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Will Montgomery

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Everything posted by Will Montgomery

  1. Yes, we are a rare breed. Struggling in the right man's world.
  2. One little trick I found was to get a cheap variable polarizing filter that rotates to change the polarization...take out the glass and use that to mount the anamorphic lens to the camera lens (probably will need size adapter rings too) which will allow you to fix the anamorphic lens with rods and still be able to focus/rotate the camera lens. Remember that the anamorphic lens must remain fixed and level or you'll get really trippy 70's "I'm so stoned!" effects. In looking for a photo of such a setup I ran into this which could be helpful although It doesn't seem to have a bracket to mount to rails: https://www.vid-atlantic.com/products/anamorphic-lens-clamp
  3. Every scanning pro I've talked to has had the same issues with it discussed here. Plus the non-movable sensor so 16mm is only captured at 2k. One house in Atlanta that shall remain nameless wanted to use it for 16mm dailies and found it not even suitable for that. Looks very cool. They just need the sensor to catch up with the looks. If BlackMagic decides to make it kick ass, they could...they just have to decide to do it and listen to their clients.
  4. These days it seems best to get a completely flat scan with no noise reduction and treat it as a "digital negative" and almost make "work prints" from that with a basic color job applied so when you show others the edit they don't cringe (or just apply basic coloring in the NLE). Then when the edit is locked sit down with the colorist and pay him lots of money to make it look amazing.
  5. Remember, much of those wonderful Star Wars Prequels were shot in HD and effects output in HD. Not 2k, not 4k...HD. George liked to save time and money. But maybe that's not a good example...
  6. It could be that the original Scoopic's viewfinder isn't affected by the change in aperture but I doubt it...I see I substantial difference in brightness as aperture opens and closes on the MS... If you get it to work it will be a great camera to have even as a backup.
  7. I would look for an Arri 2C. Tons of parts out there, tons of magazines, and quite a few people can still work on them. If you look around you may find an unmodified one for $1200. If you can go up a little ($3000?) the later model Arri III's ads pin registration which will make a noticeable difference in steadiness. Both models give you flexibility in 200 or 400 magazines, reasonably priced lenses and accessories. If you need to stay in the $500 range and there are no other considerations, a spring wound Eyemo would be fine.
  8. With how loosely the Eyemos seem to wind the film up I would be hesitant to try and fit more than 100' in there. There have been quite a few times when unloading the film was running past the flanges. Seemed to happen with three different Eyemos. Usually have to manually tighten it up. Thanks. It was really fun to have the 35mm Arri 2c at the soccer games. Put those soccer moms with the $4000 DSLRs to shame. What I love is that I can go back and re-scan the film to 4k when I get around to it. Don't think the VHS home movies will hold up as well. :)
  9. It has a very cool 70's look to it. When they do type over it you should use After Effects to track the camera flutter and track the overlays to that and soften them just a little so it looks like it was done optically.
  10. Honestly the most important piece of the puzzle will be who is coloring the film. Any of those scanners will do fine in the hands of a competent and qualified colorist. Some of the best looking images on film I've ever had were scanned in SD but were colored by an amazing colorist that brought out the film's fullest potential. All of the machines listed there will do great, especially if as you say the operator knows what they are doing. I'd go with the least expensive and spend the difference and more on the colorist.
  11. I have your basic wind-up Eyemo and I have a couple Steve's Cine Modified Eyemos with crystal motor but unfortunately not reflexed. The motorized ones have been completely gutted and re-made basically. The gate and the sprocket drive is the same but the spring is removed and electronics put in. With a reflexed viewfinder this was like a $25,000 mod back in the day. Then they were used as crash cameras so that's throwing a lot of money around. Result is that many of the modified ones were damaged in crashes. The wind-up Eyemo is small but incredibly heavy and a big chunk of solid feeling steel. Can see them being used as weapons in WWII. With 1 minute per reel they aren't exactly practical for much but the one I have with a Nikon mount makes some beautiful images and the old wind-up one with the Eyemax 25mm lens has it's own charm too. Wind-up Eyemo: Crystal Eyemo (Steve's Cine Mod) with Nikon Mount:
  12. You should notice the viewfinder getting darker or brighter as you adjust the aperture. You won't see blades or anything like that but it will get darker or lighter. Sometimes I find myself opening it up all the way to focus then putting it back to where it should be although this can be dangerous if you forget to set it back. It could be some sort of disconnection between the aperture ring (that's not on the actual lens but on the smaller meter lens) and the aperture. You should see a difference as you manually move it. You can still shoot a test roll and make notes of the aperture as you shoot to see if it's really changing or not.
  13. Exactly what I do. Incredibly easy these days and the Zoom can be placed very close or you can use external mics. Standard setup these days is a two camera shoot with zoom and sync all three in Final Cut Pro X with built-in sync feature.
  14. That's what I expected. It would seem more time consuming for the scan house to try and figure out what was needed vs. just running the whole reel down. I think I may need to do it locally and sit with the scanning guy to make it move more quickly for them. The only reason I would pursue this method is that I only need like 20 seconds of some of these 400' reels. Hoping the reel will show off "what's possible" when shooting film that I can use to sell clients so scan quality and color is going to be important. Film seems to be an easy sell for me with music videos but I'd like to broaden it's use with my clients where possible.
  15. I'm in the process of putting together a film DP reel. I have scans/telecines of all the material but they are of wildly differing qualities...from SD to 4k. If I know I only need 45 seconds of a particular reel, is it practical to tell the scanning house exactly what to scan from each reel...by approximate time or by frame grabs and only scan that vs. scanning an entire 400-800' reel? I'm not trying to cheap out, but I also don't need everything on the reel. My goal is to get quality and consistent 4k scans of everything and work locally with a colorist to make it shine. Is that just a standard request or should I expect to pay a slight premium due to finding the part I need scanned then loading and unloading reels so much? (not opposed to such a fee.) Thanks for any insight, Will Montgomery
  16. So you really can see a difference with negative? May have to try that next time. Is it the kind of thing you notice once you start grading (more info to work with) or is it apparent right from the flat scan?
  17. Super 16 is intended as a "capture only" format. 16mm film prints use that space for sound. If you really wanted to get into it, through some fancy optical printing tricks you could probably take a S16 negative, crop it a little top & bottom then make it cinemascope anamorphic and print to a standard 16mm release print that would be anamorphic widescreen. Those lenses are fairly common for 16mm projectors. I'd talk to Tommy at Video Film Solutions in Maryland if you really want to get your S16 image onto a standard 16mm print. http://www.videofilmsolutions.com/main
  18. Focus has always been my weakness with Super 8, but out-of-focus shots kind of make it look more Super 8 anyway. Stabilization is not quite intuitive in Resolve, but there are undoubtedly some good YouTube videos to help you through it. At one point it wasn't available on the free version but I think they've changed that now. A wise colorist once told me, whenever you have the lighting setup just right...double it. It always easier to remove light in post but not so great putting it in.
  19. Similar issue on Arri 2c...easy to forget to close that.
  20. I have a closet full of 8mm, Super 8 and 16mm (and a little 35mm). I'm so glad I shot 16mm of the kids when they were little...huge difference from the Super 8...which I still love...but that 16mm just looks amazing 15 years later scanned in 4k.
  21. Rule of thumb seems to be in the U.S. Arri parts are more available, including with the odd part still available from Arri NY (I had an Arri SR1 motherboard repaired about 5 years ago there). Aaton/Eclair parts seem to be more available in Europe. Every city in the U.S. had Arri camera rental houses at one point. Still quite a few rental houses around the U.S. will dust off an SR3 for you if you ask nicely.
  22. Cameras like the K3, ACL or Scoopic are great. They let you run & gun and capture things that would be really hard with an SR...they really are wonderful home movie cameras and can supplement a big camera shoot well in some circumstances. Especially in music video performance shoots. I recently hauled an SR 2 all around town for a music video and was really happy with the footage but I was thinking it would have been so much easier with a Scoopic. The issues you run into are steadiness, sync and general reliability. Can you make a feature with one? I guess you could try but not sure if you'd want to try... but for what they do they really are wonderful and can be amazingly sharp with the right lens, lighting and exposure. The question of whether or not to move to an ACL or SR is kind of confusing; they are totally different cameras for different situations. If you do move to one of those cameras I'd definitely keep the K3 and you may find you'll use that more often for the type of shooting you do.
  23. What about the Blackmagic Micro Studio 4k camera with one of their monitor recorders? Seems like it would be a great combination...right around $2k.
  24. Some cameras just aren't made for fixing...to find a part for a K3 someone would have to take apart another K3 so why not save a couple hundred dollars and buy THAT K3 for $200? Then maybe you'll get lucky and find one that doesn't break. I got lucky on my first one and it was great. Repairing a K3 could be a minimum of $250 from a decent repair person and only if they could find parts. I have about 12 Canon AF310XL Super 8 cameras that I've purchased over the years for $10-$50 each and I hand them out at events I'm covering to attendees to get really cool "home movie" footage. They have old plastic gears and at least one fails at every event. I have a pile of 4 or 5 dead ones but it's just not practical to repair them when I can buy another for less than $50. Also keep in mind that once you step up to a pro level camera you'll need a good camera tech to send it to for maintenance once a year depending on how much you use it. Think of them more like a fine Swiss clock that you're constantly shaking and rattling rather than a solid state camera that will live forever if you don't drop it. So add about $300/year to your cost calculations for a clean & lube.
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