Justin Lovell

Beaulieu R 16 PZ Auto Zoom with 24/25 FPS Sync Module /// speeds variable from 2 - 64 FPS /// films in forward and reverse . Angenieux Paris lens /// F.12_120mm 1:2.2 24 or 25 FPS crystal sync module /// includes 200 ft. take up spool, screw-in rubber eye cup, battery charge, an external battery extension cord, two handle grip battery ( needs recell) , original manual and a brand new voltage converter for adapting the charger to U.S. 110 volt power /// + 200 ft magazine and refrigerated film x 10 320 T 100ft + other stock refrigerated A great camera. Runs great! All functions appear to be in good working order. even the meter seems accurate Lens face is gorgeous, no scratches. Interior is clean. Body condition is excellent no dings and scratches, no dents. Viewfinder is large and bright. several tiny black specks are visible through the viewfinder everything ready for film and sound with synch 2 aluminium cases included I am asking for $1000 for the entire package or Best offer If any interest please call me at 416 813 7795 sbaruche@hotmail.com Sylvain ---------- forgot I have the original manual and a 85D BW filter the other stock is tungsten kept in the fridge ----------- ---- Posted for a fellow cinematographer- be sure to respond to the contact info provided above in BOLD.

(I'm posting this for a director who is looking to find a good home for his camera). It is selling with all you see, including the tripod/head and some other accessories. Please don't respond to this post, respond directly to the email below). Contact: sangal@pathcom.com For more info.Raul Galvez Tel: (416) 364-3131 100 Seaton Street Toronto, Ont; M5A 2T3 CANADA

thanks for the tip, just emailed him. found this link too. http://www.art-medias.com/menu.html

Mine was the older style that was NOT meant to be touched or cleaned by anything but air. I had it out on a shoot and the assistant must have tried to clean it, as it is now all scratched and nicked. Looking for a replacement mirror/shutter... help! PM me or email.. info (at) framediscreet.com

Mine was the older style that was NOT meant to be touched or cleaned by anything but air. I had it out on a shoot and the assistant must have tried to clean it, as it is now all scratched and nicked. Looking for a replacement mirror/shutter... help! PM me or email.. info (at) framediscreet.com

Dug up these two posts from filmshooting.com in regards to your question.. ------------------------ http://www.qvcvideo.com/main/products/? ... 5&bcat=102 I think this is the model to get with the 12mm lens. I just bought a variety of lenses so they could be used with different super 8/ 16mm cameras.. lenses are cheap...so buy a few. This is what the REP told me in an email: our 520 kit will work great for that. you can choose the 2 lenses that you want for that kit. we have a 5in color monitor for 69.99, and rech battery pack for 29.99. wireless av is 104.99 foir 2.4ghz, and $89.99 for 1.2ghz let me know ----------------- Hey, My latest film, TROYMOTION is soon to be released... Shot on plus-x s8 cross processed as a neg. Camera- beaulieu 4008zmII. Here's a clip from the video tap that I temporarily rigged together using a QVCvideo.com video camera with my scanport sp500 digital video recorder box (has a 2.5" lcd screen and video IN recording to DIVX for immediate playback). Not quite perfected, but did the trick to make framing easier for fast paced running/handheld work. http://www.framediscreet.com/video/troymotion_vidtap.AVI ---------------

Had quite a bit of experience with the workprinter in the past, defineately not an issue from one of them. They can have timing issues that cause streaking if not calibrated by the operator, but it would be full frame streaking. This is a camera issue (as stated by other users :) You could load up a dummy roll into the camera and run film through it with the door open watching the movement. (not sure if the scoopic can accomidate this).

All great labs to deal with. Many offering some unique options for super 8 processing. For example: I've been having all my tri-x/plus-x cross-processed as a negative. If you're not planning on projecting your film, run it as a neg instead of reversal. It can give you an increased range or expanded latitude making it much more practical for telecine. (film becomes more forgiving in under/overexposure capturing more detail in the shadows/highlights). I know Niagara Custom Lab is running this custom process and a few other processes. (I just had some 7217 200t super 8 bleach bypassed :o

That's some super 8 neg (200T and 500T) I just transferred for Jeff Moneo. Get your exposure right and use a solid camera with a sharp lens and it can look pretty good :) More samples jammed into the blog (larger images, sorry wasn't able to post the higher res into this post)... www.framediscreet.blogspot.com Hope that helps ;)

(just the tri-X in this image)

Cool ideas. I have, and almost always cross process my tri-X in neg chemistry at niagara custom lab Samples here: http://framediscreet.blogspot.com/2008/01/...cessed-64t.html There are more other custom processing super 8 samples on the blog as well for you to dig through. Hope this helps! www.framediscreet.blogspot.com

One thing to keep in mind is what your final output format will be. In many cases, while it is nice to go 4:4:4 HD, it may be leading to more resolution than you would ever need to have. (ie, are you planing a film out, or digital projection on a theater screen?)

Sorry, more tests to run before I can give a conclusive answer. I know for newer stock Super 16, an HD imaging sensor WILL yield better results. The increased resolution does help to pull more information out of the tight grain. For super 8, the differences may be negligible depending on the resolution/size of the grain in the original film.

Hey David, give Paul at cinelicious a call, he'll expain it to you. From what i've been told, there isn't a huge benefit in resolution when scanning super 8 at 1080p because the 'grain' size is larger than the increased size in resolution. So you _could_ essentially be introducing sharpness artifacts that aren't actually on the film itself. I don't necessarily agree with this idea, and will come to my own conclusions from my tests. I have done some very sharp tests so far with the 7217 neg stock and an HD imaging sensor. A major problem is the amount of noise in some of these sensors when underexposed.

Just spoke with Paul at Cinelicious, and they're doing a much more advanced HD process than what the rumors were.. I don't think I'm at liberty to give out their secrets, nor do I think he gave away all his secrets to me, but it is quite impressive what they have setup.

Did you call cinelicious yet? http://www.cinelicious.tv/ They seem to be doing some cool work. I'm not sure if they're upressing their SD transfers with a Kona card or if they are doing it with an HD scanner. I'm working on a solution right now as well at 1920x1080 10 bit HD, but I won't be releasing it to the public until it is good enough for my own personal cinematography in super 8/super 16.

The film looked super slick on the red, and that's what they were after. Spectra: Call them and ask about cross-processing, can't hurt and its good to build relationships with the labs. I get most of my normal and custom processing done at niagara custom lab. www.niagaracustomlab.com 416 504 3927 in Toronto. Often posted rates aren't always what you end up paying, even when buying film stock. That's why its good to build those relationships.

Just shot this super 8 behind the scenes footage on a RED short I was on for Bravo! Knew I was going to be in corn fields with lots of greens and yellows so took it as a great opportunity to have 64t reversal cross-processed in neg chemistry. http://www.framediscreet.blogspot.com It really makes those colors pop! Shot on a Canon 1014xls, super duper 8/max 8. Letterboxed to 16:9. Some vingetting at certain focal lengths, I also had the lens hood on which doesn't help the problem. (was framing for 4:3, but figured what the heck, I can transfer it at 16:9 full frame so i will!)

Lots of samples posted on here: www.framediscreet.blogspot.com Just scroll down through the posts and you'll find a bunch. Most recent, 64T cross-processed sample.

Hey Martin, You can use those in your NPR. You have to take the core into a dark bag, and twist the daylight core. The top and bottom of the spool will pop off, leaving you with a roll of film on a normal core. That can be loaded into your NPR mag (in the dark bag) being sure to follow the appropriate guides inside the mag (Emulsion in or Emulsion out). Just shot a roll myself, no problems! Justin 8mm.16mm.transfers//cinematography www.framediscreet.com

Need a cinematographer to shoot B camera for a ceremony of a wedding in Winnipeg. Super chill couple, will be a pretty easy shoot. Just candids on Super 8. I'll have 2 canon's (1014xls/814xls) If you're available contact naz: Nazar S. Melconian Director www.mimmoandnaz.com naz@mimmoandnaz.com mimmo+naz inc. 122 Laird Drive - Suite 200 Toronto, ON M4G 3V3 Tel 416.533.7963 Tel 800.616.7963

(-)Kinoptik can be hard to see through when stopped down (closing the iris down). (+)Angenieux does not get as dark when stopped down. --referring to through the viewfinder- not on the film. (-)Kinoptik is heavier and a larger lens- if that matters. (+)Angenieux is usable as a super 16 lens. Contrary to what everyone says. It will vignette at certain F-stops. If you are printing to 35mm this can be an issue. If you are doing a transfer to digital, you can crop in slightly and eliminate the vignette. (+)Also if you get a C-mount lens, it can be 'unthreaded' slightly from the camera body to allow you to focus the lens into macro. I do this with my ang 5.9 (cmount) but cannot do this with my kinoptik 5.7 (camflex/eclair mount). Footage shot with the bolex and a c-mount ang. 5.9 - showing full frame: http://framediscreet.blogspot.com/2008/04/...are-bboyin.html http://framediscreet.blogspot.com/2008/03/...super-16mm.html More stuff interspersed thoughout the blog site as well.. I've not had a chance to do a side by side comparison, though one thing that is very crucial is that you have the lens colliminated to your camera, as it is a fixed focus lens. My Kinoptik was waaay off and had to get it properly setup for my eclair. Jean-Louis helped me out with getting the ang. setup properly for my super 16 bolex. hope that helps!

Great, thanks Mitch. Do you have a website or a contact number for your store, I'll probably give you a call first. I'm staying at the www.chopwood.com production studio (195 Chrystie st.). Dunno if that is nearby. Justin

That sounds cool, can you provide me with some links/contacts on where I can get those batteries? I'll be in NY this week so I could buy them there, unless there is a place in Canada that I could order from. I would be concerned about the anton bauer batteries though, as I don't know if they make one that will supply a 100W draw.

Alright, so then what are you saying? (forgive my lack of knowledge).