Joe Walker

Sold.

Hey all, I've got some Fuji Super 16mm film for sale, 10 400 ft rolls of 8673 and 5 100ft daylight spools of 8622. This film stock is about 2 years old, and has been stored in my refrigerator. The cans are factory fresh film stock Emulsion numbers are as follows... the E.I.500 120-102 The F-64D 038-110. It was originally purchased for a TV show "In Plain Sight", but was never used or opened. I'm asking $500 for the whole lot. PM me if interested. Thanks.

Hey James, I haven't checked back here in years, so you bought the Kinor PII?!!!! That's awesome, do you still have it and could you email me some pics? Wow, where have I been, I should check in here more often.

Film Camera mode allows the shutter to be read out in degrees as well as fractions, ie 1/48th or 180 degrees. It also allows you to access the variable frame rates in the 720p 24pn mode. That's really the only difference between Film Cam mode and Video Cam mode. In video cam mode, you cannot access the variable frame rates in 720p 24pn, they're locked to 24 I believe (or 30, or 60 depending on your recording mode setup). Also in video cam mode, shutter is only read out in fractions, the degrees option doesn't apply. Make sure when shooting off speeds in the 720p 24pn mode that you leave the shutter mode set to degrees so that the "shutter" will auto track to the frame rate.

Avatar was shot on mere 1080p and uprezzed to IMAX....so, I don't see how having to have 5K to finish for cinema is such an issue.

Dear God, this has got to be the funniest thing I've ever seen you post Karl! I'm literally crying laughing right now. I hope your having a better day, if it helps you just made mine! :lol:

Hey James I was about to post about these as well! Also, I didn't know that you own one of the 35PII's, that's truly awesome. I can't remember which source it was , but I think it was one of the guys from St. Petersburg said that there were only 15 35PII's ever made and then he made some casual mention of some of the other rare models which included the Kinor 7P (which I believe like you said is the predecessor to the 35PII) and then something about a Konvas 4M I think, which is supposed to be a "silent" Konvas. There's also a model of Kinor that looks like a cross between an Arri 35 BL and a Bolex Pro, I've seen that one pop up on ebay now and again as well. Anyways, for only $1,000 that's a great price on another piece of rare soviet cinema camera.

That looks amazing, what did you shoot it on?

I'll take a stab: Because 48fps does not look cinematic. The same reason that 30fps and 60fps are not regarded as cinematic. 24fps has been burned into the heads of so many throughtout the world as the "cinema" frame rate. I once performed a highly un-scientific poll at the university I was studying at here in Birmingham. I showed two clips to a large group of students from many different backgrounds, religions, places of birth, nationalities, etc. Both of the clips were shot in the southside section of town at a very famous fountain. Both were shot at the same time of day, virtually same stop, lighting, camera placement, etc. Only difference was one was shot at 24fps and one at 60i (29.97). I asked the group of assembled students, which one looked like a movie. ALL responded the one shot at 24fps was the one that looked like a movie. I repeated this test two years later with three clips, one shot at 24fps, one shot at 30fps (30p) and one shot at 60i. All but three responded that the 24fps clip was "movie-like", two responded that the 30p clip was "movie-like" and only one responded that the 60i clip was "movie-like". Un-scientific...yes. But the results only confirmed what I've believed all along. You can't shake 24fps from the world-view of cinema. Attack me if you want, I'm just saying....

To the original poster, Here's my opinion FWIW. One of the biggest problems with shooting RED is that when you want to do slow mo shots, you've got to take a rez hit one way or another. Personally, what I've found is that deciding whether to shoot 3K or 2K for your slow mo shots really depends more on your post workflow as to which one you pick and how slow you need the shot to be. For instance, if your post is going to be the old FCP to Color route, when using the Log and Transfer function in FCP it automatically resizes 4K to 2K, 3K to 1.5K, and 2K to 2K. So if you were to shoot 60fps @ 3K, in the end with this workflow, your 3K shots will only be 1.5K, whereas 2K shots will stay at 2K. Which sort of takes the steam out of shooting 3K in that scenario. Every post route is different. If the post route is going to be working with only the H proxies or the M proxies, then using 3K over 2K is a much better idea. Or if you're going to transcode your R3D files in REDCine or REDAlert, then using 3K would be better. It's sort of the deal with the devil that you have to make. And...FWIW..Most of the work we do is commercials destined for broadcast, and most eyes that come through the edit/color suite can't tell the difference between the transcoded 4K and 2K shots...I can, our director can, most of our editors can...but the vast majority of our clients can't...even at the 1080p level. Now, if I were shooting for a major motion picture going to cinemas near you...i'm pretty sure I'd be shooting all the 24fps at 4K and shooting all the slow mo on an Arri 435 and scanning the film @ 4k! Just to keep it all consistent...well...or as consistent as possible. Ironically, I can remember back when RED was in the VERY BEGINNING stages there was this promise that one day it would shoot 4K at 60p. To a certain extent, I'm still anxiously awaiting that day. Although, reality tells me that that feature will probably be moved over to the Epic line of cameras. Still, one can wish! Hope all that helps.

Hey speaking of 35mm lenses, what's the status of the new primes you're testing Laguun? Have you got any pics we can look at?

Supposedly Optar Illumina is supposed to release some super speed lenses soon that cover Super 35, but I haven't see or heard from them so who knows where this stands. There website details them as being 18mm through 85mm at T1.2 for around $35K. Not entirely economical but better than most.

I'm confused on these two. Why would you make 400 copies of a commercial printed on 35mm? Are those playing in theatres or something?

Hey Hunter that is some incredible footage, great job. Gotta love that latitude! So you sold your RED eh? :lol:

Hey Joe, I've dealt with RedCine quite a bit, I don't like it, the FCP>Color Workflow is about as straight as it gets with the RED. What exactly is it you would like to know about either, I've dealt with both alot since I work with this camera virtually every day.

???????!!!! :rolleyes:

So as usual I'm trawling around ebay looking for the perfect old film camera that really doesn't exist, when I come across this: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=400015060889 The same seller even has a techniscope gate for a Rank Cintel. Unreal, if I had the money I know what my Christmas present to myself would be!!! Maybe some of you 2 perf guys will chase this beauty down. Thought I'd share. Joe W.

Hi Stephen, We've had some 16gb cards on order for quite some time now and we're still waiting. We're also curious as to what the status is of the solid state drives. I guess,...."time will tell."

I'm not surprised, Reduser.net has a tendency to lean towards fantasy. I've generally found that posting "problems" or "reality" over there seems to get you in a heap of trouble. I've been using a RED One at my place of business since April, and while I marvel at the imagery and what this thing can do, I also marvel at the things that are not perfected. I also marvel at the REDusers who proclaim that we need a FF35 sensor or that they intend to shoot their independent films with a 645 sensor. Put it this way, I was pulling focus recently with a Cooke 18-100mm zoom, we were on the long end at 100mm at T3. I had to follow a subject from infinity to 15ft, and it took me two takes to make that happen...in focus. And these jokers think a FF35 or god forbid a 645 are going to somehow be a walk in the park?!?!?!?! I digress, I've been chewed out for less over there. So, I feel your pain.

Yeah when I saw that 15-25mm lens I was thinking, "Wow, pulling focus on a FF35 with this puppy will be a challenge!"

Ditto on everything John said. The experience I've had has been that RED's 2K is always comparably softer to their 4K, and 16mm is somewhat hard to match up to RED's stuff for a miriad of reasons...generally speaking.

That is some truly scary stuff Stephen!

Manual is here: http://www.red.com/support When you raise or lower the ASA you're really only affecting the metadata. I wouldn't push it past 500 ASA on an exterior night shoot. I'd try to stay as close to 320 as possible. That's just my opinion though, if I were you I'd test the exact shooting setup you'll be using to make sure that's the look you want.

Call me overly-simplistic and archaic, but personally, for my needs, I would be super satisfied for the next 10 years with a 1080p native P2 Varicam shooting AVC-Intra 100 with framerates from 1-75fps in 1080p. Thats all I really need.