Lee Young

perhaps the best handling of a night scene is in "There Will Be Blood" when DW sets the house on fire and Daniel Plainview chases after him. For me, this is how it looks at night. It is not overly blue. I also like John Alcott's "night scene" in Barry Lyndon where Redmund is standing by the fire considering leaving the army. In that scene it looks like its magic hour shot to look like night. There's also some lights to the side to simulate the fire light. Very simple, yet elegant. I very generally don't like Day for Night scenes. It drove me crazy in the remake of "King Kong." I can always tell and it bothers me.

I know you are reluctant to break up your set, but I would like to talk to you about buying either the 6mm lens or the .75x attachment, and a 400 ft. mag. You can email me at leeyoung@email.com. I understand if you cannot break up your set, but if you are willing to compromise on even one of those items, please let me know.

Thank you. It's been a long time in the making.

I've been talking to the people at Tram. My mic is negative bias or at least the power supply is. They said the only solution, if I were to have a positive bias mic, was to install a 3.5mm locking end. I'm pretty damn sure my mic is negative bias. Anyways until I hear back from them, I'm planning what I should do if my mic is definitly negative bias. What is I used a ground lifter? would this eliminate the phantom power? I was thinking something like this: http://www.bhphotovideo.com/c/product/2315...rel_Ground.html I also saw this: http://www.thebroadcastshop.com/sales/deta....5SPRT-DC-20%22 This seems like it might be perfect. My wireless system uses 3.5mm locking ends. Will it matter if its not a locking end. Also, all these adaptors seem like they will add noise. Will they? Will these adaptors that disable the phantom power kill my frequency range? Thanks for all your help.

I am posting these pictures for the sake of those who are interested in obtaining a matte box and/or a ghetto video tap for the kinor 16cx-2m. CONCERNING THE MATTE BOX: The Matte box is a Lee Filters wide-angle matte box with one filter slot. The matte box is so light that it does not require rails to support it. The matte box cost 170.00 In order for it to fit onto the filter threads of my camera I had lee filters make a custom 67mm adapter ring. That cost $150.00 CONCERNING THE GHETTO VIDEO TAP: The ghetto video tap is a 600 line lipstick camera that I bought off of ebay for $60.00. That is connected to an LG 7" DVD player that has a video in. In order to power the lipstick camera, I use a small lead-acid battery. I cut the end off of the AC adaptor that came with the lipstick camera and attached alligator clips the the "+" and "-" wires of the severed end of the AC adaptor. Those then connect to the 9v adaptor and power it for many hours. In order to mount the monitor to the camera, I use a super clamp and a flexi-arm made for the super clamp. The super clamp clamps onto the battery on the bottom of the DVD player. The kinor conveniantly has a 1/4" inch hole tapped in it above the crystal sync unit. The Flexi-arm screws into that, thus supporting the DVD players. To further support the DVD player, industrial strength velcro is both on the camera and the DVD player in certain areas. I hope this helps some people out there and please message me if you need any clarifications or can suggest some improvements.

I have looked at the mke-2 mic that comes with my transmitter and there is more than a 2 to 1 difference. Here's the webpage http://www.bhphotovideo.com/c/product/9857...t_Lavalier.html. Although, I just plugged my shotgun microphone directly into the sony pcm-d50 adaptor (3.5mm to xlr) with the mogami cable. There was a hiss. Then when I plugged the shotgun mic into the beachtek adapter via an xlr to xlr mogami, it was crystalk clear. I don't quite understand what you are suggesting in regards to how to connect the tram into my wireless system. Are you suggesting that I send it to tram to have them put a 3.5mm end on it or are you suggesting that sennheiser or tram would provide me with a 2.5mm to 3.5mm adaptor. The reason I am hesitant to solder a 3.5mm end onto it is that it will make my tr79 useless. Anyways if you could possibly clarify that and respond to the second paragraph, that would be extremely helpful. And thank you so much for responding, especially as soon as you did.

I just bought a tram tr-50 lav mic. I got a really good deal on it and ended up spending only a hundred dollars on it. The problem is that it has a 2.5mm locking miniature plug which is not readily compatible with my sennheiser 100 series wireless mic system. My set-up is as follows: sony pcm-d50--->beachtek dx-6--->sennheiser reciever (connects to beachtek by 3.5mm locking end to male xlr end)--->sennheiser transmitter--->magami 3.5mm to xlr cable --->tram tr-50 xlr adaptor--->(connects to adapter via 2.5mm locking end) tram tr-50 The mic sounds wonderful when the tram xlr adaptor is plugged right into the beachtek, but when I use the wireless system with magami cable, there is a noticeable hiss. I know the wireless system is not adding noise because I've tried it with the supplied microphone that has a 3.5mm end. My only conclusion is that the magami cable is what's adding noise even though mogami cables have a wonderful reputation. The xlr adaptor is providing phantom power, but apparently the sennheiser does as well. Although when I take the battery out of the xlr adaptor the mic is no longer powered. I believe the wireless system only provides 5v and the tram mic requires more phantom power. The mogami cable is about a foot long. Here are my questions: 1. Should I cut off the 2.5mm plug and solder on a new 3.5mm plug to the tram tr-50, thus more or less making my xlr adaptor useless? 2. Should I get a shorter mogami cable to connect the power adaptor to the transmitter? 3. Are there just too many changes from a balanced to unbalanced signal going on here? Any help will be greatly appreciated.

I've been looking at many options as far as sound recording goes. I already have a nice rode shotgun microphone and a couple of lavs. I've really been conflicted between the these two products: The Sony PCM-D50 and the Presonus Firebox (which I would hook up to my mac laptop). My primary concern is which of the products have the better preamps. From this website (http://www.transom.org/tools/recording_interviewing/200803_sony_pcmd50/index.php) it is very clear that the sony PCM-D50 has nice preamps that can even handle low output mics. Can I expect the same quality from a bus powered interface? Has anyone used one for field recording? My other concern is the practicality of using a laptop/interface to record sound on my 16mm shoots. My laptop is usually quiet and since the microphones used on a set are very directional I am supposing that laptop noise will not be an issue. The other concern is that of portability. In hot, bright conditions it seems that it may be hard to carry around a laptop/interface and read the meters, although I could see how this may also be true of the sony pcm. Thanks for looking this over. Any help is immensely appreciated.

I know this topic has been brought up a lot, but I have found out a couple of things that might help anyone with a kinor 16cx-2m. For all those wondering about the Lee filters matte box, I have some interesting new information. Olex has informed me that the kinor has a 76mm thread, which is pretty damn rare. The Lee filters matte box is very light and is meant to be used without rods. Lee filters makes custom adaptor rings allowing for the matte box to be attached directly to the camera. Here's some links to the web sites you'll need to go to. http://www.leefiltersusa.com/ this web site will give you the contact information for the people at lee filters. Call them or send them an e-mail. this is the lens hood/matte box http://www.bhphotovideo.com/bnh/controller...ore_accessories I'm having my custom adaptor ring being built right now. It cost $150. I also have developed a video tap system that works very well if anyone is interested.

Why won't the cigarette connection work? I have no idea how to the do-it-yourself stuff. Polarity? If this is easily explainable, could you tell me how to do this stuff? I've also looked at the longvalley equipment dewalt battery adaptor. Is this a better option? Thanks.

Is there any reason that a car battery starter/charger like this connected to a male cigarette to female xlr adaptor like this couldn't power my kinor that takes a 12v power supply?

I've been working on my kinor for a few weeks. I've been trying to make a more sophisticated version of the cctv video tap system. So far, I've bought this LG portable dvd player with a video in. I then bought two super clamps and a super clamp flexi arm. This system works wonderfully. The superclamp attaches to the extended viewfinder, then the flexiarm goes into the other super clamp which is clamped into the dvd player. This allows me to put the screen wherever I like it, just like the professional ones. The last bullet camera I bought was too big. It also had a 3.6mm lens. The one I just bought will definitly fit in the viewfinder, but it also has a 3.6mm lens. Will this be too wide. This is the camera. If it is too wide, can I put another lens on it? Also, I'm working on a DIY matte box. I'm thinking of buying support rods and then buying large format bellows to use as the matte box. Will this work? It seems like the same material. If not, I saw James Westbrook's Lee Filters Matte Box. Does anyone have any information on how to go about doing that?

I know this topic has kind of been covered before, but I need a little bit of clarity when it comes to using a dslr for exposure and a few other purposes. 1. DSLR's do have settings for tungsten balance and daylight balance. Are these accurate to film's color balance or in other words can I use it to check color temperature? 2. Is the spot meter on my dslr going to give me a correct exposure everytime if the iso, shutter (60), and aperature are the same as on my motion picture camera? 3. Is there a difference between a 35mm 28mm lens and a digital 28mm lens in terms of coverage? 4. Will their be a difference in depth of field? I have seen Mathew Libatique using a dslr on the set of the Fountain. I did not see him using a spot meter, so I assumed he was using it for the following, but I still want some definite answers. I know there are lattitude difference, but it seems safe to assume that if it looks good on the digital camera, it will look wonderful on film.

my question is sense there is no selective focus, where does my depth of field start from. This may be a very naive question, but I am not use to a lens that does not have focus selection. I am assuming that I treat it like infinity focus?

I was just wondering how to use retrofocus lenses. I have a 10mm angenieux lens that goes under this title. Is the depth of field table for this lens the same as what I would see on another 10mm lens? Is it always set on infinite focus? If I had a depth of field of 10 feet where would it start and end? Thanks for any help you can give me. I wasn't able to find it anywhere else.

Thanks for the info. I really appreciate it.

I just had a few questions about this camera. 1. How does it compare with the cx-2m 2. Is it capable of crystal sync and how quiet is it 3. Is there someone who can repare it 4. is it the same lens mount as 2m 5. Is it powered by 12v lead acid battery 6. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=290116890130 is this ebay auction a good deal. I was looking at the 16cx-2m, but this looked like a really good deal for all the lenses it came with and it claims to be crystal synched.

actually I'm just working with one other person who knows less about it than I do. We're shooting on Canon XL-1's. we're not getting paid much to do it. I guess I'm pretty much the DP. It's really a big mess. The person who owns the restaraunt went to professionals, but couldn't pay the price, so he hired us because we didn't require much money. I need lights anyways. Anyways, one of the scenes requires a couple in bed. I want to give the appearance of only natural light through the window on the right of the bed. I was wondering if blue gelled china lantern balls close to the actors would give this effect. My bigger question is what about light coming through the window. Should I just wait for natural light or is there a fairly cheap way to do it with artificial light. This is what I would prefer. I've heard of people using Fresnels with diffusion for these purposes, but they are out of my price range. I need a high powered light that will blast through the windows kind of like in the movies I mentioned. If this is impossible cheaply then nevermind.

I'm shooting a commerical for a restaraunt fairly soon. For the commercial I need lots of white natural daylight. I very much lighting that comes through windows much like much of Bertolluci's work. I can't remember his DP's name. I'm looking for lighting kind of like what's in "The Conformist" or "1900" or even "The Dreamers." Anyways, here's the tricky part. I have never lit much of anything before. I've been looking at chinese lantern balls from the company lantern lock. They have fixtures that can accept tungsten balls up to 1k. I know that I could probaly do most interior close-ups and room lights with the chinese lantern balls with a blue filter. My question is do I have to use Fresnel's for lighting through a window. What is the cheapest solution? Also will chinese lantern balls be good enough to achieve soft natural light excentuating the light coming through the window? What size of filters should I use on the Chinese lantern balls. Again, I want white natural looking light. Here is an example of what I'm looking for from a promo photo of Bert. "The Dreamers." Thanks.

yes. one was at 24 and the other was at its non-crystal mode, which is a lower frame rate. I've never heard that before. I guess it could be true.

I know this is lazy, but if anyone here is willing to do the repair for under $200 you've got a job. Of couse I'll pay for the parts once you've figured out what the problem is. I have checked with Whitehouse AV and there price is over $400.00. I would do it myself, but I can't get the damned back open. 1. some of the screws are stripped 2. I can't get the damned microphone port type thing off. If anyone can tell me how to open it or wants a job please tell me. here's the video I showed to whitehouse AV. It may help you to see what the problem is http://www.nautilusrock.com/camera.avi http://www.nautilusrock.com/camera.mp4 http://www.nautilusrock.com/camera.mov

I have not yet removed it like you said, but the part is now spinning, but it is weak at first. Is this usual? Should I continue to open the camera. Also, I didn't see the part on the visual products website. Do i have to ask for it by phone or email? Also, if I wanted could I shoot test footage at this stage? Im guessing not. Who could service this for me and how much would it cost?

I want to first of all thank every one who helped me out on the last post. My frezzi is giving me a few problems. I have the camera powered by a lead acid battery and it powers up fine. When I power it up the motor sounds like it is running but the object that spins (i think it actually drives the film) is not spinning. I have to give it a little help by spinning it with my fingers and then it spins fine. Is this a lubrication problem or something more serious? If it is a lubrication problem what kind of lubrication should I get? If it is a more serious problem How can I fix it? It indicates that it is running at crystal speed. Also my camera is not a reflex camera. I was wondering if there is a way to do a video tap in order to make it reflex. Also, this is a little off topic, but I've been wanting to do some outdoor tracking shots on rough terrain. What is the cheapest way of doing this. Thank you very very much!

As you are quickly are about to find out, I know nothing on sound for 16mm. I have a camera that is crystal synced. I've read about different ways to record sound for film such as a nagra, dat, or minidisc player. In the case of a minidisc recorder or dat recorder, do I need to have a sync cable that runs from my camera to the recorder? Doesn't the minidisc recorder run at a constant speed? By the way, I know about the resolving process. Thank you very much

I've read that the 9.5-57 is actually a descent lens. Does anybody have one. If you do, are you willing to sell it? Anybody use one before?