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Will Montgomery

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Posts posted by Will Montgomery

  1. I have a project coming up where I'd like to record the SD PAL video tap out from my Arri SR2 S16 camera as a reference. I have some easy ways to do this with a small DVCAM deck, but I was considering using something like an Atomos Ninja to record AND have a camera mounted LCD screen for reference.


    Seems like these types of devices are all about HDMI or SDI ins, so perhaps some sort of converter box to take the SD PAL BNC connection to HDMI?


    I have a feeling I'll be better off just going with the small DV Deck, but I like the idea of incorporating a monitor that will record at the same time.


    Anyone dealt with something like this recently?

  2. I love the portability of small 16mm cameras. I really love my Canon Scoopic MS. Great lens on that camera, even if it is fixed. BUT, if I shoot landscapes and skies, I can notice a faint pulsing due to extremely slight inconsistencies in the mechanism. I've seen this in varying degrees on three different cameras. However, on the three Arri SR's I've owned, I've never had this issue.


    The SR is simply a well-built workhorse that can be easily adjusted throughout the film path. It's designed to be maintained professionally for professional results. Any camera that is taken care of and properly serviced shouldn't have issues but on something like a Scoopic there are just limitations to how it can be adjusted.


    I've shot some amazing footage on a K3 with Pentax M42 still lenses. It is totally possible. It just comes down to luck of the draw sometimes on the cheap cameras and as a professional it's hard to rely on that luck all the time.

    • Upvote 1

  3. I'm guessing that the film school tuition is not cheap. You may want to look at shooting a short project on film as just part of the cost of entry. They want you to have at least a basic understanding of the film process before you show up day one, which really does make sense.


    Once you've shot, processed and transferred your footage, it does basically become "just like" digital because it IS digital at that point so you'll have no problems with editing. It's the first part, shooting, processing and transferring that you'll learn quite a bit just by going through it.


    I would just do a 5 minute short and even if you buy a low-end 16mm camera you'll probably be just under $1000 to do it right. But that $1000 will give you priceless experience with the media/medium. Totally worth it if you're planning on spending thousands more on film school.

  4. 2-Perf 35mm is a nice step up from S16 without a HUGE increase in cost. Especially if you like the Techniscope ratio. Just hard to find the cameras.

  5. The Laser Graphics Scan Station is pretty much the top dog right now for Super 8 & Regular 8 scans. You WILL notice a major improvement from the machines you're thinking about purchasing. $2000 would go a very long way with Perry, especially with 2k scans.


    If you're looking for something you can own but still does a decent job you may want to look at these:




    But they start at $4500.

  6. Don't forget "Ultra 16" where the gate is widened equally on both sides and you shoot between the 16mm perfs. Not as much room as S16 but much easier to do to a regular 16mm camera.

  7. Does anyone recommend a good basesplate for the Arri SR? Other than the original? and compatible follow focus units?

    As long as your lens has gearing, almost any follow focus will be compatible.


    If you're pulling your own focus I found a really simple and surprisingly well-built follow focus made by Edelkrone works great with me SR2 & Zeiss 12-120 lens. Very simple, but feels nice and solid.

  8. Good news is that there are tons of SR accessories laying around in old, beaten up drawers in rental houses.

    • The Arri-made screw-on shoulder pad is slightly helpful and looks more professional than a pillow. Still not good for any extended period of time so you'll need to bunch up a towel or some other padding if it's on your shoulder for any serious time.
    • A cold shoe adapter for the handle screw mount is nice to have...allows mounting of LCD lights and monitors. People would often replace the entire handle with a well-built cold shoe, but I actually like having the handle.
    • Follow focus and same for zoom if you need it extremely helpful.
    • Look around at modern accessories built for Arri rosette mount, you'll find some nice goodies.
    • Speed controller? Several models out there. Without it you're stuck at whatever it's set on. I may have an extra somewhere.
    • More mags? If you see any SR3 mags out there I'd pick them up. A little quieter and probably less wear since they're newer.

  9. Pre-1945 AND reflex is pretty limiting.


    If your thought is to go vintage, why not just go all the way and try a Kodak Model B? You'll need double perf but you'll be shooting on a 1920's camera with a true vintage lens.


    If you want a reflex camera with C-mount you're pretty much in Bolex world.

  10. The lab was like, "huh?"


    I wasn't sure what happened until I realized it was all reversed. Had to work a little to get the image I got, it was definitely way underexposed. I've since heard a few DPs mention they've seen it done for special effect a long time ago. Throw a ton of light on it if you do it on purpose.


    I'll have to find out where the costume came from. I know it was shipped and we only had it for a few days.

  11. Had a loaded 35mm 2c mag sitting in the garage for 5 or 6 years and stumbled upon it a few months ago. Didn't look at it very closely and shot it for fun on a night scene. Not exactly proud that I let it through but it wasn't a paying gig and I guess stranger things have happened with film.


    Here's the results shooting through the wrong side of the film and flipping it in post. Also a still from the BMPCC we also used. Always have a backup.





    BMPCC backup...


  12. I was going to suggest a 310xl. Can be found for under $75, it's small and easy to use. I think it checks everything on your list.


    I have about 10 of the autofocus version that I picked up for anywhere from $5-$30. Autofocus is not good and lens is pretty bad, but it gives you a classic Super 8 look. Very light and fits into your pocket. Great to hand out to kids for fun shots.

  13. Got it. film a filmová technika. Praha, 1974. Illustration between pages 128 and 129, obviously my memory erred:



    That would be fun to have a few of those. I use the 400' mags with 100' loads from time to time.

  14. Anthony's right, starting with Tri-X B&W and purchasing a cheap Super 8 projector would be where to start. You'll get about 3.5 minutes on your first reel so either create a short or shoot random things and people just to see how it works.


    You're going to spend about $40 to buy the film and processing. A projector might cost another $50? But that way you can see what it does and start to get a feel for how light sticks to film.


    As far as doing a major complicated feature...baby steps. Keep in mind that you'd be in the over $6000 range to do a 90 minute feature in Super 8 with film, processing and transfer if you could possible keep it to a 3:1 ratio which would be nearly impossible, but hey, there's always a first time.


    So if costs are an issue, consider saving for a DSLR and go that route. Or even better, have fun with your camera and explore it's use, maybe make a short 10 minute film, show it to someone with money and have them fund your big project.

  15. If I acquire an Arri (likely SR2/3) that needs attention, what are repair options in US? Any "factory trained" techs? Parts availability for service due to normal wear & usage? How self serviceable by someone with tinkering skills? Same questions if go the Aaton route. Thanks, Tom


    Arri NYC was able to repair an SR1 motherboard for me about 3 years ago. There's at least one guy there keeping the 16mm dream alive there.


    Most major rental houses can handle repairs on any SR. Visual Products certainly can. Abel Cine. Bernie at Super16Inc.com. Tons of camera shops still out there. While new parts are not being made of course, there were so many of these cameras in the U.S. that parts can still be found for most things that wear out.


    Whatever camera you get, you'll want to make sure you send it in for inspection and a tune-up. With all the mags too. Plan on adding at least $600 to whatever price you get to do this. Very important. And send it in at least every other year depending on how much you're shooting. Pick up the SR Guide to learn you're routine maintenance.


    You can even check with Panavision and offer beer bribes if they could help. Technically they're not supposed to but they love the old cameras and might help as a public service.


    If you get an S16 SR2, you can always get another standard SR2 to keep for parts if you think that's needed.


    I'm fairly sure Abel Cine can handle Aaton repairs although not sure how deep their parts stock is. Most of the same guys that handle SR's can probably tune-up an Aaton, just not sure if they'd get parts if needed.


    Remember not to think of these cameras like any digital camera...they're closer to industrial sewing machines. You must take regular care of them to keep them going...but they ARE built extremely well and designed to shoot everyday for years.

  16. The XTR's are probably better designed cameras, especially for handheld work but honestly I'd stick with Arri in the U.S. simply for all the repair parts and people that know the SR's.


    Plenty of 12v Super 16 SR2's out there. The SR3 has some advantages in view optics, quietness and other features, but there are so many updated and modified SR2's that you may find it to your advantage to save some money with S16 SR2.


    I have SR3 mags for my SR2 and it's super quiet. Not quite to the point of a full SR3 but very usable when recording sound.


    Tyler has a good point on camera packages...you may want to jump on one soon. And don't be afraid to pay a little more for a kit with more accessories. Those accessories were crazy expensive back in the day.

  17. The 3-day/week rental thing is a good point.


    Of course SR3's can be purchased for under $6k and then sold for the same price when the production is done, so theoretically you could have a free camera for the shoot (of course it would help to have a cousin that's an Arri tech too.)


    Too many variables on prices but the vague general point that film isn't so way out of the price range is well taken.

  18. Decent case for the format. Just seeing some of those clips reminded me why I love 16mm. Good point about it being a nice blend of 8mm and 35mm.


    I would venture to say that if you are doing a feature, Kodak will probably get you a better deal than the list price on film and we know processing and transfer houses love those big projects and will probably come down a little for quantity. :)

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