harryprayiv

Anyway, lets get back to Kinetta. I want to know all about it because I think it's the wave of the future. Untl now, I hadn't even considered the video option compared to film, but if it can capture at 16Megapixel, the sky really is the limit. Someone does need to figure out how to change the gamma of video so it has the overexposure latitude that film has, though. I am actually pretty scared to be entering the industry at such an odd time in technology, though.

Perhaps you misunderstand. I have never seen it. I only saw the website and it blew my mind. The handcrank option itsself is really interesting. The fact that it has 12 audio inputs is amazing, since it has even more mic preamps than my Pro Tools setup does..and at a higher quality too. I think that they were being humble when they said that it's bigger than the A- minima too, since you can disconnect the "magazine" and put it up to 1Km away only tied by fiber optic cable.

It seems amazing. But I've seen nothing of the images it can capture. I wonder if any of you know/have seen the specs for it and have any more information than was provided on their website. Thanks. -Harry E. Pray IV

Thanks David. I was actually expecting you to reply. It must be nice to know so much about this stuff. On another note, I've been doing a lot of looking around and I saw the Kinetta web site. OH MY GOD, that camera looks too good to be true. However, I wonder, what excites you so much about it?

Wow...that's crazy that they shot that on XL-1's...granted I didn't see it in the theater and saw it on DVD, but it looked really nice. Thanks for that low contrast filter suggestion. I had no idea that those existed, actually. Anyone know about the latitude of HD, though? I need to know about this necessary evil that I have to deal with for low budget crap.

Hi all. I guess I could search this because it sounds like a fairly common subject, but I will just ask this question so it's out there in plain view for people like myself....inquisitive ones that is. Has HD improved video's exposure latitude at all? If so, how exactly has it improved and does it stand up to film? I recently saw 28 Days Later, which I heard was shot on some kind of HD 24p and was impressed with how it didn't blow out like I've seen. What I don't like about video in the way that I currently shoot (DV) is it's inability to handle extreme highlights. I have MANY other image complaints. I was having a discussion with someone about it and was wondering if anyone knew. Thanks in advance.

I am also a poor college student, but have actually gotten to use some pretty nice gear in the past year and a half, having some pretty good connections. I have used an Arri SR 2.9 and an SR 3 (both Super 16mm cameras). Also, I used an Aaton A-Minima (super 16/16), a Bealieau 5008 (super 8), Bolex RX4 and RX5's (regular 16mm MOS cameras), Arri BL hunk of junk, and I even got to do some tests on my boss's MOVIECAM SUPER AMERICA MARK III GOLD (which is for 35) ...he says that he needs some better glass for it, though. I really want to try the Aaton XtRPro (or whatever it's called.... heard on this forum that its better than the Arri SR 3, which I absolutely loved when I tried it) and I'd like to check out what the the Arriflex 535's can do and eventually when I get to work on a big production....Panavision.

me too.....bump. I am still trying to build that time lapse thing, so this info might help.

Are you kidding? I think it's funny when people say that things lean to the left in the media.....it's all controlled by one or two very very right-winged gentlemen. Being in the media yourself, you of all people should know that. I thought lost in Translation was alright, but not the best thing by far.

Oh yeah and also, I was thinking that I wanted to put a gray card in front of the light meter, but then I got to thinking that this might actually just end up being odd because the gray will undoubtedly fade in the sun...There's so much to think about....it's making me insane...and I like it. Thanks again, Sam and all.

Thanks. I hadn't seen that it went down to 1/16 of a second. I saw the 1 second thing and, well you know. That motor and control unit is damn expensive though! Anyway, I was thinking that if I am going to be using it for landscape's, I might consider using a lumasphere type exposure since I want the whole light to be averaged. I mean, in an ideal situation, I would be standing next to the camera with a computer with programmed exposure ramps that could be adjusted to the shutter speed...but the chellenge of that is it's sheer tediousness. I often dream about what technology can do.... It would be interesting if someone could build a motion controlled meter that could be programmed to move around what would be the camera's frame in time with the camera, hooked to a motor that could control the exposure time. Then, the exposure could move to what you're choosing to highlight in accordance with your program. You could then program in a actual color value (computer compensation for the subject not being medium gray). For now, I need to find the motors with that have variable speeds that can be precisely controlled with an external device. Undoubtedly, I need to learn about the HC11 chip that was mentioned in the first link.....is there any kinds of chips like that one, but with extra processing power? Basically, I am thinking about changing schools.....right now, I go to an art school, but I think I have the mind/interest to be in an electrical engineering school.

Thank you kindly, Sam. I'm gonna try and contact them and figure out if any Sekonic meters can be hooked to that as well. The only thing is, the website says that the motor only goes down to 1 second exposures....which might not be quick enough for my needs....it's kind of sad how specific my needs are....I just don't want to have to bring the camera down 5 stops (with a combination of F stop compensation and ND filters) before I even start shooting. You know? Plus, I'll learn a lot building my own. Before, I was thinking about building a light sensitive eye onto the box, so I could have control of the exposure based on what the eye reads, but now, I am thinking that if I get a Sekonic L 608, I could use that so that I know it's precise.....I mean, who can build their own light meter? I certainly don't think I can at this point!

I think this might be an odd place to post that question.

I mean, the exposure time is accurate, but you do have to know where you ar eon the dial, which is impossible unless you test the motor with a stopwatch before you load film. I also would like to be able to control the amount of time in between each exposure AND how long the exposure takes. Right now, I can eaither have normal exposure at any increment I want, really (it is really hard to accurately set the intervals...especially as the times get higher between each exposure because you have to hand turn a knob with no detents to set the time...this always requires adjustment, so I'd say that a 50 minute interval would take at least 100 minutes to set correclty if you're lucky and/or fussy like me). Anyway, The TTl Tobin doesn't really offer as much control of everything as I need. It's a great little device if you're planning on standing next to it and changing the F stop all day, but working in diverse situations that are connected isn't really realistic. I hope any of this helps in giving you a clear comparison of what I want and what I am dealing with. Thanks. Also, I've never heard of the intervalometer that you mentioned..does it have the ability to control the shutter time? I'd be verey interested in it (probably more interested in using schematics of it to build my own) if it does.

You know, I was actually using that very same lense in this particular instance. I didn't know that it did that, but I had a suspicion that it might. Only thing is, opening up the lense to no matter what would make it so I could smoothly capture a sunset and then some stars in the same shot....cause no matter how much I open the lens at the speed that the TTL Tobin works at which is .75 s/frame, I need control over the exposure time because of the extreme differences in light between high noon on a sunny day and stars at night. I'd like my depth of field to stay constant too. Anyway, thanks for the info on that particular zoom lense. It will remain an option for the future. -Harry

HI. Yeah I had seen that page. The only thing is, he doesn't go into enough detail about anything. He doesn't even talk about the device's light sensitivity even though it seems to be built into the device, I need to find some schematics for a device that actually explains everything. I don't care if I have to pay for it...I just don't wnat to pay how mcuh one of the devices actually would cost from a company that makes stuff for the motion picture industry because everything's over priced when the people who manufacture and sell that stuff come into the picture.

If this question perhaps sounded too involved for anyone, I am even looing for weblinks for plans. Sorry to get so complex on my only question...I have a tendency to do that.

Hi guys, I usually just read posts around here. But, I figured I have a worthwhile question. So, here it goes. Also, I have read the other posts concerning this topic, but I assumed this might be different enough to get it's own mention. Here goes. So, I have been using the TTL Tobin Time Lapse Motor for the past few days and although it's a pretty cool little motor, I find myself wanting to work with something a little better (specifically in the accuracy department as far as exposure time, automatic shutter compensation and other things). See, this motor only shoots at 3/4 of a second exposures in normal mode (which is far too slow for some daylight conditions) if I am to want the exposures to not suddenly JUMP to another setting mid-shot (my alternative would be to sit by the camera for hours and slowly chnage the F-stop in regular increments....NO WAY! Now, my school also has a Thing M motor that I have used on previous instances, but even that is still not up to the standard that I am used to (it has the speed ramp function, but is not battery powered and I'd have to program these ramps in advance, which would require an identical light situation a whole day ahead of time for me to program the meter readings into a ramp). I have been working with in-camera intervalometer's in my Bauer C107XL Super 8'sand I love the way they work...I only wish that the camera would compensate for exposure with shutter speed rather than F-stop changes. As it is, the Bauer doesn't allow me to do a sunset and then keep the camera on to do a time lapse of the stars and moon after sunset (I know that this would be hard taking the star's movement at night into account, but I kind of want to see that streaking effect). The cool thing about the Bauer is that it can actually do an exposure ramp because it's reacting to the light in the frame. In conclusion, what I am asking is.....is there a way to build a homemade intervalometer that can be hooked to my Bolex, to a light meter (maybe the Sekonic L508), and/or computer that calculates shutter speed in any light where I could just keep the lense on the camera at a set F-stop? or am I just barking up the wrong tree??

Te same thing happened to me actually. I was able to angrily cancel my order by emailing service@dvfilm.net Who do the rest of you guys go through for ordering film? I was hoping that I could get Fuji Reala 500D and they pretty much screwed me over.