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Raymond Zananiri

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Everything posted by Raymond Zananiri

  1. Was your old film footage scanned long time ago? Modern scanners yield really great images from film. Just a bit of contrast and offset adjustment should get you to the quality of that image above if scanned, in log, on a good scanner.
  2. This is a German ebay site. Is it possible to make them available on US site as well?
  3. I have a 25mm Taylor Hobson lens that has a rather stiff focus ring, smooth but heavy to rotate. Does anyone have any experience on lubing the lens Helicoid? It has two screws. One on the side and one near the mount. If you think it's too difficult to do, who do you recommend in the US (west coast preferable) to do that? Thanks for the help. https://www.dropbox.com/t/bznnJcA01VgJMjad
  4. The 28mm PO61. Beautiful lens. But goes 32mm from PL mount edge to rear element. Can't use it on Moviecam SL or Sony F35 (when close to infinity). The 28mm OKC 4 is less deep and works with the F35 but not the moviecam. The 35mm OKC 8 is another great lens. Cannot use it with Moviecam but barely with F35 (I suspect it touches the sensor glass at infinity). The 35mm OKC 11 is less deep and works on both cameras but the copy I have is very soft (most likely detached element) so will have to wait to find another one. Just bought (but waiting for shipment) a 22 mm OKC 1. Is that the one you have a problem with? Looking for an 18mm one at a good price. 50mm, 75mm and above are not a problem at all with either cameras. Overall, I love them all. More than any modern lenses.
  5. So very true!! I spent hours testing different diffusion and fog filters and they all looked so different initially. But once I normalized all the images in post to the same black and white points, I was shocked how they ended up looking so similar at the end. The only difference that remained was with those filters that have high halation effects.
  6. Beautiful!! Where did the grain go though? Was that the Spirit that smoothed it out or was it you in post?
  7. I have a lot of oct-18 lomos as well. I love them all for their image. However, for some reason, most of them, especially the wider ones, have rear elements that protrude too deep. I use them with a PL adapter. But some of my favorites are not usable not only with film cameras but sometimes with some digital cameras as well.
  8. An uncoated lens cannot reveal any more details in the shadows. It only spreads some of the light from the highlights to the shadows. But it does that uniformly. So it transforms dark shadows with no details into lighter grey shadows with no details. Still no new information is introduced. I can't imagine an uncoated lens can be a substitute for fill light.
  9. Nice contrast and nice deep blacks for a change. Everything I see nowadays is flat and muddy. Beautiful work overall !!
  10. Isn't it the correct assumption though that there are no new sensors that are more light sensitive than 800 iso? (or am I wrong?). In such a case it's all noise reduction in the camera. The question is: is the quality of the NR high enough to make it comparable to no NR?
  11. I think there is another light above/behind the practical and out of frame that is lighting the actor. You can tell that by the shadow on his reaching arm. Also, the practical alone would have lit the entire room more than that. The light on the actor is more controlled.
  12. Really lovely. I noticed the scan is far superior to scans of other videos you have on Vimeo from 2 or 3 years ago. Could you shed some light on the difference?
  13. Is the c mount the second, top mount? My npr has a PL mount and a c mount on the revolving turret. The c mount is very close to the knob that turns the turret. It does not allow any adapters for slr lenses to fit. For instance, my Nikkor to c mount adapter could not fit. Beware of that.
  14. The camera came with two m42 mounts. One mounted and one spare. I replaced the one that was already mounted with the spare one because its threads were rough. I think I replaced the one made for s16 with the 16mm one. I'll have to switch them back. Thank you for telling me.
  15. Thanks so much guys. Will try your method Gregory.
  16. Now I'm very curious to know what that is, but I'm still confused. Flicker usually implies a shift in luminance. Something becomes more or less bright from frame to frame. Is that what you mean? Or, is it a change is place? Something moves abruptly from frame to frame. The Meteor lens does not cover s16 on the wide end so I had to shoot higher than 40mm or 50mm handheld. Maybe that is it?
  17. Thanks for the help Simon. Isn't there a chance that the ground glass might not be seated correctly? Or I shouldn't worry about that? Is that a problem that is very rare with film cameras?
  18. Wow. I'm stuck with that for now I guess. I was thinking about shooting a slanted tape measure and focus by eye on 39" for example and then check the developed film to see what number actually came in focus. But that is not easy with wide lens. Even wide open a whole bunch of number will be in focus. This is for a Beaulieu R16. It's not a rotating shutter.
  19. You mean the orange flicker in the beginning of each shot? That is the camera. Something is leaking light but it only happens in the beginning of each shot (the film gets exposed to light when it's not moving I think). Because all the shots are so short it seems very frequent but it only happens once per shot. I think the K3 has this problem.
  20. Sorry if this topic has been discussed before. I couldn't find anything on it with my limited search skills. I know there is a method, for film cameras, to verify accurate focus. In the sense that, if the image is in focus in the viewfinder, it would be in focus on the film plane. Is there such a test, and how to conduct it?
  21. I did a test on a 100' roll of 50D for a K3 I am selling. It was processed and scanned at Cinelab on Xena hdr at 4K. It is posted on Youtube at 4K here. All handheld though, so pretty shaky.
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