A Collection of conversations about cinema cameras from 2000 to 2018

30 Seconds - Tone & Bars

12fps_-_What_Shutter_Angle

165-foot Throw w/DVX100

16 : 9 Motivation

16mm Anamorphic

16mm Anamorphic Lenses : Additional Information

16mm & Super16 Aspects Ratios

16mm 360 degree panoramic shot

16mm Lenses & Super 16 Format

16mm Low Budget Features

16mm Prints From Super 16

16mm To 35mm Blowup

200fps Camera Required

35mm Long Primes

3 or 4 perf with Super 35

3-Perf - Depth Of Field Query

3 perf revisited

3 Perf & Super 35mm For Scope

3 - Axis Nodal Head

4 x 4 Matte Boxes

4*3 or 16*9 for TV

45 degree shutter & monitors

45 Degree Shutter & Gate Check

435 Shutter Phase

535 gate Filtration

50mm Lens On S16mm & 35mm

6000 Series Innovision Lens

800' mags on 16mm

Aaton 16mm Reg to Super

Aaton A-minima Upgrades

Aaton Switch Repair

Accepted Methods To Test Lenses

Achieving High Contrast Look

Aerial Bug deflectors

Anamorphics - 2 Perf

Anamorphic Entry

Anamorphic Lenses & Super 35

Anamorphic Shooting

Anamorphic Super 16mm

Anamorphic Super16mm To A 35mm Print

Anamorphic_Viewfinder_For_16mm

Anton/Bauer Mount For An Arri SR

Arri 16SRII Video Assist

Arri IIC vs Arri III Viewfinder

Arri III Problem

Arri 435 "Advanced"

Arri PL Mount Safety

Arri SR Magazines

Astigmatism and Focusing Cameras

Audio In Choppers

Back Seat Camera Mount

Balance Between 16mm Camera And Lenses

Basic vs Shooting Stop

Battery Storage

Best Film Camera For Aerials From A Balloon

Best Mitchell Camera For Time Lapse

Bicycle Wheel Dolly

Bolex Conversion To S16

Bolex & Night Photography

Bolex RX5 Flange Focal Depth

Borescopes/Probes

Bring A Change Bag To The Airport

Calibrating Lenses For Focus

Calibrating Monitors In The Field

Camera & 16mm Film Advice

Camera Body Appearance

Camera Checklist For 16 & 35mm

Camera Current Draw

Camera Format History

Camera Ground Glass vs Reality

Camera Lube Intervals

Camera Moves Through Miniatures

Camera Support In Shallow Water

Camera Track While Zoom Out

Cameras On MotoGP Bikes

Canon 8 - 64 & Veiling Glare / Flare

Car Shock Mounts

Chapman Vibration Isolator

Charging 24v Batteries Without Electricity

Choosing Film Stock & Light Metering

Choosing Light Meters

Choosing The Right Stock

Chromatic Aberration/Misaligned CCDs

Cine Tape Measure System

Circular Polarizer

Clairmont Anamorphics On 16mm

Coast To Coast With An Intervalometer

Cold Conditions

Cold Weather Shooting

Color Phasing - Fluoro Light & F900

Colour Infrared

Combining Film & F900

Composing In Unusual Formats

Contact vs Optical Intermediates

Conversion Zooms For S16

Cooke S3 On Aaton XTR

Cooke Speed - Panchros

Cooke vs Angenieux Zooms

Cover Super 16mm

CRI Practically Speaking

Damaged 16mm Film

Day For Night - Additional Shooting Information

Day For Night & The Digital Intermediate

Depth Of Field / Image Size

Double - Perf 16

Dust Off On Planes

Enhancing Filters

Estimating Stock Needs For Feature

Extreme Close-Ups

Exposing For Stars

Exposure Compensation

Exposure Compensation While Ramping Speed

Exposure On The DVX-100

Eye Chamois - Tips & Info

F400-V200-V320_5285 comparison

Favourite Daylight 16mm Film Stock

Feature For DI Shot On Ektachrome

Feature Shoot For Aaton A-Minima

Field Of View Calculation

Film/Video Kit For Saltwater Kayaking

Film-F900-Viper to Film Out Comparison

Film Resolution 550 MegaPixels On VistaVision

Film Stock For Food Shots

Filter Suggestions For S-16 Docos

Filter Question

First looks at 24P HD to 35mm

Fixing The Meter To The Camera

Flicker...again (ramps)

Fluid Head Choice

Floating Camera

Focal Length Chart

Focus Pulling For Steadicam

Focus Pulling On Ski Slopes

Fogging Eyepieces

Follow Focus Units

Formula For Figuring M.O.D.

Framing Chart Resource

Frame Rates In World Theatres

Frezzolini LW-16 (Transport Problem)

Fuji 250d & Bleach By-pass

FX Filter - Centre Spot Distortion

Gauge Of Nets Behind The Lens

Geared Head Experience

Geared Head Perfect Circle

Geared Head Skills

Geared Heads vs Fluid Heads

Ground Glass Cleaning

Ground Glass Modifications For LTRs

Ground Glass Ratio's

Hairy Gates With 7212

Hand Held - Further Updates/Stories

Handheld 35mm On A Boat

HD As A Film Stock

HDCAM-SR For DI

Illuminance Calculation

IMAX 15perf_70mm Tech Specs

IMX : Tired or Wired

Incident / Reflective Readings

Infrared Black And White

Keylink vs Evertz For Aatoncode

Lamp flicker filming at 96 fps

Latensification

Laying Dolly Track

Lens Extender/Doubler & Depth of Field

Lens Filtration When Shooting B&W

Lightweight Film Stocks

Lipstick Cameras

LL - D Filters (2)

Long Term Time-lapse

Low Budget Music Video

Low Light Lenses

Major Problem With Exposed Negative

Making Gel Filters For Krasnokorsk3

Matching 35mm & Cinegyro HD Footage

Mattebox For Wide Angels

Mattes in Matte Boxes

Max Speed On An Older 2C

Meters / Metering

Metering TV Screens

Minimum Object Distance

Mired Shift For Coral Filters

Mitchell Base To 150mm Bowl Adapter

Monitor Reflection In Eyeglasses

Monochrome Day For Night Filters

Motion Control Design

Motion Control For Exposure Control

Monochrome Viewfinders

Mounting Lipstick Cameras On Automobiles

Moving Time-lapse

Moy Geared Heads

Moy-Mitchell Base To 150mm Bowl

Need A Framing Chart

Nikon Lens Adaptor

Nikkor_PL For S16

Non-coated Lenses

Non-Kodak Film Stocks

One Man Band Help

Origins Of "Chinagirl"

Optical Distortion Effects

Over The Shoulder Rig

Packing Zooms For Travel

Pan Handle Controls

Pencil On Ground Glass

Periscope Lens On A Big Set

Pinhole Cinematography - Discussion

Pneumatic Powered 35mm System

Polariser Advice For Air Show

Power In A Remote Location

Prime Lenses - 16mm vs 35mm

Primes vs Zooms

Printing Photos From 16mm

Probe-Snorkel For DV Camera

Promist Filter Selection

ProMist White Mist Black Mist

Proper Outdoor Exposure

Protec Matte Box

Rating 7218 & 7246

Recelling Batteries

Reducing Filter Size

Registration Testing For Film Cameras

Resolution Chart For Downloading

Reversal Contrast

RGB Numbers On Short End Recans

Rigging To A Military Jet

Russian 16mm Camera

S16 Anamorphic & Underwater

S16mm - HD Switch

Sandy environments

Scubacam Housings

Setting your rate

Shoot 3 Perf And Print 4 Perf

Shooting 1:85 and 2:35

Shooting 35mm _ Super 35mm For_1:1.85

Shooting 48fps For Sync Sound

Shooting Film Whilst Wearing Glasses

Shooting_In_Mali-Africa

Shooting The Moon

Shooting With Available Light

Shutter Angle Combined with FPS

Silent Ground Glass

Silent Hand Held

Simulating Old Hand Cranked Newsreel

Single Frame Arri 3

Speed ramps...basics

Speed Ramps & HMI's

Spherised Bokeh

Spinning Camera

Spring Power For Remote Locations

Stabilising Long Lenses

Standards In Film

Steadicam Style

Steadiness Chart

Super 16 & 35mm Lenses

Super16 Activity

Super 35 2.35:1 Image Area

Super 35 Arri Ground Glass

Super 35 for Commercials

Super 35 vs Standard 35

Swing / Shift On 16mm

Sync Sound With Arri 435ES

Sync without a Slate

Talking Heads In Close Quarters

Taking Light Reading

Technocrane On Train Tracks

Ten Films All Students Should See

Testing Flange Focal Distance During Prep

Texture of the Digital Image

The Last Grey Card

Timecode Clipboard

Timelapse 360 Degree Pan

Time-lapse Cityscapes

Time-lapse Flicker

Time Lapse On S16mm

Time Lapse With Aaton A-Minima

Tropicalisation

TV Safe - A Thing Of The Past

Two HD Formats With Two Cameras

Tyler Middle Mount & Optimo Zoom

Ultra Contrast Filter Grades

Ultra Primes & Arri 3

Ultra High Framerates

Underwater Housing

Using Super16 For Slow Motion In HD

Viability of Super16

Vibration Free Head

Video Tap Etiquette

Video Taps - Models & Mounts

Viewfinder Blues

Viewfinder Diopters

Viewfinders : Glasses or No Glasses

Vinten Fibertec Legs

Virtual Eye Piece

Wearing A Lipstick Sized Camera

What Kind of Head

When The Meter Says "Go Home?"

Who Makes Custom Ground Glasses

Wide Angle Eyepiece For Aaton

Wide Angle Lens For Helicopter Shoot

Wireless Video Interference

Zone System Headache

Zoom Controls & Digital Primo

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