Stephanie Zimmer

...manually acheive much greater shutter-angles by simply holding the shutter open for as long as you want ...

 

However, there is the the problem of being human you will not expose your frames to equal amounts and you will end up with a flicker of another sort - soooo... you need to reduce the error by increasing the exposure time - this way your range of (human) error is proportionally much less than the exposure time (cool) - you'll need to be fully stopped down and maybe some ND filtering, lower screen intensity etc...

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.

This is covered in the instruction manuals for our crystal motors, such as the one for the TXM-20Ba which can be seen at http://www.tobincinemasystems.com/page107.html . Unfortunately the Milliframe Controller required for doing it semi-properly is discontinued and we don't have any left.

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 everyone,

I need a video tap for my aaton ltr 54. The pellicle and internal video optics have been stripped out by a previous owner. Visual Products sell an internal black and white camera which uses a

1/3 inch CMOS chip camera and they can supply a pellicle. Has anyone used one and if so are they good? Also does anyone else make a reasonably priced tap? Thanks -Rob

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.

You can get an Aaton LTR7 (from 1975) in S16 with some mags, lenses and accessories for under $10,000, but a brand new (i.e. from 2005), factory fresh XTRprod with Mags, Canon 7-63, and accessories can be under $100,000 for a fully loaded package... The body is like $50,000 on its own.

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.

PS. I looked at the eBay pictures again, and I had missed an important detail which makes this a much better deal : the camera is a late series, probably 71-75, equipped with the great 13x viewfinder that first appeared on the EBM. Previous Rex-5's had a good 10x viewfinder, but this one is even better and quite rare on this model.

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

PS. Alternatively, if you want to give me the auction link or eBay item #, I can look it up and tell you what kind of a deal you got.

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.

Doing this accomplishes a completely different thing than gelling the windows. Gelling the camera will reduce exposure of the WHOLE scene by 4 stops (in the case of ND1.2). Gelling the window will reduce the exposure of everything outside by 4 stops (ND1.2 again) but leave the interior unchanged, bringing the two areas 4 stops closer in exposure.

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?

You should think about a small HMI positioned outside the window as a key moonlight source, effectively lighting the entire scene, then under expose it by about a stop.

 

Getting a 3/4 stop exposure difference will be very tricky, unless your scene is set in a big city with a naturally high light level outside, but even then you would probably have to supplementarily light the exterior. Could you tell us a bit more about the scene?

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?

Other considerations would be cost. If you're talking 100ft rolls, the Vision2 stocks are around $36 a roll while B&W neg or pos is around $18-21. Processing varies from place to place but will probably run close to the same for either.

 

BUT, many Telecine places that also offer processing might only process color negative and they sometimes can give major discounts on processing if you transfer there (Video Post & Transfer in Dallas charges only $.04/ft if you use their Telecine... $.17/ft if you don't).

 

So its always good to think of the entire chain when choosing stocks and plan ahead to save money.

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.