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Travis Shannon

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Everything posted by Travis Shannon

  1. If 4K is your max budget you can probably find an ACL if you wait long enough, I sold one that was s16 with a standard tap and pl mount for 6k last year. It’s not as reliable as an sr3 which is why it’s 1/3 of the price. You get what you pay for.
  2. Still see it in broadcast steadi builds from time to time but when I do I’m always thinking thank god for wireless.
  3. I personally am loving the updates on this thread, great work dude.
  4. Asking 1500 usd for the kit but open to offers
  5. Finally selling my angenieux 5.9 c mount, amazing ultra wide lens and rare to find in c mount, super clean, no scratches or cleaning marks. Also comes with lens hood/filter holder and series 9 filters (ND/cpl/85) https://ibb.co/m98F7wz https://ibb.co/QbnG5DH https://ibb.co/BrdMh41 https://ibb.co/qrpMd57 https://ibb.co/6rw03tK
  6. And yeah if you want it constant like in that video you’d just need it direct and far back enough to get the falloff, spot it in, keep it directly behind camera and you should be good, worked for us
  7. Neither shoot was stills, one was video and one was super 16mm film centered around fashion photography, the first was on Venice and the second was on SR3. And yeah by strobe I mean flashing (the light has a setting called strobe or sometimes paparazzi, it’s not an actual photo strobe) to simulate photo camera flash but you can also just run the light bare and direct and quickly on off it with a flag. If you want the look of flash then just flash a light, it just has to be powerful enough which an aputure has plenty of.
  8. I ended up doing this gag on two separate shoots last week and both times we just on offed a bare aputure 1200d on the strobe setting.
  9. Last note, asking price for the lenses is 4k and at this point I’d like to sell as a set, and if anyone wants to do both camera and lenses I’d be happy to throw in all the raw stock I have as well which includes: 1x Fpp bw40 100 ft 1xfuji f400 100 ft 1x ektachrome 100 100ft 1x 7297 2r 100ft 2x fuji 500d 400ft (expired/sealed) 1x agfa xts400 120'se 3x vison2 200t (expired/sealed) 400ft 1x vision2 200t 400ft se 1xvision3 500t 320ft se 1x 50d 250'se Thanks all! (Not looking to separate film stock as it’s generally not worth the hassle to break up and ship so please don’t ask, ty)
  10. Additionally, I posted some lenses that are also for sale and can throw in for additional cost. -kowa super 16/ultra t 9mm which was widened for s16 coverage and converted to hard pl mount (no adapter funny business) by visual products -kowa super 16/ultra t 12.5mm which was also converted to hard Pl mount by VP -Angenieux 5.9mm c mount -helios 50mm pl mount Russian conversion
  11. Hi Gregg, Great idea, just made a Dropbox album per your suggestion with relevant pics inside. And yes that’s exactly the viewfinder situ, original non orient angie and a cp meant to take its place. Also forgot to mention I made an appointment some time ago to send it in to AZ to upgrade to an HD tap and that appointment is still set for November meaning whoever jumps on it can skip the usual year long wait for said upgrade if they’re so inclined. https://www.dropbox.com/scl/fo/866n812nxfe68o6irhc9o/h?rlkey=g3dqe4n9wmqlem8npjbjle1a3&dl=0
  12. Hi All, finally moving on from my ACL 1.5 kit, love it but don’t shoot enough to warrant keeping it around, camera is Super 16 modified and has the AZ spectrum crystal multi speed motor that runs from 12-75fps, camera was serviced in 2021 by Bernie O’Doherty who replaced the ground glass with one with s16 markings. Comes with two 200 foot mags with platters and one 400 foot mag with platters, PL mount and Nikon mount. Also has an AZ spectrum bw video tap and comes with a tvlogic vfm56 with a composite input to receive video. Two power cables (one with video tap power breakout, one without) original angenieux finder and CP orientable vf (mount would need to be sourced) as well as a custom foamed flight case and two batteries. Asking 7k, open to reasonable offers, absolutely not splitting any of the kit though. Thanks for looking. posting pictures on here always goes a bit silly for me but feel free to message and I can send pictures of everything as well as recently shot test footage.
  13. A contribution I haven’t seen on this list: “Inserts” by John Byrum starring Richard Dreyfuss Also I saw it a bit higher up but And God Spoke is excellent and like Steve said, almost every doc I’ve ever worked on
  14. You can still use an easyrig- just get a bag-it big enough for both you and the camera, wear it like a poncho and just cut a hole and tape the matte box. ACs will probably have to refresh the tape and it’ll get a little humid inside but you’ll both stay dry.
  15. I grew up in San Pedro just across the bridge from LB and rest assured Belmont Shores, LB and Signal Hill are still fine, not super central but absolutely fine- not sure what these guys are talking about. Appreciate the heads up on your situation in Atlanta, it’s definitely on my list of places to flee to after LA prices itself out or burns itself down.
  16. Send me a pm if you’d like to sell Lcube separately, thanks Loren!
  17. Honestly hate to be that guy but with your budget this just doesn’t seem super realistic, Simon is correct that CP16r is probably your best bet for reflex viewfinder application but as you’ve found with the bolex quick change is a thing, the ACL will probs be maxing out your budget but is best suited for this application. Also as an aside, as a dude that just dropped way too much money on a wedding I would be mortified if I could hear the blender-esque roar of a bolex over my wedding vows but I’m sure you’re being conscious of that aspect. We all know DPs have the utmost respect for sound ?
  18. Hi Boris, thanks for replying- yes this practice is basically how I load mine nowadays including leaving a bit more in the top loop , for reference I’m using the term phase as it is used on arri cameras as the one button function for mounting a new mag and then auto engaging claw in inching speed. Cool to see the botex, never knew there was a sync adjuster for the ACL.
  19. This is a cool find Uli, looks very much like the readyrig used today to assist in gimbal operating, everything really comes back around.
  20. This rig is from Standard Camera, you can see their logo on the video assist.
  21. Not sure I entirely understand your question but the key difference is that the project rate is the base frame rate (ie you are editing on a 24fps timeline in your nle so you want the project rate to live at 24fps to match) as opposed to your sensor setting which generally matches your project settings but can also be manipulated to shoot off speed ie for slow motion (if you’re shooting on a 24 fps timeline and your sensor is at 48 fps you are now recording 2x slow mo bc you have double the frames) this doesn’t matter if you’re not syncing to audio but as you’ve found your project timebase and the Audio time base need to match for sync hence you set your project rate at the beginning in tandem with sound. I don’t deal with post at all so no idea what the solve is here, best of luck.
  22. Hey Ramsey, just got my copy of the blu ray and after watching the behind the scenes featurette it seems principal photography was done for the most part on an Aaton XTR Prod with s16 zeiss super speeds.
  23. One of my favorites, ASC shows that it was shot on fuji but that’s all the info I could find- I just ordered the blu ray which apparently has 13 minutes of bts so if I can spot it, I’ll post it here.
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