Will Montgomery
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Posts posted by Will Montgomery
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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.
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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.
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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.
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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.
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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?
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Wooden Camera makes great gear.
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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.
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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.
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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.
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Or are you trying to output to Super 8 for projection? You might have more options to output to 16mm at the moment...
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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):
I have purchased from these guys in the past but it's been a while so probably worth a phone call:
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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.
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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.
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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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After Effects could also be useful with this.
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What would that high price be?
I've seen so many kits sit on sale at high prices for years as the price goes down and down.
Sometimes it's best to cut bait and move on.
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I'll give it a try some sunny day, on rare document film in super-8. I have both cameras and a tripod. :)
Is there a camera you don't have? :rolleyes:
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...and they have by far the best lens in Super-8 world (despite people claiming otherwise
I love Nikon but better than this lens on the black Jubilee edition? Angenieux f1.2 6-80?
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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.
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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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I picked up a 2C from Doggicam that was a Steve's Cine mod that I love. They're as loud as sewing machines but fairly compact for 35mm.
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There are so few qualified technicians left for these cameras, I always encourage people to support them whenever possible.
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Loop formers definitely will scratch film. Doesn't mean it happens on every camera all the time but I had that issue multiple times until I had them removed and never saw it again with that camera. Got pretty good at making the loop without them and preferred it for loading.
Don't forget to clean that gate before loading each reel! :)
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Ektachrome 100D should be coming back out for 16mm soon...I would test that stock but of course David is absolutely right about the lighting style...you'll have to test quite a bit.
If you don't have a ton of experience in lighting and film use, you can even try to simulate the ASA of whatever stock you use with a digital camera (i.e. 100 ASA) with the same lenses get it to where the lighting and exposure works then replace the digital camera with film and test to see what you get. Something like the original Blackmagic Pocket Cinema Camera with a S16 sized sensor set to flat might get you in the ballpark.
Russian Eyemo
in 35mm
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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?