Cale Boys

Good light meter, this is the Cine version so can be used for shooting motion film or digital (frames per second/Shutter angle)

Zero marks, scratches or dints. Fresh battery recently placed in, comes with carry case. 

Images: https://imgur.com/a/DMf3Bd5

$550 AUD 

SOLD

Selling my video tap and spare battery, both work perfectly fine I've just updated my camera. Open to prices.. hello@calejamesboys.com

I'm beginning to want to shoot more 16mm film lately and I'm curious if my light meter is set-up correctly and a couple questions regarding some features. 

I've currently got a 400ft roll of 500T, so my settings are: 500 ASA, 25fps, 180 shutter. Why is it in my sunny lounge room still giving me a reading of 2.8? Also the little 00 next to the F-stop reading, I can either go + or - . If I were to add a ND of 1.2, would I then + 1.2 to tell my light meter I'm using an ND with 1.2? 

I’m just trying to think of a situation where the entire crew and director/DP/Post production says “hmm I don’t know if we can even CGI that” I feel like anything these days can be made through CGI or huge engineered sets like the rotating hallway scene in Inception. 

Watching movies like Interstellar and Inception, seeing the sets and absolutely mind blowing engineering that goes on behind them or the endless and countless hours of CGI in any movie, is there even a time where a director or crew say “I don’t think that’s possible” 

I feel like any vision can be pulled off in today’s cinema world. Given the budget, anything can be pulled off through CGI or technical knowledge of people who have been in the industry forever. But I would like to know, do you think in year 2020 the top of the top film makers ever say “I don’t think that can be done”  

Posted in another heading, though will try here. Looking for still fresh 16mm stock, any ASA. 

Does anyone have some spare 16mm film they're willing to sell off? 

Nice one, can't wait !

6 minutes ago, Dom Jaeger said:

If you have an SR3 it's possible to shift the belt timing of the mirror, but it's not something you would do on location, it requires partial camera disassembly.  

However, if the timing is only a little offset in a particular direction, it will smear when the shutter angle is at maximum, but then reducing the shutter angle can cover the part of the cycle where the film is being transported and the camera will behave normally (ie without smearing, but obviously with reduced shutter angle effects like choppier motion). That would be a way of turning the effect on and off.

Ah perfect, and yeah you're currently fixing my lens for my SR3 haha (My vintage cooke) Ill bring in my SR3 and get you to explain in person once its done 

For an up and coming music video I have, its for a  punk band shot on 16mm, this smearing effect is great for effect for intense scenes. Is there a way to do this on purpose and only when needed? I.e shooting an entire scene like this then re-calibrating the camera back safely.  

Would you split with rods/filters/should rig ?

Looking to see what's out there and who has the best experience with handling the Arri SR3 handled ?

thanks everyone! 

17 hours ago, Tyler Purcell said:

You can use it for anything, it's the highest ISO available for motion picture film, so it's the "go to" stock. 

I use 500T for anything that has no sunlight. I use 250D for mostly everything that isn't hard direct sunlight. I use 50D for everything that is hard direct sunlight. They make stocks for pretty much everything. 

Think about shooting digitally, it's really no different. Set your digital camera ISO to 500 and shutter speed of 1/48th of a second and go around and take some still pictures and see if even can in the situations you want to shoot film in. 

On that note, if I'm shooting say at around 75fps on a 400ft roll to test higher frame rates, how much footage would be obtained if shooting at 25fps would make 10mins worth on a 400ft roll?

I've just bought an Arri SR3 and I'm testing out a 400ft roll of 500T film, what's the best conditions for this type of film? Indoors at night under tungsten lights? Daytime whilst inside? Nightime in the streets?

Yeah fair enough, are HD monitors unless on an SR3?

I've just purchased an Arri SR3 and I'm looking at which monitor is best to use. I've read a TVLogic VFM-056WP Monitor is the go to?

Keen to see these grabs

21 minutes ago, Dom Jaeger said:

Neither of those links have any info or pricing on actual SR3 V lock adapters. Where did you get those prices?

The first link to the Finnish company just has facebook links about adapters for SR2s (which are 12V cameras not 24V like SR3s) and a just released prototype for an Arricam LT battery adapter (which would use a DC-DC converter to reach 24V).  Nothing about SR3s though.

The second one is just instructions for removing the interface of a Lentequip SR3 battery to use on the Rencher adapter (apparently you need to buy a Lentequip battery to use their adapter, so add US$350), but there's nothing on the Rencher Industries webpage itself about any sort of SR3 adapter:

rencherindustries.com

Oppenheimer Camera make on-board V or Gold mount adapters for Arri 235 and 416 (with DC-DC converters) that sell for over US$2K:

http://oppenheimercameraproducts.com/PriceLists/OnBoardBatterySystem09.0116.pdf

There seems to be more talk about SR3 adapters than actual products..

 Screen shots sent, mate

4 minutes ago, aapo lettinen said:

that Elokuvakonepaja solution would be one of the "really nice and compact" ones. probably more reliable as well than my Chinese eBay parts 

Yeah agreed. The US one is about $450 USD compared to 1,700 euros... I guess it must be more reliable 

Sorry, let me start again. This website is hopeless with inserting images (as Ive got screen shots for both regarding more info)

I've attached both email from both companies...