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DanC1

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  1. Like
    DanC1 reacted to Rudolf in Anamorphic super 8   
    Of course the mighty Iscorama 54 is the best bet for Super 8. It was built for that purpose. Works great with the high quality Schneider zooms you could find on many different Super 8 cameras especially the better ones (Leicina, Braun, Beaulieu, Movexzoom, Fujica ZC, Nikon, Canon). But this is quite expensive. I have another suggestion but I am not sure if this will work (I sold my Sankor 16F about 6 years ago...): The tiny and cheap Canon 310 XL-S is a great camera and has a very small zoom lens. This could reduce vignetting significantly. This could be a cheap alternative. Good luck!  
  2. Like
    DanC1 reacted to Rudolf in Anamorphic super 8   
    Stick to super 8 like me  Your Movexoom is a good camera. Most of the cameras are ridicolously cheap but stock and processing is so so expensive. I think its not cheap in Japan either. Single 8 was very popular there btw and is maybe better than super8. The problem with super 8 and anamorphic is that 2x stretch is too wide. The film is just too tiny and too grainy. The grain look oval. Thats why all those Iscos, Mollers (for 8mm) had only 1,5 factor. Only the Baby Hypergonar with 1,75 was wider. So you could achieve true 2:35 cinemascope. But the image was too bad. Try to use Kodak 50D negative stock that has so little grain like 16mm and will work best with your 2x Sankor. Keep on filming !
  3. Like
    DanC1 got a reaction from Rudolf in Anamorphic super 8   
    Hi, thought I'd share my recent experiment with you guys. What do you reckon? Worthwhile or stick to digital? 
  4. Like
    DanC1 got a reaction from Ian Edward Weir in Anamorphic super 8   
    Hi, thought I'd share my recent experiment with you guys. What do you reckon? Worthwhile or stick to digital? 
  5. Like
    DanC1 reacted to tweak in Custom Anamorphic Lens System   
    Wow, that time of the month again?
    For anyone actually interested you can get a custom clamp from Raf made almost exactly the same as a Redstan for far less. You will also get good customer service and a better than 50/50 chance of it turning up. Just email him if you want details (email on website), he's a super helpful guy.
  6. Like
    DanC1 reacted to tweak in Custom Anamorphic Lens System   
    What's very rare here?
  7. Like
    DanC1 reacted to Tito Ferradans in Anamorphic lens videos   
    test shot with Lomo Foton-A 37-140mm and Canon 50D.
    test shot with Iscoramas (pre36 and 54) and Canon 5D3.
    I have plenty of test videos with various lenses on my channel, but most of them are like you described (I always try to get people on all my shots), but shooting narrative is hard and expensive and requires much more preparation than a plain test. If you're shooting narrative, you're not testing, because it would be stupid not to bulletproof the workflow before heading down a narrative path with other people involved beyond the cinematographer (aka: me). That being said, I recently shot a 1.33x anamorphic shootout that I'm editing which is somewhat narrative (there's a very basic plot to it) and it should be up in a few weeks.
  8. Like
    DanC1 reacted to Bioskop.Inc in Anamorphic lens videos   
    Exactly what Tito said about the fact that you can't spend loads of time & money on tests. Here's some of my stuff:
    This was a test of a cheap anamorphic lens I bought in a drunken ebay bidding moment a few years ago at Christmas time (Canon 60D + Iscomorphot S8/x2:
     
    This is Short film I shot for a friend, using the same set up (60D + Iscomorphot S8/x2):
    And this is a short sequence for another Short Film, which I didn't like at the time, but have now gone back to the footage and am editing up for a quasi fake Documentary (60D + Iscomorphot S8/x2 - aspect ratio/squeeze is wrong on this one)):
     
  9. Like
    DanC1 reacted to Bioskop.Inc in Micro jitter help   
    I'm using the Mir-24M 35mm f2 with the Isco Widescreen 2000 (M=M42 mount, but it comes in a Nikon mount which is designated as the 24N), but i've also used the Nikon ai-s 24mm f2.8 with the Iscorama 54 - very pleasing results (without speedbooster clone).
    This is the last thing that I did that was completely handheld (no tripod at all), with the Mir-24m, speedbooster clone, widescreen 2000 & K3 pistol grip/shoulder mount:
     
  10. Like
    DanC1 reacted to Bioskop.Inc in Micro jitter help   
    Get a cheep speedbooster - the new Zhongyi v2 aren't a bad investment for about £100 & you should be able to go wider (you could go wider now if you crop in post - use the 4:3 guide on the pocket cam menu).
    Or just get a better tripod secondhand or a monopod (there's a topic in the general forum from Zac who recommended a good cheap monopod).
    I use a BMPCC + 35mm + x1.5/x2 and a krasnogorsk-3 pistolgrip/shoulder mount with a cheap z-finder clone - 3 points of contact & no micro jitters.
    Krasnogorsk-3 pistolgrip/shoulder mount - about £30 on ebay.
    Z finder clone - £5/10 on amazon.
  11. Like
    DanC1 reacted to Hans Punk in Micro jitter help   
    50mm makes sense on BMPCC - as that's about the widest taking lens without vignette. Often going as wide as you can helps reduce apparent shake when handheld. Sounds like an extra point of contact would be of benefit, either as a detachable stock like you mention in the pocket rig, or by making your own by using a baseplate and rods...extending the rods backwards towards the body and make or buy a pad to create a stock brace. Luckily, you can often find cheap parts on eBay to experiment with - to find what works for you.
    Another thing to try which can work very well, is by using a monopod (even a very cheap one) - will allow almost the same amount of freedom as handheld, yet allow a solid point of contact to the ground, whilst you can still move the camera around freely. This is the best compact solution for shots where you are going 'handheld', but the camera is to be repositioned quickly  - rather than holding the camera steady by hand (and introducing shake) - the monopod takes the weight. You can also retract some monopods (with a ball or fluid head) down to be small enough to tuck into your belt to make an angled brace support.
    I've often found a combination of monopod and higher shutter speed (to help stabilise in post) is a superb way of achieving smooth handheld results from a smaller camera.
  12. Like
    DanC1 reacted to Hans Punk in Micro jitter help   
    What camera you using out of interest...APS-C sized sensor or smaller?
    3 initial ideas come to mind...
    1.Configure or buy a camera cage or cheap baseplate with rods and attach handles and/or shoulder pad to act as a basic brace or full on shoulder rig for your camera. If your camera has fixed LCD monitor, grab a loupe to attach to it and configure a lightweight rig that suits your preference and budget. A loupe will also provide an extra point of contact between you and the camera to minimise shake and jitter. Building your own brace style rig can be done very cheaply by sourcing DSLR rig components on eBay.
    2.Shoot at higher shutter speed than normal, so that each frame is crisp with minimum/no motion blur. Then feed the footage into Adobe's warp stabiliser in premiere or after effects to take the shake out. Having crisp frames enables the stabilising software to work much better. If you want to re-introduce motion blur to your shots afterwards, you can do this in Adobe after effects.
    3.Buy a better tripod.
     
  13. Like
    DanC1 reacted to ken in 16mm film and Anamorphic lens   
    Wider means less  vignetting for using the same prime lens.  I still own it.  It has similar size as 16F.  But shorter, and have bigger front glass.  So it could be used on wider taking lens.  So I just simply said it is wider.
  14. Like
    DanC1 reacted to Gabriel Copoeru in 16mm film and Anamorphic lens   
    Probably it will vignette bellow 28mm or so. If you have the M42 mount version Krasnogorsk, you should use M42 lenses, as the Meteor zoom will throw the anamorphic alignment off.
  15. Like
    DanC1 reacted to Zak Forsman in Dog Schidt Optiks meets my BMPCC   
    Got a great deal on a new BMPCC during a Black Friday sale for nearly 50% off. It's my first Blackmagic camera (I have the Micro pre-ordered) and have been eager to pair it with the Trump lens set I ordered from Richard Gale. I took possession of the set a couple weeks ago and have started shooting a short film with it. I love the versatility in terms of contrast control (from standard to ultra-low) and the variety of aperture discs. The 2x and 3x ovals are my favorite. Made a quick comparison of the two here.
    But this week I finally started shooting a short I've wanted to do for some time. I work professionally as a freelance editor so this project is being done as schedules allow. Shooting RAW has been an eye-opener for me. For the last year I've been trying to wrestle a GH4 into being something it just wasn't capable of. And have come to the conclusion that I should have traded 4K for color science and dynamic range a long time ago.






     
  16. Like
    DanC1 reacted to Bioskop.Inc in Advice needed for dual focus setup   
    I found that timelapses are difficult with the BMPCC & simply resort to using a DSLR, but that looks fine.
    What I meant about focusing wide open (or there abouts), was just about getting critical focus - once you achieve that, then you stop down the taking lens. The problem with trying to focus when your taking lens is at f8 is to do with depth of field - there are more things in focus. For example, if you set your lens @ 10m & stop down your lens, then the area of what's in focus could be between 8-12m (this is not exact, but an example), as opposed to if you shot wide open, where only objects @ 10m will be in focus. So you never try to focus with a lens stopped down, simply because you'll never be able to achieve critical focus - you stop down once you achieve critical focus.
    Hope that makes sense.
  17. Like
    DanC1 got a reaction from Bioskop.Inc in Advice needed for dual focus setup   
    Ok itsup now. 
     
    https://vimeo.com/152842865
  18. Like
    DanC1 reacted to Bioskop.Inc in Advice needed for dual focus setup   
    This can be tricky, what i've done in the past is to focus on an object in the distance (use the zoom function on the pocket) & open up the taking lens aperture (you'll need an ND filter or just fiddle with ASA/shutter speed & then change it back). You either set the taking lens or anamorphic and fiddle with both like crazy until the object in your sights is in focus - this is why people say that dual focus is a PITA.
    IMHO, for landscape shots, just set the anamorphic to infinity & then focus with the taking lens (remember to open up the aperture whilst doing this & then when you have infinity focus, stop down your lens to f8 or whatever you want).
    Dual focus anamorphics take a while to get used to, but its all about practice! Just remember that you're not going to get critical focus with your taking lens stopped down & forget about focus peaking - your eyes will do a better job.
  19. Like
    DanC1 reacted to Bioskop.Inc in Horses through fire - A (very) short documentary I made using RX100's 100fps feature   
    That's what a PhD in Horror films will do to you.
    Got to remember that intentions of a filmmaker & audience/critic interpretations can be different, normally are.
  20. Like
    DanC1 reacted to Hans Punk in Horses through fire - A (very) short documentary I made using RX100's 100fps feature   
    On repeat viewings and clearer thinking through of its intention - it is a powerful piece. But I'm still torn between thinking if its presentation style helps or hinders the intended purpose.
    As a filmmaker: I see beauty,history,trauma in the images - like a moving painting from the napoleonic war. I can appreciate the artistic merit of images separate from the subject matter and its possible controversy. Some beautiful images can be found from very ugly things.  
    As a 'regular' guy: I see pointless trauma being inflicted onto animals but presented in a confusing way that reminds me of a high budget car commercial.
    I guess my only feeling is that I'd prefer to see it as part of a longer documentary that invested time into the people who contribute to the tradition, as well as those who appose it. Having a montage with slow motion 'beauty and wonder' aesthetic is a powerful cinematic tool, my comment regarding this being an unwise choice is subjective.
    As Bioskop said -  'you recoil twice as hard precisely because of the dichotomy of the images (beautiful & grotesque)'. - I partly agree with that, but I think the issue I have is the clash of cinematic visuals next to intended journalistic reportage. It may possible to combine these, but very hard to convey a clear message in short-form without those (sometimes) overpowering aesthetics being noticed. You at least need a balance there.
    In any case Santi - you did a good job in documenting the event, the fact that there is an ambiguity in the presentation style only adds to the impact and help provoke discussion.
    It's an interesting case study on how 'real-life' imagery can be presented in a cinematic style - and what ramifications that may have to the viewer when trying to take a neutral stance from a journalistic/ documentary perspective.
     
    Why could they not be riding Donald Trump through those flames instead?
     
  21. Like
    DanC1 got a reaction from Hans Punk in Horses through fire - A (very) short documentary I made using RX100's 100fps feature   
    I'd like to see a short documentary about someone climbing on the back of those men, whipping their arses and riding them through a fire. 
  22. Like
    DanC1 reacted to M Carter in Cool little white balance trick   
    I once white balanced to an orange bottle of hand cleaner in an industrial shoot to get a really deep green-blue. It would have been way too far a push in post for an 8-bit file.
    I've always thought it would be handy to have a little book of painted cards in warm and cool tones; since WB is a combo of tint and temp, you could get some more variants beyond just color temp. (Though I like how the NX1 lets you adjust both matrixes independently and manually).
  23. Like
    DanC1 reacted to M Carter in My review of The Revenant, shot on the Alexa 65mm in only natural light   
    Thanks - still, there were no boobies or 'splosions.
    Here's a poster I made, now someone write the damn script please??
     
     
    Or I'll settle for a treatment for this one. And a cast list??

  24. Like
    DanC1 reacted to Policar in My review of The Revenant, shot on the Alexa 65mm in only natural light   
    You aren't the only one who feels this way. Others have just give up on posting dissenting opinions because of how exhausting it can be defending them when, ultimately, they're just opinions, not critiques of others' taste. But no one likes rain on their parade.
    Birdman was fun. But generally Inarritu isn't my taste, either.
  25. Like
    DanC1 reacted to Brian Caldwell in My review of The Revenant, shot on the Alexa 65mm in only natural light   
    I like your attitude!
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