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Cfreak

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Posts posted by Cfreak


  1. Thanks Eris & Cineman1!

     

    I actually bought my Moeller 7 years ago before this craze, actually for my Bolex Super16mm RX-5 as a nice to have item. It was ca. $500 at the time. I am actually on a budget today

     

    OK I will have to look for a res stan clamp. Any good alternatives? Vid-Mid-Atlantic makes one and there are some on ebay...


  2. How are you guys connecting your Moeller 16/32 to the taking lens?

    I have one of these anamorphics and read on an ebay auction to just use a 52mm (Nikkor taking lens) to 39mm step-down ring. It does work but the Moeller will rotate easily as it doesn't tighten up at exact the spot I need it to, so it is a little loose.

    Also, any idea for a rear lens cap for this expensive piece of glass? I need one...

    Many thanks!


  3. Way to go Andrew! All these musicians and clubs need visuals, it's a small market, but, Berlin is a great place to be to do it.

     

    Something similar happened to me 8 years ago in Switzerland. I shot a student music video project on s16mm & Digibeta. The students were inspired by a track from Ellen Allien. They contacted her in Germany, through her label, sent a link to the video and she replied, 'Hey, that great, but, you should use this track off my unreleased album'. They re-edited to the new track (which was much better anyway) and her label bought the video (for cost, no profit for us) and the track was included on as a "bonus video" on her CD "Thrills".

     

    Sometimes the stars align. Here's a link:

     

    Congrats again.


  4. outcry by many photographers who "don't want video."

     

    Third, see first point. Bean counters play it safe.

     

    They're all fools. I'm hearing from many photographers that they're losing business because they don't do video. For web photos, companies are want to save a buck and take stills off HD video and call it a day.

     

    AR: the video is interesting, the frame rate of this camera is not. Mega Video stimmung mann! I didn't watch enough to see if the Clockwork orange references got more severe. Alex rules!

     

    If Olympus would give us better frame rates, they might sell some more of these cameras. 


  5. Thanks Kays for your impressions.

    I think the built in battery and SSD make it a less versatile, more niche product.

    All Bolexs had to have film put in them, so there's no aesthetic reason to not make them user replaceable.

    Original RX Bolexes also has a viewfinder, which was a luxury at their price point and part of their continued use many years after production ceased. The momentary on/off switch in the handgrip was convienient and you only has 3 minutes on a 100' daylightspool, so it help you to conserve film.

     

    The D16's lack of accessory mounting options and XLRs in your face (if you're a righty) might get annoying. It might also make it a very popular camera with lefties and some creative customizations might come about with a little time (good point).

     

    I hope the passion and image quality/global shutter make it work. I have a lot of C mount glass I might/could use on it.


  6. Looks cool. I will check it out. 

     

    I would advise anyone taking their expensive camera with open ports on the side, on to open water, to consider using a bit of plastic. Punching a hole for the lens in a ziplock works great. Keeping one in an inside pocket of your favorite work jacket for emergencies, can save your ass (your cam or your phone!).


  7. I skimmed through the Metabones documents and despite seeing warning as: BMCC version can only be used on the BMCC is there and reason this version couldn't be used on the BMPCC? Did Metabones indicate there would be physical interference or vignetting with this version on a a GH2 or GH3?

     

    Dooh! I can answer one of my own questions about the BMCC speed booster, yes it can be used on the BMPCC with resulting in a 1.93X crop factor. The chart is attached, it was buried in the Press Release on page 6:

     

    post-13681-0-08354600-1386001550_thumb.p

     


  8. Great article Andrew and great news for us.

     

    Is that a Leica R lens you adapted to Nikon mount (not M or LTM mount), correct?

     

    Metabones is taking advantage the added space in the BM cameras since they don't have mechanical shutters, like the GH2 and GH3 do, correct?

     

    I skimmed through the Metabones documents and despite seeing warning as: BMCC version can only be used on the BMCC is there and reason this version couldn't be used on the BMPCC? Did Metabones indicate there would be physical interference or vignetting with this version on a a GH2 or GH3?

     

    I do see the BMPCC version has the deepest protruding rear element and is specifically made for the smaller S16 sensor, so it's obvious to me there that version won't work on anything but a BMPCC.

     

    Thanks for your replies and all your good work!


  9. Thank to Andrew's article I caught it last Thursday on the last day it was screening in my city. It wasn't the largest cinema, but, still the big screen (ca. 40 feet wide). First, the film is very original and intriguing, storytelling in a way I haven't seen before. That being said, the content kept the surprises coming rather sideways, if that makes sense.

     

    IQ: I arrived a few minutes late and the film had already started. It was screened in a science museum, I had to walk all the way throught the museum and to a lower level to find the cinema. I guess they don't show trailers there. As I took my seat, my first impression was that the whole image was overall a bit soft. It may have been the projector or the source. I don't know. As I can't help myself, my first instinct was too look for signs that this was shot on a GH2. After 20 minutes I hadn't seen any moire or banding and just forgot about it and got into the story. Not once in the film did I see something that would have clued me in that this was an 8-bit DSLR. I was looking for it, but, didn't see moire in the hair of the actress, as someone here reported. That being said I did feel that overall the film was shot rather close, there were few wide shots and they weren't held very long, if memory serves. Wether intentional or not, this will help to reveal the banding  and tiny moire problems the GH2 has. After the credits ended a "BluRay" logo was displayed on the screen, leading me to wonder had it been played back off BR? The only other time I saw a film in this theater was last fall at a film fest, where a friend screened her 1st feature (shot on Red) and she screened it off BluRay, and the IQ looked flawless. So I do believe they screened it of BR.

     

    I would be very curious to know what, if any, image improvements they made to it during post.

     

    In any event, it's a film definitely worth checking out if you get the chance. Some will love it, some will hate it. He took risks, that's what counts.

     

    PS: Does anyone know which city it was where they met on the street car? USA? Canada? Tx.

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