Stephanie Zimmer

Nick, Thanks so much for responding. One question - sorry if it seems basic. You're saying that you with the T function you can keep the shutter open as long as you hold the run button down however you will get a flicker with the inconsistency. So instead you need to increase exposure time. Is this not controlled the same way with holding the run button? Just trying to figure out logistics. Thanks.

Clive, Thank you for your response. I went to your website and it gave a very thorough explanation. I was acutally planning on buying the one of your motors from a rental house this week for another reason. If you don't mind, however, I'd like to ask a couple more questions. What if the tv set in frame was shot using stop motion? Will this change the formula? (I was planning on purchasing the TTL motor for this as well as other time lapse) If not, what if the footage was transfered to tape at 29.97 fps? Thanks again for your time, Stephanie

I am looking for preferably an Arri FF3, but I am open to other options. Please let me know. Thanks. Stephanie SLZimmer@hotmail.com

I am looking for either of the following: Angenieux 11-138 T2.3 Zeiss 11-110 T2.2 (Super 16) If you know of or have either of the following for sale, please let me know. Thanks. Stephanie SLZimmer@hotmail.com

Hey, Does anyone know if you can shoot a television screen without getting bars using a Bolex? Shutter? Any optional accessory to find/rent? Thanks, Stephanie

Hi, For anyone familiar with macro lenses, I'm wondering if there is a blanket formula for compensation. I'm trying to understand exposure compensation for older lenses. I'm not sure that I understand the magnification ratio in real terms. I believe that the idea is that if you are magnifying something at 100%, or 1:1, you compensate by opening up 2 stops. Or if you magnifiying the object by 200%, getting closer, or 2:1, then you open up 3 1/3 stops. Is this the idea? If there is another way of explaining magnification ratio and exposure compensation, I'd appreciate it. Thanks.

Hey, What do you guys think about the marketplace for low budget 35mm work? Does it still exist? Or is it turning over to video/16mm. Thinking about investing in rig but I'm not sure if the time has past for these jobs. Also thinking about investing in Varicam or SDX900. If anyone has any opinions about choosing the best investment at this time, let me know. Thanks for your time.

Hi, If anyone has any equipment they are selling or any suggestions, please let me know. Thanks.

Hi, I was just researching video taps to purchase for my Aaton XTR and I came across this old post. I was wondering what you ended up doing with your LTR? I want to invest in a decent color tap but on the other hand, I'm looking for an affordable option for the moment. Do you have any suggestions from your experience? Thanks for your time, Stephanie

Thanks guys. Michael, thanks for taking the time to explain.

Hey Nathan, Since you seem to know a thing or two on Aatons, I was wondering if you might be able to check out this ebay auction for an XTR and tell me what you think it should go for. It seems like a great deal but I don't want to get in over my head. Thanks for your time. Item number: 7569588860

Hi, Just a simple question. I'm not sure how to effectively read a breaker box to decide how much power I can draw from one location. Can someone explain how to read a breaker box for maximum voltage and amps per circuit? Thanks.

Hi, To those of you with experience pulling focus on an anamorphic job, do you have any advice as far as what to do or not to do. Things to look out for... Any direction would be appreciated. Thanks.

Boris - Thank you so much for your help. One question about looking up the serial number - for the 13x viewfinder, for instance, if the serial number of the camera is past the number that the feature was offered, it was automatically given that feature? There wasn't an option to have either the 10 or 13x for that year? I just want to make sure I have a 13x viewfinder because I was surprised how dark it was when I received it. I appreciate all your time. Thanks again, Stephanie

Hi, I'd be very grateful if you could tell me the value of what I purchased. The serial number is 256294. The eBay item number is 7555766407. I heard that you can look up your camera by serial number and there should be a log of what you have. Have your heard about this? Is there a website where I can look up the serial number? Thanks for your help, Stephanie

I just bought a Bolex off of eBay and would like to learn more about it. Is there a website I can check the serial number of the camera to find out if it has a 1:1 drive shaft to use an intervalometer? Is there a way to tell on the body? Are there any alternative brands of intervalometers for other cameras that will work with the Bolex or does it have to be a specific type? What should I look for? Also, if it is not 1:1, is there another way to rig something to do time lapse without having to control the camera manually? Thanks.

Hi, Has anyone converted their Bolex to super? I am researching my options but I would love to have personal references. There seems to be a big discrepancy in price for the process. I have a few questions, too, if anyone is familiar. Ultra vs. Super 16? Is it necessary to adapt the 400' mag also (I read this)? How do I know which lenses will not cover super? Also, what is an anastigmat lens? Thanks.

So as a rule of thumb, what would you say is a typical contrast ratio from indoors to outdoors in a night scene with a window? How about daytime then?

To answer your question, the scene is a guy sitting in a bedroom at night without any practicals on, sitting next to a bay window. I shot a test in the bedroom (which I have not gotten back) and although it was an overcast day, I got a 2.8 for the outside through the window with my spotmeter. At that rate, I figured I didn't need to gel the windows and if the key for the actor was an 8, lets say, in B&W, it would appear to be night outside without having to actually light it. Right? I have a basic question, though. Theoretically, anything measured under the speed of the lens is going to fall off, correct? Even if the film stock has 7 stops of latitude, that is within the range of approx. F2-16. I recently transfered some 16 footage to tape of a contrasty film where the blacks all got crunched into oblivion, where they were shot to be just barely exposed. With this in mind, I'm thinking that I can't let the exteriors go below a 2 or so. That's why I was thinking that I have to light the actor at an 8 because we can't afford to light outside otherwise. What do you think?

I'm shooting with 7231 (BW Neg - 80D) mostly night interiors. I'd like to see an exposure out the window and light the subject with hard light for a moonlit effect. Because it is B&W I was planning on shooting day for night and lighting the subject with a 3 to 4 stop difference to outside and then using the natural light as my fill. However, it's a very small apartment with white walls. I'm worried that any light I introduce is going to bounce like crazy and make everything flat and if I use smaller units, I won't get the exposure I need for 64T. Does anyone have any suggestions on how to light this tiny room and see out the window? Do you agree with the 3 to 4 stop difference from the actor to outside?

You're right, it is cheaper to buy B&W stock and certainly better to think of the whole process in the long run. However, speaking specifically from a photographic perspective, I am wondering if it is possible to light and get a good image based on the speed of the film and the location. 64T in a small apartment with white walls shooting day for night. Does anyone have any lighting advice? And if it does not seem possible, what stock would be a better alternative? Thanks again for your help.

With the capabilities of a colorist in a supervised transfer, is it possible to get the same look as a black and white negative stock? I'm shooting a 16mm short which I had intended to shoot in B & W with Kodak 7231. It is mostly night interiors in a small apartment with white walls. I was planning on shooting during the day to use the window in frame and the natural light as fill, with a 1 or 2 K as the key. I'm afraid that the white walls will bounce like crazy and it will be difficult to control the light. I don't want to push the film because I do not want the added grain. Is it plausible to shoot 64T in a small apartment or should I opt for a color neg stock, like 7218 for the ASA and fix it later? (I want to avoid 7222 because it is perhaps too grainy and it doesn't seem as if the other brands are readily available). Any suggestions would be appreciated. I am shooting in four days. Thanks.