Jump to content

Owen A. Davies

Basic Member
  • Posts

    41
  • Joined

  • Last visited

Everything posted by Owen A. Davies

  1. I have an Arriflex 16M which has a significant portion of its shutter mirror chipped off. How much would it cost to get the mirror replaced and who out there does this servicing?
  2. I’m curious what key visual differences exist between these two lines of lenses and have only found so much info online. I know the Baltars date back to the 1930s whilst the Panchros I believe came to be around the 1920s. But how do these lenses, their impression, and their delivered image compare?
  3. Excuse my ignorance in this matter, but do 5247, 5248, and 5239 also extend to 16mm film, or do those codes only refer to 35mm stocks?
  4. Whilst that is true, it was my understanding that the lower ASA the stock is the slower it decays. I’ve been told that the oldest can of EXR 50D should decay slower than the newest can of Vision1 200T.
  5. I've been seriously considering working with this stock in an upcoming project of mine. I may be able to get access to a good deal of film which has been stored in a dark, dry, temperature controlled closet for the past twenty years. I know that's not as good as a freezer, but I'm wondering how affected the film will be. My question is simply, do you guys believe it is worth it? How do you believe this stock will hold up compared to something like Vision1 200T if I overexpose two stops? Does anyone have any footage taken on this stock they wouldn't mind sharing? All in all, is the gamble worth it? Thank you.
  6. I have an Arriflex 16M which has whatever standard four pin motor that camera usually comes with currently attached to it. I MAY be able to purchase an Arriflex SR3 motor off of a friend of mine in great condition for cheap. I believe the SR3's motor is five pin, though I'm not positive. Would it be feasible to have my 16M serviced to work with/have this motor attached to it for sync speed? I know the camera itself would still make tons of noise, but I'm planning to do a kind of "Spaghetti Western" ADR of the dialogue regardless. Let me know your thoughts as well as who could possibly do such as conversion if possible.Thank you.
  7. I have an Arriflex 16M which has whatever standard four pin motor that camera usually comes with currently attached to it. I MAY be able to purchase an Arriflex SR3 motor off of a friend of mine in great condition for cheap. I believe the SR3's motor is five pin, though I'm not positive. Would it be feasible to have my 16M serviced to work with/have this motor attached to it for sync speed? I know the camera itself would still make tons of noise, but I'm planning to do a kind of "Spaghetti Western" ADR of the dialogue regardless. Let me know your thoughts as well as who could possibly do such as conversion if possible.Thank you.
  8. What was the widest lens you were able to use with that thing without any vignetting.
  9. Just bought a 400ft foot spool of expired Kodak Vision 2 200T film off of eBay to use for my Super 16 camera only to realize the film is double perf. I went to read the canister to see if I missed that detail before buying only the come to the realization that I never once saw film being labeled as single or double perf on any canister or cartridge before. Is there any way to tell what you're getting before you buy your film? (Off third party sites like eBay that is).
  10. I've been able to find a lot of technical specs and information regarding this lens across the internet, yet I'm unable to find any actual footage of this lens in action at all. I can look up it's filter thread diameter size, but not it's bokeh. I can find it's T stop, but not its contrast. I can search up the height and weight of this lens, but not the look it produces. If anyone has any video/additional info regarding this lens's look, I would be very appreciative. Thank you.
  11. Does anyone have any further info on this lens and the question at hand? Thank you.
  12. Are there any cameras you know of that would happen to accept 400ft magazines?
  13. Thank you for the info. I was thinking of trying to nab a converted Bolex H16, and I think that’s what I’ll go with.
  14. Not too sure if you would have a good idea, but what would you say the best one for film registration would be? An obvious choice would be the Arri, but I've heard the Pathe model from the 80s was another top contender.
  15. I’m aware that there are modified Bolex H16’s going around as well as the professional Pathe DS8 camera. But in terms of ergonomic performance, modernity and ease of use, as well as quality of film registration, which would you guys consider to be the best model out there on the market? P.S. I’m also aware of Pro8mm’s prototype Ultra Double Super 8 camera, but I’m talking about options currently available on the market.
  16. I've always been a fan of deeper depth of field on smaller format cameras, so I planned with that exact notion in mind. Adds more detail and draws attention away from the grain in an effective way in my opinion.
  17. I'd love to hear the pros, cons, and overall differences between these two 1.5x anamorphic projection lenses and people's experiences using them.
  18. I'm used to shooting with 400ft magazines on smaller student productions and never having to change the magazine mid-shoot. However, I may be using the Krasnagorsk-3 soon, which only accepts 100ft reels. Is there a safe and reliable way to swap out the film reels reels, store them, and replace them with new rolls mid-shoot?
  19. I'm used to shooting with 400ft magazines on smaller student productions and never having to change the magazine mid-shoot. However, I may be using the Krasnagorsk-3 soon, which only accepts 100ft reels. Is there a safe and reliable way to swap out the film reels reels, store them, and replace them with new rolls mid-shoot?
  20. I'm used to shooting with 400ft magazines on smaller student productions and never having to change the magazine mid-shoot. However, I may be using the Krasnagorsk-3 soon, which only accepts 100ft reels. Is there a safe and reliable way to swap out the film reels reels, store them, and replace them with new rolls mid-shoot?
  21. Incredibly helpful, thank you Adam. On a different note, which lenses did you use for those test shots of Autumn/Fall?
  22. What I would highly recommend you do is buy a decent 16mm camera which has the option of at the very least attaching a 400ft magazine and simply buying a crystal sync or arriflex SR3 motor and installing it in the camera in place of the old motor. Truth is that you don't really need any of the $8,000-$15,000 16mm cameras out there if you just buy a 400ft mag, replace the motor, and buy a blimp to silence the camera noise. Literally saved me thousands of dollars in camera buying.
  23. It's actually quite funny you'd say that. An acquaintance of mine who pushed me in the direction of shooting 500T in daylight w/no filter quite literally told me "I would recommend shooting on Tungsten and correcting it back to Daylight in post. I've been finding that it really helps give me that vintage look with cool blues but warm skin tones". So in your professional experience, would you strongly disagree with this statement?
  24. Since I may actually have to end up going the Eclair route regardless of preference, would you happen to have any more of an understanding/any information regarding the rudimentary optical differences between the Distagons and Kinetals?
×
×
  • Create New...