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Will Montgomery

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Will Montgomery last won the day on February 5

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About Will Montgomery

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    Producer
  • Location
    Dallas, TX
  1. If you're a glutton for punishment you can make it work no doubt. Good luck with that. By the time you add everything on to it the cost and the cumbersome-ness would be crazy. Image can be more or less as steady as a 2c maybe, but not a 3 with registration pin. Not saying its a crappy camera (I have 5) just saying it's not what I would shoot a feature with. Would you really debate that?
  2. You're not going to make a feature with an Eyemo...1 minute at a time... They are great for crash cams and something where you don't want to risk a real 35mm movie camera; and perhaps for home movies if you don't mind changing reels constantly. They are not particularly stable compared to any modern (in the last 40 years) camera but not un-stable either. They give a noticeably improved image over 16mm even with cheap lenses. Here's footage from a wind up Eyemo...1080p transfer. Outer edges are extremely soft due to the lens but the center shows more detail than you'd get from 16mm in my opinion.
  3. Bernie & I go way back. I'll call him, thanks. Very true. But so nice not to have to constantly wind them. I do have a spring drive Eyemo that is as reliable as the day it was built. Also would work as an excellent bludgeoning weapon.
  4. I have several Steve's Cine modified (motorized) Eyemos that are looking for some service love. Since Steve is retired (don't want to bother him) it would be nice to find someone who services them. Might be expensive to send to Deutschland though... One is in pieces and another may just need a fuse for all I know; just don't have the time to sit down with them unfortunately.
  5. So even if you get a scan back that you think doesn't look great because of the age or temperature handling of the film, you might be surprised what a good colorist with film experience can do with the scan. They have tricks you won't find in a YouTube Resolve tutorial.
  6. Great news! So Cinelab is basically a one-stop-shop now for any kind of motion picture film processing, correct? Nice to be able to send everything to one place. Regular 8, Super 8, 16, 35, color reversal, B&W reversal, color negative...Double X B&W negative as well?
  7. Resolve is a Swiss Army Knife of video production and one of the kings of color. Definitely worth getting to know and awesome for the price (free!) and even the $299 full version is so very worth it.
  8. If you're just shooting 100' reels it's worth saving up your rolls until you have at least 400' probably. Even though raw film costs have gone up significantly and processing has gone up too, the transfer costs are pretty reasonable for much better quality. 2k and 4k scans today give you great data to work with. I do slightly miss the days of scene-to-scene color correction by master colorists...or at least hard working but extremely proficient colorists. Now I have great scans to work with but must develop my color skills substantially.
  9. That completely blows my mind. How does anyone expect to make a living in California? Same guy/equipment would be paid $1200 minimum in Dallas...possibly more. Too many small fishes in a big ocean. $200/day is fine for a guy starting out with a DSLR but for a professional with an Alexa? Ouch.
  10. Or are you trying to output to Super 8 for projection? You might have more options to output to 16mm at the moment...
  11. These guys may have some of what you're looking for: https://www.freestylephoto.biz These guys manufacture reels but if you buy directly you have to buy quite a few (although they are cheap per unit): https://www.tayloreel.com I have purchased from these guys in the past but it's been a while so probably worth a phone call: http://urbanskifilm.com/supplies.html
  12. That's what I was referring too...I hadn't really been following 416 as they are so completely rare on the market. As soon as The Walking Dead is done, there will be a few more available. Although hopefully that may be a few more years. :) I'd completely agree with that. There are a few technical advances that the 416's have that help with a modern production (so I've been told, don't know what exactly...ramping maybe? More advanced timecode options?) but for most shoots an SR3 is as rock solid as the 416. And it seems you could buy 4 or 5 SR3s for what people want for a 416. Supply and demand.
  13. There are so many variable wall-wort power supplies out there I'm sure you could find one to match perfectly. Those batteries will almost certainly need to be re-celled and when you do it may require different ma. Good news is that the new batteries will last much longer than the old ones did when new.
  14. Not sure how anyone can offer a guarantee past it working when you receive it back on a 40 year old Super 8 camera. Way too many other things that can break on them. That's why I just tend to buy them whenever I see them at garage sales and eBay at a good price...repairing them generally costs more than they are worth except for the high end ones from Leica, Beaulieu & maybe that Nikon. However, it's worth it if you send a Beaulieu to Bjorn in Sweden you'll get back a camera that is probably better than brand new and he can reasonably guarantee it because he has the original factory parts available and completely loves what he does.
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