current recording support from Convergent Design via their odyssey 7q+). Its also a bit smaller, its global shutter is spectacular, and for my money looks more like film than the D21. It also upscales to 4k really well when you use Ultraprimes (F35 sensor is above 5k, resolves in camera to 1080 444 12 bit)

You also dont have to worry about needing the mechanical spare parts for the sweeping shutter on the D21 (I think its mostly 435 parts but not sure).

Thanks for reply.

Basically my budget is near 4-5 k Eur.

As I saw in google old ARRIFLEX d21 posts they keep quite similar price. Besides i like D21 idea of mechanical shutter and sensor which is emulates film style image.

 

Of course I think that real film is best technology to capture light but it's too pricey for me. So it is very interesting to me how Arri build they D21 camera with unique sensor quality. Isn't it

well, probably because its trespassing for one. Even if its public it can be trespassing, as the usual underlying reason for film permits in public spaces is because you're using publicly supported property for a for profit endeavor and as such the public should be compensated in some manner.

Also if the headstones and such constitute an additional form of private property then you'd need permission from both the overall property owner AND the headstone owners, lest again you're just trespassing.

I had to steal a couple shots at one last week. Are there more laws or permits which come with a place like that?

 

Thanks for any input.