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Will Montgomery

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Posts posted by Will Montgomery


  1. Shooting 7222 is like shooting some of the really old Hollywood Movie stocks...if you don't have big lights it can get very grainy. A beautiful grain in my opinion but could be a bit much. Highly recommend testing before a shoot.

    Movies like Good Night and Good Luck shot in Vision 500T then desaturated in post so keep that in mind.

    Just plan on having plenty of light; more than you think you may need so you're not shooting wide open on the lens. It's always easy to remove light in post but adding it in just leads to more grain and ugly blacks.


  2. Hi

    A good Eyemo that has been cleaned oiled and adjusted will make steady movies as good as an Arri 35IIc

    I have both cameras...

    very important is to really put the Eyemo in parts and clean each part and all gears of old grease and dirt. I have a few ones here that run super quiet. A speed check of the shutter with an old Strobotac 1531 shows how fantastic stable the speed of the camera is. Wind it after every shot.

     

    About film length, many Eyemo have a slot to attach a 200ft, 400ft or 1000ft mag and also electric drive.

     

    There are movies that have been filmed with an Eyemo as only camera, for example: Air Force (1943)

     

    About lenses: look for a good General Scientific Eyemo lens or just use a M42 adapter and put a nice Pentax lens on it, like a super takumar, you will be surprised how sharp it will look.

     

    In my opinion, to say that the Eyemo is only usable as stunt or crash camera does injustice to this nice camera.

     

     

    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?


  3.  

    Returning to its qualities: could it be even better than a Konvas, even if not motorized? It seems very stable, fits good lenses. Konvas, if not well supported, is a bit of an unknown.

     

     

    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.

     


  4. I've had two Eyemos CLA'd by Bernie at Super 16, Inc. Might want to give him a shout ...

     

    Bernie & I go way back. I'll call him, thanks.

     

    Sorry, I just can help with the classic spring motor driven ones.

    The SCS got a lot of complicated electric stuff inside.

    There is not much left in them of the original mechanics

    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.


  5. 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.


  6.  

    I had about 300' of 16mm 7203 I'd shot mostly as a lens test and left in the fridge for nearly 10 months (oops). Finally sent it to get processed over at kodak along with some push process tests I'd done. I was shocked that the 10 month old stuff turned out just fine, such that I doubt I'd be able to tell the difference if I'd set it in right after shooting. So its definitely feasible to shoot, chill, and send a batch in to whatever lab.

     

    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.


  7. 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.

    • Upvote 2

  8. I recently worked on a feature where the DP was paid $200/day for himself AND his personal Alexa XT.

     

    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.


  9. On the other hand I've seen the prices for the 435 and 535 dropping a lot over the past 18 months (4 perf ones that is)

     

    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 have the SR3 Advanced and i am totally happy with it.

    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.


  10. 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.


  11. 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.

    • Upvote 1

  12. I love the 35-IIC design but there is no way it is steadier than a 435, or an Arricam

    Every tech I've talked to about the 2C vs. later Arri cameras has agreed with Dom. It's fine for quite a few applications, especially when you're moving the camera quite a bit, but the registration on the later generations of Arri III's and the 435's are noticeably better.

     

    On SR2's vs. SR3's...I've used both quite a few times and honestly haven't noticed a difference in registration but these cameras were well maintained and I wouldn't have expected to see a difference. SR3's feel a little more solid but just that is completely a subjective experience. I suspect it would be easy to find SR2's that are more beaten up due to age however.

     

    I had an SR1 that was adjusted by an Arri tech in NY that was just great so for me it really comes down to maintenance and wear.


  13. Hi guys,

    do you know, if it is OK to send 35mm film to lab without a film core ?

     

    It's not preferred but generally it can be ok; just make sure you CLEARLY note that it doesn't have a core for the lab because they will have to insert one. Obviously make sure the outer end is taped securely so it doesn't un-spool in transit. Best to call the lab before and make sure to follow what they suggest.

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