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The House I Live In (A documentary about the keeper of the Siberian film archive) At a distance of three thousand kilometers from the capital of Russia, in the Siberian city of Novosibirsk, in an old dilapidated barrack from the time of Stalin, cinematographer Anatoly Antonov lives. He is the last curator of a unique film archive of documentary chronicles filmed in the 1930-1980s about the life of Siberia and the Soviet Union. A small sketch filmed with a Lumix GH5 camera with a LOMO anamorphic square front cinema lens BAS series (35BAC10-2-01 f=35 mm T2.8)
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Hi I just purchased a konvas 2m, new to this camera. What tripods would fit for camera. Also any stabilizers or glides that will fit.
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I became interested in microcontrollers a while ago and I am considering a DIY sync sound motor for my Kinor 2m camera. I also have other cameras which could use a stable speed motor (for example my 35mm Soyuz-US3N camera and the rheostat motored Konvas 1KCP. This is because there is no available motors of any kind for Soyuz and the rheostat Konvas never had any sync motors made originally) . I started with the 16mm Kinor motor last month and I'm refining the analog control electronics and fine tuning the code now. I was just thinking, is there lots of people out there who could use a customisable sync sound motor on their camera and if so, which exact camera models would be the most in demand? If there seems to be some common interests then I could take them into account when developing my own motor project and it might be easy to make custom solutions for other persons cameras as well. --------- What would be the absolutely mandatory specifications for this type of motor? I am aiming for +/- 10rpm accuracy at the moment but we will see how accurate the diy solution will be when it is fine tuned for the specific motor and camera model. That 10rpm accuracy would be about 1 frame drift for every 2.5 minutes of footage shot which should be usable for sync sound uses in indie films which have relatively short takes (a minute per take for example). My current design for the Kinor16 motor will have 6 different preset speeds and it uses the original pilot tone generator just like the Olex crystal sync modification does though my design is not as sophisticated or accurate (one gets what one pays for :) the Olex motor is better and my design is cheaper). - what type of camera and "wild" motor would most urgently need a digital speed stabilising system like this one? - how accurate the speed needs to be. how much it can drift to be usable? I am talking about minimum specs which would enable practical use of the system, NOT about how much would be nice to have :) - how much it can cost, in case there seems to be so much demand that it would be doable to do for example a dozen or so of these? - how much the end user can assemble by themselves? is a parts kit with pre drilled circuit board enough (needs soldering and a little bit of tuning) or only fully assembled board would do? - it is very clear from beginning that this type of product needs to be user installed to be a viable option. It would not be economical to ship cameras and motors back and forth between continents, that would ruin the whole point of this type of motor solution - what kind of inputs for the encoder which is attached to the motor. My current design uses the pilot tone generator signal coming from the Kinor motor but for other cameras I will use either a encoder disc or magnetic sensors for rpm feedback.
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Hey everyone, I'm getting ready for a film challenge where our entire short will be made on a single 100 ft reel of Kodak 7219 and shot on a Krasnogorsk-3. In preparation for the shoot I decided to do a lens test with the stock Meteor 5-1 lens on my original Blackmagic Pocket Camera. Surprisingly though, my footage all seemed to be about a stop under exposed. I know that the aperture of a lens doesn't always let in as much light as it should and that T-stops are supposed to correct for this, right? So is this the case here? Have those of you that use the Krasnogorsk-3 encountered this problem? Does this mean that when shooting I should meter for 250 instead 500 to get proper exposure? Any thoughts?
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For sale is a gorgeous Ekran Anamorphic Zoom lens, 40-120mm F2.5 T3.1 35mm format with PL-mount (model number 35OPF19-1A, serial number 850003). http://www.ebay.com/itm/Ekran-Anamorphic-Zoom-40-120mm-F2-5-T3-1-PL-mount-35OPF19-1A-Russian-35mm-Lens-/182554997311
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Kinor 35H (9KCH-M2) - Russian Professional 35mm Movie Camera Set Most of you probably know the story of the Kinor. This unit is in perfect working order. It has been well maintained and upgraded. The upgrades electric rewiring to work with standard XLR plugs, rewiring of the interior electronics, adding a video tap, adding a BNCR mount. The camera has been and is regularly serviced by a qualified technician. The buyer will receive a fully working, colimated kit that will be serviced by the technician prior to the sale. The camera has worked on quite a few gigs recently, but as we own another 35mm kit, the time has come to sell as we can't justify two kits. So this isn't your typical Russian "I don't know if it works kit", but a much loved and well maintained unit. PM me with any questions. Here is a link to the ebay auction: http://www.ebay.com/itm/Kinor-35H-35mm-Movie-Camera-/182497662948?hash=item2a7db557e4:g:pygAAOSw2gxY0QPB During the '84 Los Angeles Olympics the Soviets were boycotting the games, but they sent camera crews. Moviecam Super America cameras were being used there by American crews. It was the first time those cameras had ever been seen by the public. Right in the middle of the games one of them vanished. They were $200,000 cameras. The missing camera was never found. A couple of years later the Soviets introduced the Kinor 35H, which certainly seemed to be inspired by the Moviecam. Though they never admitted to the theft, most people suspect that the Soviet crew stole the Super America and reverse-engineered it. This particular unit was bought from Cannon Films and the word is that it was used on various movies produced by them in the Menahem Golan and Yoram Globus era, including Delta Force 2: The Colombian Connection, Ninja Trilogy and Cyborg amongst others. The camera comes fully kitted and modified to modern standards. It has two lens mounts - BNCR & OCT-19, is manufactured of sync sound (-32db), comes with a B&W CCD video assist has updated power inputs for XLR use and updated reg pins for use with Kodak Negative. It is fully working, tested, and in excellent condition. The camera has been well maintained and serviced throughout the years. It comes with everything that you may need for setting up for hand held and studio work. The set includes an Anton Bauer charger and one XLR battery. Everything in the photos is included. The camera comes in 5 original metal cases. The camera is a great model to adapt to two perf for shooting Techniscope 2.35 with spherical lenses. SPECIFICATIONS LENS MOUNT: BNCR & OCT-19 SHUTTER: Rotating Mirror - 180 degrees FRAME RATES: 8-32 fps in .1 fps increments w/speed control; crystal 24 & 25fps MOVEMENT: Single pulldown claw and single registration pin FORMAT: 35mm; 1.66, 1.33 ground glasses; modified 1.78 SOUND LEVEL: 24-32db depending on speed WEIGHT: Hand-held: 28lbs w/500ft. magazine and prime lens MAGAZINES: 2 x 500' (150m) and 2 x 1000' (300m) w/built-in torque takeup motor system MAGAZINE MOUNTING: Rear of camera; lowered/raised positions, depending on mode Camera comes with a magazine wedge MAG DRIVE: All electronic via multipin interface FINDER: Short for handheld - fully orientable; projection from camera side is adjustable Long for tripod mount fully orientable; projection from camera side is adjustable FOLLOW FOCUS: Single knob on camera for handheld Double knob on base plate rods for tripod mount BASE PLATE + RODS: Fully sliding dovetail; quick release SIDE RODS: On camera mounting; swing away MATTEBOX: The matte box is the only piece on the camera that could be considered dated. However it does serve it’s purpose and comes with sunshades for lenses from 28 to 100. It is a swing-away model with filter trays accommodating 4x4” and 4x5.65" filters HAND HELD: Handle with remote control cable POWER: 14-21 volts dc Anton Bauer charger with battery CASE: 5 original metal cases
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Ive got a few Konvas magazines that need servicing. I can't get them to load right to save my life. Anyone know where to get them serviced? I emailed Olex a month back from the email off his site but never heard back. Don't know if he's gone or what. Thanks
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Ive got a few Konvas magazines that need servicing. I can't get them to load right to save my life. Anyone know where to get them serviced? I emailed Olex a month back from the email off his site but never heard back. Don't know if he's gone or what. Thanks
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I'm looking into buying a K-3 on Ebay, and was wondering what people's experiences have been like buying them there, from sellers in Eastern Europe and Russia. Anything to look out for in particular? My goal is to end up with a body, a couple of lenses, and a Super 16mm gate. I've seen the American website that sells them converted already, but it's just more than I can afford right now, so I'm hoping the Ebay route is actually feasible.
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1 set of OCT18 LOMO Prime Lenses I am the only American owner of these lenses since a direct purchase from the Ukraine in 2004. 75mm 2.2 50mm 2.2 35mm 2.2 All Lenses made in 1978. OCT 18 Lens Mount $725 USD - FREE SHIPPING within the United States https://www.flickr.com/photos/132493942@N02/sets/72157652638064874
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Cinematographer - Oleg Zayanov (Los Angeles, California) Born in Russia, Moscow WEB - vimeo.com/olegzayanov Canon 5Dmarkii + 24-105L
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Hello everyone. Six months ago, I arrived in Los Angeles from Moscow, where for 6 years he worked in television. Now actively learn the language and do event videography. Much before moving sold, so not removed on an expensive camera. I would like to get acquainted with working in California. My work can be viewed:
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Hi all, I just picked up a K-3 for a comparatively inexpensive price. When I got it, I discovered the camera was jammed, and at full wind -- about 4 full turns -- it would only run for about eight seconds. I fixed the jam by raising the height of the drive sprocket -- it looks like someone who didn't know what they were doing took the thing apart to try and work on it, because the threads on one of the screws/posts holding the baffle plate on were stripped. Since I was able to fix the jam so easily, I'm wondering if anyone knows what the problem with the short run time is. If it's a matter of resetting something so the spring is allowed to wind fully, and is a procedure that's reasonably easy to do, I'd consider trying to fix it myself. Otherwise, I'll probably send the camera to DuAll. I figure it's not worth returning, because the combined shipping costs will then be as much as the camera. Does anyone know what might be causing the short wind, and is it possible to fix without the spring lopping my head off? Thanks in advance, Max
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I just bought krasnogorsk-3 and while i'm waiting for it to arrive i started to search for some data about it. To be quick here are the two main questions that i can't find any reliable answer to: 1. When did the production of k3 start and when did it end (- i guess with the collaps of ussr)? 2. Are there any movies that were shot with k3 (- i'll have to wait for a week or two until it arrives from Russia to Croatia, so i would like to watch some movie filmed with k3)? Sorry if there's already a post that answers this questions, i went through a lot of posts about k3 but i couldn't find anything.
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