71 replies to this topic

[Stephen Baldassarre]

I have also been using a SI2K in conjunction with an old Steenbeck ST16 flatbed editor as a sort of improvised telecine. I have yet to invent and build a trigger generator to sync the frame rate to the Steenbeck.

 

I have been using a conventional projector with a telecine camera lens (which has a mirror and condenser) in place of the projector lens.  Before I had the telecine lens, I was using a box I made between the projector and camera that had a 45-degree mirror and a 5" condenser lens.  That did as good of a job but was harder to line up the shot.

http://www.gcmstudio...erence_test.mp4

 

I found the rotating prism and screen on editors really degrade the image.

Edited by Stephen Baldassarre, 16 April 2017 - 10:34 AM.

[Robert Hart]

I too can go the mirror and lens route with an old Sony 90degree telecine adaptor for old 2/3" EIAJ video camera-recorders. It is okay but not outstanding and a frame sync issue exists.

The SI2K is essentially a 2/3" sensor with a few extra pixel rows around the outside. Because it is a CMOS camera and rolling shutter is an issue, the prism shutter has to remain in the Steenbeck. - Once the camera is slaved to a Steenbeck generated trigger pulse, then the shutter speed can be made faster so that the blurry frame transitions are no longer visible.

There remain optical internal reflection artifacts from the prism. These do not permit scanning of neg film because of the heavy-duty contrast which has to be added after inversion. This amplifies them to the detriment of the recovered image.

Direct imaging to the camera is achieved by removing the screen box, adjustable surface-coated mirror tower and erecting prism from the Steenbeck's optical path. The small 50mm projection lens is replaced by a Fujian 50mm camera lens set well forward of the camera as a camera macro lens. I stacked CS/C-Mount adaptors for a ballpark forward macro offset and shimmed between a few of them for a final trim.

The Steenbeck lens has no controllable iris. With this arrangement and the prism stopped and centred to static tests, the sharpness is acceptable and with careful focus adjustments matches much other HD scanner/telecine imaging I have seen published on Youtube.

With the prism removed, the best sharpness is achieved by using the Fujian lens as a projection lens with the tail of the lens facing the film plane. 

I cannot post an image here but here is a link to a post on dvinfo.net regarding the arrangement. If you look at the still image, you will observe a couple of 4x4 filters improvised into the optical path to bring the Steenbeck's lamp down to acceptable brightness and a IR-750 filter to take out the infrared which is very severe from that lamp.

http://www.dvinfo.ne...k-telecine.html

Edited by Robert Hart, 16 April 2017 - 11:38 AM.

[Mike Krumlauf]

I've owned my share of cameras and I guess this would be a fun place to post all of them. This list is from 2003-present so please excuse the length. I put a little "*" by my favorites.

 

Currently Own

-*Panavision HD900F (panavised Sony F900/3) [I did some modifications of my own to get the camera back to accepting B4 glass given I dont have PV glass]

-Optex HJ9x5.5 HD Cine Zoom Lens B4 (lens used with Panavision camera)

-GoPro Hero 5 Black w/ Karma gimble

-GoProHero3

-JVC GR-DVM90U (the very first camera I got way back in 1999. Still works!)

-Sony F900/3 (trying to sell as parts camera)

 

Previous Cameras (in no particular order)

-*Sony DSR-PD150 (my first prosumer camera. i learned all the basics of composing an image on this one. holds a special place in my heart)

-Panasonic AG-DVX100/100A/100B

-*Canon XL2

-Sony HVR-A1u

-Panasonic HVX200 (my first foray into high def 11 years ago)

-JVC HD110u

-Canon XL1s

-*Panasonic HDC27 Varicam (both F & H models) [The in camera frame ramping feature was my favorite thing! beautiful camera!]

-*Panasonic SDX900

-Canon HV20/30/40

-Nikon D90 [my first "HDSLR". had it all of 7 days and returned it.]

-*Panasonic HMC150

-Canon 7D

-Canon 5D Mark II

-Sony FX1 & Z1u

-Sony HC52 handycam (used as a deck for my mac years ago)

-Canon T1i/t2i/t3i

-Sony PD100A

-Pentax K-x

-Panasonic GH1/GH2/GH3/GH4 [the GH4 is probably the best HDSLR i've worked with and im not a fan of those cameras]

-Sony NEX3N/5N/7

-Sony F900/1

-Sony Z7U

-Sony a6000/a6300

-Panasonic G7

-Panasonic HS9

-*Red One MX (the only thing i hated about this camera was it's boot up times)

-*Sony FS100

-*Sony F3 [was able to get some "alexa-like' images out of this thing. beautiful]

-Blackmagic Cinema Camera 2.5k

-Blackmagic Pocket Camera

-Nikon D3200

-Panasonic AF100

-Nikon D5200

 

I did a lot of camera re-selling and trading in my teen years to get my hands on as many different digital cameras as i could and i was very blessed to have a family who supported me in cinematography when i was younger.

[Frank Wylie]

Have owned?

 

35mm

2 x B&H 2709 Hand cranked cameras

Art Reeves Reflex (1944)

Several B&H Eyemos (can't remember all of them)

DeVry Lunchbox

 

16mm
Every Auricon ever made (no kidding)

Every variant of the Bolex spring wound camera

Frezzolini CW16

BH DR 70

Cine Kodak Series (all)

 

Super 8mm

too many to list

 

Now, I have about 200 still cameras, having sold off all of my motion picture equipment, except for some Oxberry 35 and 16mm gates, a pair of Acme 35mm gates (pins above and below gate) and a smattering of Super 8 / Regular 8mm cameras.

 

You should have seem my collection of 14 silent, hand cranked projectors;  Mainly Powers 5 and 6 variants with mazda lamps.

 

Heavy iron is too much for me to collect anymore, but I would like to eventually get another 2709.  Sorry I ever sold that pair...

[Bob Hobbs]

I love a good bragging session

Super 16
Ikonoskop SP16

 

16mm

Beaulieu r16

Bolex rex 1

 

Super 8

Canon 514

Beaulieu4008 ZM4

Digital 
AJA CION

[Jon O'Brien]

Well, if we're going to roll out the 'have owned' category ... and I've got a spare moment to share while I sip a coffee ....

 

1. Bell & Howell Super 8 silent camera. My dear Dad and I bought this camera in very early 1979. With it I shot many, many Super 8 productions. The most famous amongst friends and family was 'The Giant', a picture about a marauding .... giant. It included state-of-the-art special effects.

 

2. An un-remembered Super 8 camera model, also silent, that I borrowed for some months, when the tripod screw thread on the B&H wore out from extended use.

 

3. Canon 1014 xls sound Super 8 camera. I used this camera again just a few weeks ago to film a wedding.

 

4. I also used a Canon camera at school, the model of which I don't remember, owned by the Ed Dept. Okay, so I didn't own this one. But it's a fond memory.

 

5. A wind-up Bolex Standard 8mm camera, two lenses, the label has fallen off. It's not the larger H8 camera. I still have it. I used to buy the Kodachrome K25 film for it at the Kodak shop in the middle of Brisbane CBD. In the eighties 'twas the only place that had the film in stock. I was a trailblazer I guess, as a teenager.

 

6. My Grandfather's Standard 8mm camera, that I never got around to using. Sadly I now no longer have it.

 

7. A Bolex H16, non-reflex. Three lenses. It was a great camera.

 

8. Thence travel forward in time quite some years. A Bolex Rex 5 in S-16. It has a Kern 16mm and Nikkor 50mm on it. Works very well.

 

9. My teenage dream was to own, or at least use, an Arriflex one day. So how could I resist? I bought a 2C a couple of years ago. I would like to do some 35 mm filming before too long.

 

10. A Zoom Q8 digital camera, which I bought mainly for the microphone/sound. You see, even I can use digital. It's not all film you know. I think that's it. Maybe there has been a camera or two I've neglected to mention. But the above are the main ones.

Edited by Jon O'Brien, 21 September 2018 - 08:35 PM.

[Pavan Deep]

I was doing a list for someone and came across this thread. The two cameras that I use for serious stuff are;

 

Éclair ACL 2 - S16 camera

Ikonskop A-cam – S16 camera

 

Here are some of the vintage cameras I have;

 

Keystone Model C

Keystone A9, A12 & Criterion models A9, A12

Kiev Alpha

Cinklox

Mansfield Model 106

Devery Lunchbox 35

GIC 16

Vitascope 16

Cine Kodak Model B

Pathe Webo

Bolex Rex 4

Canon Scoopic 

Bell and Howell Filmo

Bell and Howell 627 [240T]

Revere Model 101

GB Bell and Howell  [200]

Revere 16

Revere 36

 

Out of all the ‘vintage’ cameras I like using the 50ft magazine cameras.

 

Pav

[Randy J Tomlinson]

I used to have a Moviecam Compact (stolen)

 

Unfortunately I can not show off with a lot of Cameras but i am a very happy owner of a Arri SR2 Advanced Super16 (advanced as converted by P+S Technic for 12p/s / 75p/s)

I also own a Canon DS8 and a little Bolex D8L which i litterally cary around everywhere in my daily life

 

I used to have a GH5, but i sold that just recently. The Digital World is not my World.

[Jay Young]

I'll Play:

 

Arriflex 35-II BV (Adjustable shutter).  Camera test coming back this week!

   Includes a set of Schneider Xenons. 

 

Cinema Products CP-16 w/ Angenieux 10-150.  Makes a nice image!

 

Sony A6300

 

 

Cameras I would like to own:

 

Mitchell/Fries 35mm  - Rackover would be cool too.

Bolex

Eyemo at an afforadble price? 35mm windup of some kind.

[Webster C]

I love cameras but it's such a burden to collect stuff that I try to keep only what can be used. More important for me is to have an ecosystem of compatible lenses.

 

Digital

BMCC - bought used, just for fun and learning

Canon 60D - for animation only

 

35mm

Mitchell NCR

Mitchell GC

Wall

Arri IIB

Eyemo

 

16mm

Bolex Rex 4 - currently being converted to Super 16

Bolex Rex 3

Bolex M

Revere 103 - homebrew Ultra/Super 16, love this camera!

 

Super 8

Canon 1014XLS

Elmo Super 110

the cool-looking Bolex

a Eumig sound camera

a tiny Chinon camera

 

Standard 8

mostly Revere and Keystone from the 30's because of the beautiful craftsmanship

[Timothy Fransky]

Heavy iron is too much for me to collect anymore, but I would like to eventually get another 2709.  Sorry I ever sold that pair...

 

I would love to see one of these in operation. It doesn't get the love the Mitchell does, but most of my favourite silent comedies were shot on this camera. From what I've read and seen, it's a brilliant, nearly hand-made camera.

[Phillip Mosness]

Current batch of Cams and Lenses:

 

35mm:

Arri BL 4 super35 gate

Moviecam Compact #1, Super35 gate

Moviecam Compact #2, Super35 gate (centered for anamorphic though, apparently)

Arri 2c PL mount

Various inexpensive Russian primes

Cooke 20-100

 

Super16mm

Aaton LTR 54 

Zeiss Optex 12-120, Optar Illuminas, Optex 6mm, Elite 4.5mm

Bolex SBM

16-100 POE, Switars

 

16mm

Eclair NPR

Angenieux 9.5-57

 

Super 8mm

Beaulieu 6008 Pro

Angenieux 6-90

 

Leicina Special

Schneider 8-64

 

Nikon R10

 

Digital

 

Panasonic GH2

Edited by Phillip Mosness, 27 September 2018 - 03:59 AM.