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Eric Eader

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    Cinematographer
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    South Daytona, Fla.

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  1. Hello, The foam was probably placed there to protect the bulb from shipping damage. You can use acetone (finger nail polish remover) on a Q-tip, or cotton swab to clean the burnt foam from the glass. (Not sopping, dripping wet, though). Don't leave fingerprints on the bulb, either. Be sure and unplug the unit from the wall before removing the lamp bulb for cleaning. Although pictures can be deceiving, your machine may not have been used in a very long time, and not much even then. Hope this helps.
  2. Hello, No matter how far or how close the object you are spot metering is away from you, the meter will show you a mid-point reading for each object (or space), you meter. Some times the background is brighter than the foreground... sometimes the reverse. You will have to interpret the numbers (Zone System placement), to find what you believe is a proper exposure for that scene.
  3. Thomas, It pains me to say: I don't know. I mentioned London because it is a major production hub and, without looking at a map, I thought it would be closest to you. Angenieux and Arri were a popular combination back in the day especially in Great Britain. There may be other places capable of servicing both lens and camera in France or Germany. Those posters who live closer to you, hopefully, will point out their choices for having them serviced. Apologies for not helping more. Eric
  4. Thomas, In a way, you have answered your own question: yes, ideally it should be serviced. It is old. It appears to me to lack contrast, and is soft at the bottom (especially right corner as shown), but maybe the target is not pure black and white. Since you are in Denmark I don't know to whom you should turn for that tune-up; but if you can afford it, make an appointment and take it to London (along with your camera), for a quick check, (proper flange depth) and expect to leave the lens for CLA. Others here will hopefully know the perfect facility and chime in. Eric
  5. Steven, Generally, you should place a diffusion type filter as close as possible to the front element. Same with diopters. After that any order that is convenient for color correction, pola etc. will work. As long as the f-stop is not closed down very much, the pattern of the diffusion on the glass/plastic/net itself is less likely to be photographed. The farther away the diffusion is from the front the easier it is to be photographed, assuming a dramatic pattern. That is not to say one can't place diffusion farther out. You may like the look, but there are those above mentioned problems that could occur. Wide angle vs. telephoto also plays a role in how an effect works. I was surprised no one answered before me. Hope this helps. Eric
  6. Adam, I just checked Studio Depot (Mole Richardson): Pro-Gaff Tape, also Rosco Gaff Tape and at FilmTools (Burbank), Pro Gaff Tape is what they sell as well. (I believe that some years ago the tape had a 3M number, which I cannot remember and what I had hoped to find); but if those guys sell it that is what is preferred by those working there. Tapes sold elsewhere tend to tear into small strips when one wants the whole width, sticks to itself(melts) when it is hot and refuses to move when cold. Then when it does tear properly, leaves sticky residue behind as it's calling card. That has been my experience with the "faux" tapes. Hope this helps
  7. Boris, Without question, I would buy the Harrison Tent. Size: 36"x27." Yes, the tent is an upgraded changing bag. Camping/outdoor hiking tents utilized that suspension system and a Pro camera assistant realized a shrunken version of that would solve the sort of problems I described earlier. Now, if you have any possibility of working with 65mm movie or 11"x14" stills loading/unloading, or you really like the extra space afforded by the 36"x36" bag... by all means go for it. Provided you take proper steps to care for it, protecting it from damage, pin pricks, cuts, tears, or abrasions, you will not have to buy another one for a very long time. So even though it is expensive initially, in the long run it will be cost effective. Take care of your changing tent and it will take of you. Just don't lose it and hope it doesn't get stolen. Nothing I've written is meant to disparage the bag, it's only that if you spend a lot of time changing in a bag, not a darkroom, then the little comforts add up for a more pleasant experience in a tent. With both there is a learning curve. (It will not hurt to have both). Film Tools, B&H, Camera Essentials are places to purchase it here in the States. Hope this answers your question.
  8. Not to be contrarian, but I will submit that a tent is more convenient because the top of a bag rests on your hands while working. That becomes a real problem with summertime heat and humidity. Sweaty hands and that bag touching you can be frustrating. Really frustrating if the film cones on you and you have to reel it back into place. On the other hand, the bigger size of the tent can be inconvenient for transportation, or in really tight work spaces. If I had to do it over.... I would go for the tent, but that is just me. YMMV. Of course, you could go to Home Depot and buy some skinny pipe (plastic), and corners and rig an inside roof frame, maybe.
  9. Pavan, You probably already know this, but in case you don't, there is a way to turn your camera into, (I believe it's called) an "aerial image" reflex system by using a c-mount "c-cup" adapter fitted to, usually, Angenieux lenses, i.e. 12 to 120, 9.5 to 57, 12 to 240. Others work as well. Again, in case this is unfamiliar, first check out on ebay: seller: padmavat_enterprise item # 184610003906 to see what a "C-cup" looks like. (It's fitted to a very beat up cp-16). Next: check out seller: kinemaman item#: 313796845848 to see a 12 to 240 with the long "dogleg." That 12-240 was used by some network news crews back in the day (tripod mounted), and college football shooters also used it mated to the detachable magazine kodak spring wound camera (I have forgotten model name/type). (Kept an assistant in the dark bag for the entire game changing out 100' loads). By typing in: Angenieux lens on ebay you will find several lenses with short "dog legs" and even a K-100 with a Bell and Howell "dog leg" Zoom lens. I believe the longer "dog leg" will work better for your situation assuming that these lenses will cover Super 16. The 12 to 240 shown was designed to work on Auricon type cameras with the viewfinder rotating up out of the way to allow side door opening for threading the camera. It will require some "finessing" to get the frame leveled and viewfinder running along the side, but others more technically experienced can address that and adjusting flange focal depth etc. They may also suggest mounting a lens support system for the longer lens although I can't recall the network guys using them. The biggest drawback to that system is there is a dark spot in the center where the iris darkens it for f-stop setting. But since that was my introduction to film cameras, I quickly got used to it. If short focal lengths are acceptable, the 9.5 to 57 can be a super little lens to film with. The 12 to 120 was basically standard and the 12 to 240 enlisted for working at a distance; Some Political Events and Sports, etc. Under the Angenieux lens listing you will see an old B&H 70 model with a zoom attached to it. Check out the movie Bob and Carol, Ted and Alice where Robert Culp fields one filming a party. The movie was good and the story line was controversial for that time in American film history. Hope this will be of some help to you.
  10. Roberto, www.visualproducts.com They show an Arri Swing Shift Set, but no price is listed. You can find it in their lens section. Eric
  11. Pavan This may not be on point, but, I can remember as a child in 1956-57, watching TV at a church member's home that had a screen on it that converted B&W to ?color? and, it was lousy. I mean really lousy. They quickly bought a color TV very soon there after. This was at a time when few programs originated in color. There was a reason why Technicolor used three strips of B&W film to create color. While magnificently successful, it was expensive. Others here are much more technically inclined than I am, but I believe that physics dictates that it is a non-performer that died fairly quickly.
  12. Phil, I remember now, the carrier was the Kitty Hawk. When the 3MAW began their CQ's a loud speaker announced "Here come the Kamikazis!" It's funny you should mention "Tumbleweed" because that very thing happened to a deck handler when a rookie Marine pilot failed to throttle back after landing and turned to starboard and blew him over rolling along the deck as he tried and failed to catch a tiedown slot and into the net just below the portside deck. He soon returned showing no real harm. The way I remember a Phantom's noise was super loud and raucous with a raunchy whine. I used a brand new CP-16R and some Hitachi attached to a 3/4 inch deck. (1977-81). Mo-Pic and Stills were in a different shop at El Toro so I don't know what they used. I came away with a real appreciation of just how much hard work the Navy does aboard a carrier. Eric
  13. Simon, About the rewinding, you're right. I had completely forgotten about that. To achieve silent winding one wound very slowly and with the camera close to the body. The grind was still there but quite muted. Ninety nine percent of the time, though, we wound with abandon cranking away quickly in order to be ready for the next opportunity to "record history for posterity." Phillip, You brought back memories of a week I spent on a carrier (brain fade--- otherwise I would name it) filming and videotaping Third Marine Air Wing (MAW) Carrier Qualification prior to transitioning to off the coast of Iran during the Hostage crisis. One of their units had E-6's (Black Sheep, I think); most others had F-4's. You might get a laugh out of the first-timer mistake I made when I entered the portside hatch directly below the launch deck: I took my "ears" off... just before the "cat" fired for launch. Ha, Ha. Live and Learn. The hard way if you have to. Eric
  14. Jon, In the fall of 1969 I bought a pristine B&H model 70 (without coupled viewfinder/taking lenses) for shooting newsfilm. The thing with coupling is that with the door off of the body it is possible to inadvertently move the viewfinder out of alignment and put it back on the body with mismatched viewing and taking lenses. With the non coupled setup I quickly learned to ALWAYS check which was up and correct if necessary. In the end it is a matter of what is available (proper price point/ condition etc.), and personal preference. As for the ratcheting noise while winding, to my knowledge there is no cure. (Don't lose the winder!!) Proper lubrication and wipe down will make for a surprisingly quiet run. When the station acquired Scoopics we all abandoned the B&H's for shooting news. Hope this helps.
  15. Edith, To answer the last lines of your second question... look around you, wherever you are: How is it lit? Treat the space you're in as if it was your stage/set. Take a footcandle meter and measure top light, side light, front light, back light etc. and notate that in a 5x7 or 8x10 sketch book of various places that interest you. Take cell phone pictures since many places are camera phobic. Step off the distances between points discreetly and sketch it out in the notebook so you have data to support the photos. Stay there for as much time as you can and observe time of day light changes. 3rd Question: In a darkened room shine a small flashlight through a handkerchief stretched out, then through it folded and see what happens. A Chinese fortune cookie I got with my meal had this message: Do not let what you don't have prevent you from using what you do have.
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