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Steenbeck ST1600
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Shooting film with live sound advice
Mark Dunn replied to Stephen Perera's topic in General Discussion
I was assuming that Stephen is going with what he has. Slating was essential when film and sound went from camera to sound transfer to syncing up/editing, all done by different people with no knowledge of the subject or what happened on the shoot. It was a standard to work to. Now all that infrastructure is gone, and it's just you, you can do what you like, you'll remember what you did. Maybe just tap the mic and call out the take number. -
Shooting film with live sound advice
Mark Dunn replied to Stephen Perera's topic in General Discussion
Slating is the simplest way, but you don't necessarily need a board- back in the day a hand clap was sometimes used for documentary, and I've even seen a mic tapped with a pencil. Logging is easier with a slate and a spoken ident, but if you don't have a lot of takes you may be able to manage without. More recently a marker light fogging a frame and a beep on the tape were used, but you don't have the kit for that. You also don't have any sync reference between sound and film, so you will have to line up by hand in post. -
The 80A absorbs 2 stops, so you would meter at 25 with the filter on the camera. An undamaged filter shouldn't cause flare and if you use a filter holder you can line up your shot then drop the filter in for exposure. Gelling the lights will likewise cost 2 stops so unless you have a larger wattage lamp you will need to increase your exposure, but you will be metering at 100.
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What is this film used for?
Mark Dunn replied to Daniel D. Teoli Jr.'s topic in Film Stocks & Processing
Flutter consists of rapid small fluctuations in the speed of the film transport, many times a second, as opposed to wow, which is a change over a longer period, say a second or so. These would both change detrimentally the pitch of the sound. I think 3kHz (3000 cycles in American) was chosen as it's about the middle of the range of frequencies that optical sound is capable of reproducing. -
I conclude that the residue is actually little bits of shredded gear- so the most important property of the oil is its mere presence. Dwight's photograph of a partially dried-out fibre gear was scary.
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To follow up, I'vejust confirmed the correct oil and I'm sure Dwight Cody won't mind me quoting him here. "No, we have not found the gearbox to be of need of a special lubricant. In fact, we used for many years a straight weight 30 motor oil. I switch to a 90 weight gear oil more recently for no reason other than it seemed more appropriate and perhaps leaks out less. What matters most I've found is keeping the level right (1/4" above the fiber gear). Otherwise, the gear dries out and can strip. Dwight" So I may switch to 75w90 next time.
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Dune part 2 in 70mm
Mark Dunn replied to Phillip Mosness's topic in On Screen / Reviews & Observations
In the 2016 price list I see 2383 listed at about $600/2000ft. That is only 30 cents/foot for the stock, but there will presumably be only a handful of 70mm. prints made so the old economies of scale are gone. It might be a price for replacement only, with neg cutting and grading already paid for. -
Nikon to Acquire US Cinema Camera Manufacturer RED
Mark Dunn replied to Jeremy Saltry's topic in Cinematography News
Perhaps this is precisely why they've bought RED? -
The M42 FFD is much longer than C-mount (otherwise a plain non-optical adapter wouldn't be possible) so just plug and go. But your lenses will all be rather long for 16mm.
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This designation is for a UV filter, not the lens. 52mm. is the diameter of the filter thread.. The lens details will be inscribed on the front, behind the filter, but it's likely to be a 50mm, a so-called "standard" lens.
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Krasnogorsk 3 eyecup & Meteor lens cap and sunshades
Mark Dunn replied to Floris Vanhoof's topic in 16mm
You can buy 77mm. screw thread lens hoods. They don't seen to be expensive. A flexible one may be useful. -
Camera used in 'Miley Cyrus - Flowers'
Mark Dunn replied to Fabian Schreyer's topic in On Screen / Reviews & Observations
Above a certain professional standard, the equipment used has very little bearing on the look of the image. Art direction and post-production and grading are much more important. In the days of film no-one ever asked whether a particular movie was shot on a Panaflex, 2C, Caméflex, BNC or whatever. They might have asked which filmstock was used, as this might have had some relevance, but the choice was always quite limited, and before about 1980 there was none, except between manufacturers. -
Darkening the Sky (Double 85 Filtering)
Mark Dunn replied to Evin Cameron's topic in Lenses & Lens Accessories
Selective darkening of a blue sky isn't what an 85 is for- it's to correct a film balanced for artificial light to daylight, and it won't have quite the effect you desire; as you say it affects the entire image. In digital photography I would darken a blue sky by increasing the saturation of the blue channel, or preferably by reducing the luminance. There's a limit to how much you can do this without affecting the rest of the scene. But the most effective way to end up with a deep blue sky is to start with one. -
This is an occupational health and product safety rather than a specific film industry question. Generally the EU has the best regulation in this area and follows the precautionary principle. The UK is similar at the moment as it inherited EU legislation. Also generally, the US doesn't adopt the precautionary principle- you have to prove something is harmful, rather than the manufacturer having to assess the risk of harm. VOCs in particular are much more closely regulated in the EU and the definition is far wider. In the west it's usually assumed that China has very poor domestic standards, but of course its exports have to meet the standards of the importing country.