Mark Dunn

I tend to agree with Simon. With digital cinema AR is less and less relevant. You'll see documentaries with the archive left at 4:3. Much better that fake widescreen barbarously cropped. But it does suggest a period look nowadays. I think "Wycliffe" (1995-ish) was the first UK drama to be shot in 16:9, protected I think for the intermediate 14:9. If you can get to see some episodes it's an interesting study in how cinematographic grammar was changing to accommodate widescreen TV- sizes of closeups, etc. plus it's got Jack Shepherd in it.

Since my phone light isn't working (the app still works) I've been using a torch- it seems to focus when there's plenty of light.

Brilliant, thanks. The camera doesn't seem to focus but I can see I have the Steenbeck running about 1% slow. Good enough.

Go on then. https://www.ebay.com/itm/284398357957 Pretty fair price I'd say. Not their fault the pound's in freefall. Shipping's going to be a killer though.

Right. I want that for the Steenbeck.!

Eh? There's a war in Ukraine and an energy crisis, but apart from increasing its costs I don't see why that should adversely affect business in Germany. It's 1500km from Wolfen to Kyiv.

Yes that's not fair to you. But I think it does apply to vendors locking out certain uses that are built-in unless you pay extra.. Like the rented heated seats and the extra fees to use certain hardware features (RAW output, high speed, some aspect ratios, apparently).

Well if the motor's working well, you probably don't want to take it to bits to see what's going on. We're both curious, right? But not daft. What size is the jack BTW? Just, er, curious.

Have you decided the orientation question? As you have it there or side-opening, handle on top, feet on the ground?

Because they can? Same way you have to pay extra to make Arris do certain things. Even happens in cars now- the facility is in the vehicle as manufactures but you have to pay extra to turn it on. BMW do it with heated seats- you rent them by the month. There's some justification if the higher res scans take longer and produce more data, though.

He can answer for himself but I found Resolve very resource-intensive on an older machine, which is what Daniel seems to have. Translation: it didn't work. But I don''t think either of us is in the facilities house league. Lightworks, however, is much easier to run. But this may not be at the data rate needed for scans. My DSLR's HD is only 25MBps.

Increase, surely.

May not be relevant to you, but VLC plays MOVs.

Quite right. I don't know the dimensions, does 3.5mm seem right?

Actually that's what OP's thread is about.

Well, crystal sync obviates the need for a pilotone signal, I think, (as I recall pilotone plugs were multi-pin) and the manual makes no mention of either the socket or any function which might use it. So maybe your 'scope will tell us something.

Yes. Neutral is the motor case itself. Hence the insulating cap. I don't know what the jack is for either. There doesn't seem to be room on the back of the camera for anything to plug into it.

I wonder, taking stills from video, if your limiting factor isn't actually resolution at all, but shutter speed. Just a thought. Of course you know that lighting style influences perceived sharpness as well.

I know, but you've put them up before and they're so classy- perhaps the "home movie" thing should stay between us, wink wink.

I can't wait to see 'Scope ratio home movies in 35mm.

Ah, my fault. www used to be optional, but now it doesn't work at all, tells you it's a security threat. Just https://londonsteenbeck.eu5.org/ without the www. I've changed my sig. Don't know about FB, can't you see the site if you're logged out? https://www.facebook.com/londonsteenbeck

Seems to be very expensive in the UK- £46 for a small can and 2 months back order. I don't think there's any suggestion that these screws are seized or rusty, which is why I suggested WD or machine oil rather than penetrating oil. In fact if I had neither I'd use a drop of cooking oil, assuming the screws are actually stuck. They may be fine.

Maybe those typos if you're lucky..........

I don't think the mixing idea will work as you're combining reflective and transmissive colours. You would just get a yellow/red tinted blue. Just make sure that the white spot is bright enough to read as white on the background.

Not that fast but quite possibly 20 or 22. I wish I could remember the reference. That's a studio setup so the light sources are all phoney- the light from the flashgun isn't the bulb going off, it's a studio light reflecting in it- but it wasn't unusual for the flash not to be synchronised to the shutter at all. You set the shutter to B or T, opened, fired the flash, then closed. The dark slide was to prevent any stray light getting in. You'd lift it just for the flash. Typically you'd hold it much closer to the lens, obviously without touching it to avoid vibration. The technique is called "open flash". I was using it until recently in the studio- for some reason my DSLR wouldn't trigger my 1980s-era studio flashes using the usual lead. Something to do with resistance, according to the manufacturer of the flash. Getting a wireless release solved the problem, so now I don't have to draw the curtains. Edit: just noticed- see the two plugs hanging free between the camera body and the cable-release gizmo (which may be a clockwork timer)? I think they're the flash leads- the flat cable looks the same. It's not plugged in to the lens at all. I've even used the dark slide as a shutter to time a long exposure. 1-2-3-4-5 etc.