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#1 Chris_Burket

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Posted 04 August 2006 - 05:01 PM

I know there are many options for gates for a Konvas 2m. 2 perf techniscope, 1.33, super 35, anamorphic, etc..

If you want to shoot for 1.85 and 16x9 for HD transfer, which would be the best gate to choose? If you shoot with the original gate (1.33 I believe, correct me if I'm wrong), do you simply use the ground glass for framing and extract whatever image you want in telecine?

Is there a "gate guide for Konvas Cameras" somewhere that might make a good read?

Are gates in the 2m easily replacable by the user or is it something that would need to be done by a camera tech in a shop?
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#2 David Mullen ASC

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Posted 04 August 2006 - 08:18 PM

2-perf would require a 2-perf movement, not just a gate change.

Ideally you would get a Full Aperture (Super-35) gate which is 1.33 : 1 in 4-perf, not to be confused with the smaller, offset 1.37 : 1 Academy Aperture.

But I'm not sure whether you should logically then get the lens mount centered for Full Aperture because then if you're shooting 1.85 for contact-printing and projecting, you'd either be using the one side of the lens image more and not be optically-centered (more of an issue if zooming) or you'd want to get the lens centered for standard 1.85.

If you're shooting for telecine transfer / D.I., then just get the lens centered for Full Aperture.

Your lenses would have to cover Full Aperture unless you were always going to crop to some widescreen format.
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#3 Kevin Masuda

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Posted 05 August 2006 - 12:32 AM

The gates on a Konvas are usually easy to install but some cameras you would need to have some work done to make it fit. David is right about the 2 perf, you would need not only the gate but a movement as well. I was told that the Konvas cameras are difficult to convert to 2 perf and would require a lot of labor work and money. Not that it isn't possible but it might not be worth the trouble. If you really wanted to go 2 perf either track down an Arri 2C/T B(arri 35 2c techniscope), a 2 perf Eclair Camflex or somehow get ahold of Multivision 235 in Australia, I think they have a 2 perf Moviecam America for rental.


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#4 Chris_Burket

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Posted 07 August 2006 - 12:49 PM

2-perf would require a 2-perf movement, not just a gate change.

Ideally you would get a Full Aperture (Super-35) gate which is 1.33 : 1 in 4-perf, not to be confused with the smaller, offset 1.37 : 1 Academy Aperture.

But I'm not sure whether you should logically then get the lens mount centered for Full Aperture because then if you're shooting 1.85 for contact-printing and projecting, you'd either be using the one side of the lens image more and not be optically-centered (more of an issue if zooming) or you'd want to get the lens centered for standard 1.85.

If you're shooting for telecine transfer / D.I., then just get the lens centered for Full Aperture.

Your lenses would have to cover Full Aperture unless you were always going to crop to some widescreen format.



Could you explain the lens centering aspect a bit more? I think I understand most of what you're saying... Super 35, full aperture would give me the greatest picture area on the negative to use. Then if I want 1.78, 1.85, etc.. I just crop for the aspect ratio I want, correct? So if I shoot 16:9 or 1.85, the top and bottom of the frame get cropped off. So you don't need a special gate for 1.78, 1.85, etc.. you just crop afterward.

What does lens centering refer to and how would this effect the image in telecine at 16:9 or being contact printed for dailies projection?

I don't know much about the issue, but would I want the lens centered at the exact center of the super 35 frame, then it would always be centered no matter what ammount of zooming, cropping, or printing I did?

With anamorphic lenses, would you want a super 35 gate or do you need a special gate for that? How would lens centering effect anamorphic shooting?
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#5 Olex Kalynychenko

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Posted 07 August 2006 - 03:33 PM

I know there are many options for gates for a Konvas 2m. 2 perf techniscope, 1.33, super 35, anamorphic, etc..

If you want to shoot for 1.85 and 16x9 for HD transfer, which would be the best gate to choose? If you shoot with the original gate (1.33 I believe, correct me if I'm wrong), do you simply use the ground glass for framing and extract whatever image you want in telecine?

Is there a "gate guide for Konvas Cameras" somewhere that might make a good read?

Are gates in the 2m easily replacable by the user or is it something that would need to be done by a camera tech in a shop?


Konvas-2M can have original film gates : " academy aperture " 1.37 :1 and
" anamorphic " 2.35:1.
Super 35 film gate need ask from Rafael. I don't know, Rafael have Super 35 film gates for sell now, or not.
Possible, anybody can sell Super 35 film gate too.

The gates in the 2M easily replacable, you need 2-3 sec for replace of film gate.

From practical side, you take Konvas-2M with academy film gate and marked of ground glass 1.85:1
( original ground glass have 1.37:1 marks only ).
Konvas have irremovable ground glass, the last edition of Konvas mechanism had removable ground glass with " universal film gate" ( super 35 ) marks.

You can cut picture with any ratio on telecine post production .
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