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Showing results for tags '16MM'.
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Hello everyone, We are about to shoot a commercial on 16mm and our priority is to achieve the cleanest image possible, with minimal grain. Ideally, we would overexpose 50D by one stop, but we are not sure we ll have the conditions to do so. Given that limitation, I’d love to hear your thoughts on the best approach: 1. Shooting 250D at 100 or 125 ISO and correcting in post. 2. Shooting 250D at 50 ISO and pulling one stop (or even two stops) in processing. 3. Sticking with 50D at box speed (no push or pull). On a previous project, we had excellent results overexposing 50D by two stops, but that might not be possible this time. Would love to hear your experiences and recommendations! Thanks in advance!
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Canon 11-165mm PL Mount Super 16 Format T2.5 Amazing Zoom Lens Good shape lens, amazing technically. Includes hard case. £3500 (EU) or $4200 (US) – I am based in London but will be in New York soon so can ship it from there if that helps. Technical Specs Focal length 11-165mm Max aperture (T) 2.5 Close focus 3' Image Circle 16mm Front diameter 95mm Weight 2268g Length 190mm Mount PL Mount
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No matter how you slice it...film collecting is messy business. Sure, if rich you can match your cans, barcode, have lots of horizontal or vertical film shelves and temperature-controlled film vaults...but it still boils down to film cans or reels on shelving...or the floor. And when you run out of shelving, you use the floor for shelving. I found this photo on the internet, along with the rest of these photos. This guy titled it reorganizing film, so maybe he has the shelving, and the floor storage is just temporary. 35mm is for the big boys. I just deal with 8mm and 16mm. Temporary or not, floor storage is very common for film collectors if you are short on space or shelving. It is common to see film jammed on shelves any way they can fit. Here is a smaller collector and is neater about it in his man cave... In the old days they made film shelving to store film vertically. But they are very rare to come across nowadays and they cost $$ when you do find them. For me it has been a lifetime of being short on space. Space cost $ and I've always worked on a shoestring budget, consequently I have always been short on space. Even growing up I had no space as a kid. My parents didn't have a lot of $ and I grew up in a 1 bath 4 room house in L.A. My bedroom was a foldout bed in the living room. An old gal down the street saw some of my film archive and said I was a hoarder. Some of my films being organized from M-R... I told her I'm not a hoarder, I'd just short on space. I've got a few million feet of film and if I had more space and shelving the same thing, she called hoarding, would not be so jammed up. So, if I am a hoarder, it is being a 'hoarder by design' and not by desire. I rather have tons of space and shelving...but I don't. A real hoarder fills up any space they get no matter how large. That is the acid test. Anyway, she inspired me to expand my shelving for cine' film with 3 or 4 more 6-foot-tall chrome wire shelving units. I don't have that much room for them, but I can put them on casters and double stack them. When I need something from the rear shelf unit, I pull out the shelf unit in front of it. I am not really a film collector; I'm a film archivist. I don't necessarily want the films; I just want decent digital scans of the films. My goals changed in 2023 from maintaining a physical archive to becoming a digital archive. But it is a benefit to education as well as the archival record when you can handle, inspect and smell the films versus just dealing with scans. And in the big picture, it is hard to get rid of everything even if you want to go all digital. It takes lots of time to dispose of things properly unless you just trash it all in a dumpster. 16mm IBT Dye Transfer Technicolor Lab Head DDTJRAC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography -
1967-68 STAR TREK 16mm Film Test Reel - Different Takes Behind Scenes Movie | eBay
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I don't know about the rest of the film, but I don't believe it would be that rare to justify this price. I don't know how much of the Nazi related material is on the film either. From the sample images it didn't look to be all that much. This is one of the highest priced 16mm home movies sold on eBay I've ever seen. (But it may not be the highest priced if measured in feet.) The rest of the images are here: 16mm Europe 1936 Nazi SS Normandie eBay D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive Screenshots / Photos: eBay and used under the auspices of Fair Use. Selection from Daniel D. Teoli Jr. eBay Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Angenieux HR 11.5-138mm T2.3 Zoom Lens = $8,000 Super-16mm Includes: - Century 2x Extender - Lens Support / Motor Combo Bracket - Lens Bridge Support Bracket (15mm) - Set of Medium Iris Rods (15mm) - Pelican Case Angenieux HR 17-102mm T2.9 Zoom Lens = $8,000 Includes: - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Angenieux HP 25-250mm T3.7 Zoom Lens = $8,000 Includes: - 122.5mm to 138mm Step-Up Ring - 138mm Sunshade - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Canon FD 600mm T4.5 Telephoto Lens = $3,000 Includes: - Hood Extension - Tiffen 2x3 Pola Filter - Tiffen 2x3 85 Filter - Tiffen 2x3 85N3, 85N6, 85N9 Filters - Tiffen 2x3 ND3, ND6, ND9 Filters - Tiffen 2x3 ND3, ND6, ND9 HE Grad Filters - Flight Case Canon FD 800mm T5.6 Telephoto Lens = $3,000 Includes: - PL & PV Mounts - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Hood Extension - Tiffen 40.5mm 85 Filter - Tiffen 40.5mm 85N3, 85N6 Filters - Tiffen 48mm 85 Filter - Tiffen 48mm 85N3, 85N6, 85N9 Filters - Flight Case Fujinon 18-85mm T2 Premier Zoom Lens = $25,000 Includes: - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Nikkor ED 200mm T2 Telephoto Lens = $3,000 Nikkor ED 300mm T2 Telephoto Lens = $9,000 Includes: - Century Precision 1.4x Extender - Century Precision 2x Extender - Hood Extension - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Tiffen 40.5mm Optical Flat (Clear) Filter - Tiffen 40.5mm Polarizer Filter - Tiffen 40.5mm 85 Filter - Tiffen 40.5mm 85N3, 85N6, 85N9, 85N1.2 Filters - Tiffen 40.5mm ND3, ND6, ND9, ND1.2 Filters - Tiffen 40.5mm Black Promist 1/8, 1/4, 1/2, 1 Filters - Tiffen 40.5mm White Promist 1/8, 1/4, 1/2, 1 Filters - Tiffen 40.5mm Coral 1/8, 1/4, 1/2, 1, 2, 3 Filters - Tiffen 40.5mm LLD Filter - Tiffen 40.5mm 812 Filter - Tiffen 40.5mm Ultra Con 1/8, 1/4, 1/2, 1, 2, 3 Filters - Tiffen 40.5mm Enhancer Filter - Tiffen 40.5mm Supafrost 0, 0+, 00, 00+ Filters - Tiffen 40.5mm Green #11 Filter - Tiffen 40.5mm Red #25 Filter - Tiffen 40.5mm Yellow #8 Filter - Tiffen 40.5mm Mitchell A, B, C Filters - Flight Case
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Here's my piece 'Luthier'. It's the making of a classic guitar by an artesanal luthier. Shot on Aaton XTR XC + T2.5 Cooke Varokinetal 9-50mm lens + Kodak Vision3 500T and 250D. Processed and scanned on a Scanity (4K) by Cinelab London. I made the live recording of the music in the theatre using a Rode NTG4+ mic into a Zoom F3 recorder. The music was composed by Jeremías (the guitarist/luthier) and is called 'Aida' named after my mother that passed away a couple of Decembers ago. The why: finding out this talented busker was also a luthier, I asked him to make a guitar for me with the idea of filming the whole process. Both the guitar and the 'piece' are intended as a family heirloom. I can't play a note myself! I want to pass the guitar down on the one hand and have the 'filming' as a testament to my 'art'. I hope you have a bit of time to watch the piece. I will be entering it into the very modest Gibraltar Visual Arts Spring Festival in some months time. If I win it will pay back some of the costs I incurred and that's good enough for me haha. Watch at 1440p on YouTube for the best quality! Thanks for watching if you do watch!!! -
Hi everyone! I recently shot on 16mm for the first time using a Bolex H16 SBM with a Vario Switar 16-100mm zoom lens. After getting the scans back I noticed that it was severely out of focus in a lot of the takes. It would often be sharp for the first couple of frames of the take and then shift focus considerably even though I was not shifting focus via the lens. I was wondering if this might be an issue with the pressure plate in the Bolex, where it might be slightly moving backwards as the film travels through it, affecting the focal plane. I’m certain I had the pressure plate locked into place correctly when shooting. I used a tape measure from the focal plane of the Bolex to measure the distance each time to the subject and then set the lens accordingly. Here are some examples of the film shifting in and out of focus. Footage Examples And here are some stills: Frame 1 of Clip 1 A few frames later from Clip 1 Frame 1 of Clip 2 A few frames later from Clip 2. I was wondering if anyone had any advice on what might cause this and if it is a pressure plate issue? I’ve also attached a videos showing the condition of the pressure plate and how the motor runs etc. Bolex Motor Running Here are is a photo of the pressure plate. I should also note that when the focal length of the zoom lens was set to 100mm it seemed as if the focus didn’t shift for whatever reason.
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I’m looking to shoot a short film with Double X on 16mm, probably with a yellow filter. I can’t seem to find high quality scans shot with this stock for reference. Before I start testing the stock myself, I would very thankful if someone could share their footage and experiences with the stock. Greetings, Ivan Dimitrov -
I can't seem to identify why or where theses straight lines are coming from. Theses lines are not on the entire rolls, they come and go. I've completely cleaned my bolex multiple times. Any ideas ?
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Hello! Long time lurker, first time posting. I'm in the middle of prepping for a commercial shoot on 16mm, and I haven't shot film in over 10 years, so I'd like to brush up a bit on technique. Normally I have been shooting Alexa 35 or Mini LF rated at 200 or 400 ISO since I really don't like noise, and have been enjoying using it that way, as long as I don't clip highlights I find it works wonders. In that sense I think I feel comfortable shooting in the film speeds, but what I'm trying to decide on is how to expose which stock. If I'd like to shoot clean 16mm should I choose 200t and over expose by one stop and process normally, or pull one stop? Same thing for 500t, does an overexposed by +1 and normally processed 200t look cleaner than 500t pulled by 1? What about 250d? I read on the ASC article for "First Man" and saw that the majority of it was 500t, normally processed and rated at 250, and found it a bit dirty in the grain. Would pulling it help? Also, I probably won't have access to test rolls, so in general, if rating for box speed, what's the DR on Vision 3? in general, how many under/over if reading on a spot meter? Thank you all for your time and help -
When we talk about Super16's resolving power being lesser than Super35, what precisely are we referring to? The negative's resolution? Its dynamic range? Its color gamut? And if we are in fact referring to those three factors, then WHY exactly is Super16 so different than Super35mm in these ways? Super16 is 12.52mm x 7.41mm, whilst 4-perf Super35 is 24.89mm x 18.67mm. If it's a question of the grain being perceivably larger when shooting on a smaller format medium then why wouldn't simply shooting a slower speed film on Super 16 more closely resemble Super 35 on a faster speed of film? Because I will tell you, it certainly does not from what I have seen. Is part of the answer due to the fact that one would have to shoot in a wider focal length to get the same field of view on a smaller format medium? What are ways that one could manipulate a Super 35 negative in the exposure stage, development stage, or both, to get the resulting negative to hold properties which closer resemble a Super16 image? The obvious answer would be to push the negative, but another interesting idea I have heard would be to have the negative either pre or post-flashed. This would reduce the resolution and dynamic range by the corresponding stop of exposure you decide the have the film flashed at. All and all, I have a lot of questions on this matter, and I would love to hear some feedback from a filmmaker with more experience working with celluloid than I. -
Back in the day, you could pick up a reel and see what's what instantly. Green leader was for the head and red for the tail. All sort of colors of the rainbow as well. But red / green was pretty standard. Nowadays you are lucky to find white leader. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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It is unusual that films come with a scan, but this film did. It was a MP4 file, about 300 mb. You buy a film for $10...you get a scan for free. It was a decent scan for online use; the only problem was the film was faded pink and had no color left to recover. You know the type, if you have been around old film... eBay photo ~ Fair Use I have a ton of these pink films in the archive. What I do it to turn them into B&W. That is what I did here. 'The Lumberman' (1965) Encyclopedia Britannica 'The Lumberman' (1965) D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive No idea how many red films I have. I will have an idea if and when I ever get them all inventoried. I'm maybe 55% done with the inventory. I haven't done any work in that area for a few years. I still need to organize the shelves in ABC order. This area will be for 'M to R' films. There is a duplicate set of shelves behind this set for 'S to Z.' 'H' section has its own shelf unit, is the biggest section. Tons of H-ome movies there. Small gauge film is the largest area of archival preservation I work in...yet it is the least utilized material in the archive, as I have no decent scanner. Film preservation is a fascinating area to work in. It is like Christmas every day when you are working with 'pig in a poke' films. No idea what you will find! Can't go by the reels or cans. Much of it never matches the film or films have no labeling at all. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hey everyone, I am selling: Arriflex SR3 Advanced SN/4244 S16 camera with accessories. Laowa Nanomorph S35 set 1.5x PL/EF Laowa Nanomorph MFT 20mm T2.2. PL/EF 8mm f2,0 Carl Zeiss MK II Arri PL Arriflex N16mm DJI Ronin 2 Gimbal set with accessories All the equipment was only used for one project. Pictures: https://drive.google.com/drive/folders/1uEg8kanNRrTdorV_sO5uPW1uKMzNTi1r?usp=drive_link All the equipment is located in Mainz, Germany (come over for a test). private sell // purchase contract will be made! If interested, contact me: info@joshuamaciejok.de ARRIFLEX SR3 SET // Selling my Arriflex SR3 Advanced kit with accessories. The camera shows normal signs of wear, but works perfectly. Two of three 122m magazines have lost their meter/feet display, but it does not affect the film. I bought the camera kit from kamera_doctor himself; it was never rented out, while I owned it. Arriflex SR3 Advanced S16mm camera Video tap HD-VIS mk II (kamera_doctor) V-Mount Adapter TopHandle and Sideplate (Ratworks) 3x 122m Arri Cassettes Handgrip + Rec-Button 8x Fischer 3 Pin Cable D-Tap to Fischer 3 Pin Splitter D-Tap to Fischer 3 Pin D-Tap Splitter Wooden Shoulderpad Rod Rod-Extension Elokuvakonepaja Baseplate Viewer-Extension Pelicase 1630 ASKING PRICE: 24.000 € Last Project shot on Arriflex: https://vimeo.com/987105111/997b00da64?share=copy LENSES SET // Carl Zeiss MK II // 8mm f2,0 // PL N16mm (good conditions; focus ring is soft, but works fine) ASKING Price: 1.500 € Laowa Nanomorph 1.5x // 20mm T2.2 // MFT PL/EF (mint condition, like new) ASKING PRICE: 1.950 € Laowa Nanomorph 1.5x // 27mm T2.8 // S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 35mm T2.4 // S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 50mm T2.4.// S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 65mm T2.4.// S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 80mm T2.4 // S35 PL/EF (mint condition, like new) ASKING PRICE for S35 set: 8.800 € DJI RONIN 2 SET // The Ronin 2 is in perfect condition, small signs of wear. 1 x Ronin 2 Gimbal 1 x Case 1 x Ronin 2 Power Hub 1 x Camera adapter-plate 1 x Top camera-adapter-plate 1 x Remote control 1 x Battery station 2 x TB-50 intelligent battery 1 x Battery power station 1 x Power Kabel 1 x Charging Hub 1 x Grip 1 x Accessory Pack (screws und hex wrench) 1 x cable package 1 x Monitor-Mount 1 x 15mm Rod Mount 2 x 15mm Extension Rod 1 x Ronin 2 Universal Mount 4 x Cinemilled Extension 1x Tilta counter weight, 0,5kg ASKING PRICE: 6.000 € Thanks! -
Cellulose diacetate and cellulose triacetate are both used as bases for motion picture film, but they differ in their degree of acetylation and other properties: Degree of acetylation: Triacetate has a higher degree of acetylation than diacetate, with at least 92% of its hydroxyl groups acetylated compared to diacetate's average of two out of three. Heat resistance: Triacetate is more heat resistant than diacetate. Durability: Triacetate is more durable than diacetate. Water solubility: Triacetate is water-insoluble and hydrophobic, while diacetate is more readily dissolved in acetone. Cellulose diacetate was first used in 16mm cinema films and some sheet film, but was gradually replaced by triacetate in the late 1940s. Source: Internet <><><><> Sitting Bull 1884 - American Indian L.O.C. / D.D. Teoli Jr. A.C. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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hello everyone, The Bolex EBM can only be powered with 12V. If my V-lock plate isn’t regulated for 12v but my cable powering the Bolex from that plate is regulated 12v, would that be okay ? Or does both need to be 12v regulated. Additionally and most importantly, any tips on rigging a bolex EBM with power + a rec and stop button ? Looking at all the options, but can't find many. Thanks !
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Just wondering if anyone has expierience with using Illuminas alongside Superspeeds and which one would be better. It'll be on a Krasnogorsk 3 with Pl mount conversion on a helmet cam pov rig. And many shots will be in low-light wide open, and just looking for which will be sharpest. And if either have odd quirks which might negate the others image quality.
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Hi all, I wanted to share what I've done with my Bolex EBM regarding the battery and maybe help any other people out there. I've done a lot of searching online, but I realised I would love to power it from a V lock type battery, for ease of use. I purchased a SmallRig battery plate (SmallRig Battery Adapter Plate 3204). I went for this one as it wasn't too expensive and after sending them an email, confirmed that the outputs on the plate are regulated (as the Bolex EBM requires 12V). Another benefit of this plate is that it has a power button, meaning the you don't need to get a cable with a switch to power on/off the camera. The button makes it much cleaner too. The plate was screwed on the back of the camera. This required a bit of modding and making the existing holes on the back of the camera a bit bigger (took me 3 minutes to do this). I made a custom cable, using a simple 5.5mm x 2.5mm DC barrel plug, and a Amphenol Tuchel connector (T 3475 005). Pin 3 is +12V and pin 4 is ground. This connector is really well made and fits perfectly with the camera, worth it in my opinion. Once the cable was made, I simply plugged it into the 12V output on the plate, and the camera works perfectly. Currently I'm planning on adding a small monitor and a small video assist as well, which will both be powered from the 12V outputs on the battery itself with a Dtap cable. The only drawback with this method is that you in reality need to use a video tap, as the viewfinder is blocked by the battery/plate. With a smaller plate and battery, it could have probably been avoided. So far I'm quite happy with this setup!
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Hey everyone ! I know this is a topic that's been mentioned on this page before, however I wanted to confirm a few things as it hasn't been addressed in a while. I'm looking to convert my double-perf Bolex to single, so it can take Vision3 stock. This is a H16 non-reflex model which I bought for very cheap, so I'm not too worried about the DIY nature of the conversion. I hope to grind down the teeth on the side where they're not needed, however I'm unsure whether I should use a dremel / sandpaper whilst the rollers are still IN the camera, or whether I should try to remove them myself before grinding them down. I've read a few forums mentioning how the rollers are aligned, and that taking them out might prevent the camera from running properly if they aren't placed back in their exact spot. It would be great if someone could clear up whether this is the case. I'm also struggling to work out how to remove the rollers, as they seem firmly attached to the camera. Would appreciate any guidance on this.
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I’m having a problem loading my film. When I load the feed side of the mag and run the film through the take up side, I plug the mag into the camera and do a test run but there’s a bad sound and the film gets spooled up in the feed opening, there’s too much slack that doesn’t go away when winding, and the stock gets punctured. Is there any way to fix this? I changed to a different mag and it’s still a problem.
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There were a few threads on widescreen 16mm that had it individually brought up with links to defunct websites that supposedly had more information, but I want it for here, does anyone have any information on the 16mm anamorphic process known as tronchet scope, like what gear was involved? I know it was a system based on an anamorphic adapter placed in front of primes on a 16mm camera and that it was used on a few movies back in the day like Lucile Hadžihalilović's "La Bouche De Jean-Pierre" or "Jean Pierre's Mouth", Gaspar Noe's "Seul Contre Tous" or "I Stand Alone", and Carlos Reygadas's "Japòn". If anyone has any other information on this system please drop it here.
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This blimp is in really nice condition for it's age. I think it'd be a classy display piece - especially if you pick up a wooden tripod for it. This is for a LOCAL SALE ONLY in Los Angeles. I won't/can't ship this heavy blimp, unfortunately. I do not have a case for this blimp, so someone will need to pick up and pay cash (or Zelle) in person. I usually live in NYC but plan to visit LA at the end of April. If timing doesn't work for a sale while I'm visiting LA, a family member can assist with the transaction. I never actually used this blimp, but in the early 2010s I did have an electrician friend who worked at Clairmont Camera change out the cracked old plastic power cable connector on it. It used to have a very old (and unrecognizable to me) power connector, and my friend changed it to a 12V 4-pin Cannon (XLR). So that's the connector that can now power the blimp (to power camera inside and light inside the blimp). I can make no guarantees about the functionality of this blimp and how much it could quiet down a 16S since it's been a while since I did a test run of a camera in it. From my memory, I think one plate was for the an Arri 16S camera, and the other type of plate was for the Arri 16M camera, but I don't remember if I actually ever tested both my 16S and 16M cameras in this blimp when I owned them, so I really can't make any promises there either. If I had the space for this at my NYC apartment (I really don't, unfortunately), I'd keep this and put it on display. As you can see in the pictures, there are some small spots of light rust. You can also see the fabric accordion style matte box bellows have gotten a little rough over the years. This was stored in a climate controlled house (not a garage), but there are a few signs of it's age. Pictures: https://www.flickr.com/gp/95212445@N02/9Kfx5563yb 3 short video clips: https://vimeo.com/931613961/34f5b7268e https://vimeo.com/931613968/723d9724db https://vimeo.com/931613980/4ae8cba03c $600 O.B.O.
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I recently purchased a Kern Switar 10mm f1.4 lens, which appears to be in good condition, for use on my Bolex EBM with a c mount adapter. However, when mounting this lens I encountered a strange problem where it would only focus at extremely close distances and leaves the rest out of focus. Seems like this lens is not in such great shape after all but wondering if anyone knows a fix? Thanks for any help! -
I know there are many Krasnogorsk haters on this forum but I wanted to share this awesome project by Russian DP Max Ivanov. It's been 2 years in the works and so much effort has been put into this with a ton of custom machined parts and boards. Here are the specs as shared on the Instagram page for the project: - Camera works with 7-12V batteries (it has a 2-pin lemo connector for power input) - Swiss 100 watt BLDC Motor. (BLDC motors have longer service life and were installed on the Aaton A Minima, XTR Prod, Arri 416.) - Motor controlled and stabilized by a microcontroller - Sync is accurate to 0.001fps at 25fps. (between 0.01-0.001 at other framerates) - Framerates: 1-50 fps - Video tap is based on GoPro internals which allows to record the tap feed in-camera. (Max said he will be adding a cable clamp / adapter since it uses the unreliable micro-hdmi connection from the gopro internals) - Optical viewfinder can be used at the same time as the video tap - Wi-Fi control which allows to set framerate and run/stop wirelessly via your phone - Electronic footage counter. (Maintains footage count after being powered off and has a reset button) - Super 16 gate with ground glass adjustment mechanism. FFD can now be easily tuned and will be precisely set on every model. Max will also be selling a set of tools for calibrating the FFD on this camera so you will be able to calibrate it yourself (I can already hear some of you complaining about how nobody should attempt to do this on their own unless they're a trained technician) - Super 16 viewfinder with correct markings - PL Mount Obviously not a camera for every situation, like narrative projects or basically anything with dialogue. However, I think it's perfect for more abstract projects like music videos or fashion films, especially when you need to move fast and do dynamic handheld stuff. I have one preordered and am super excited to test it out once it's ready! (I think the current eta is March/April)
