Joshua Reis

If you can afford spending a little more, consider looking at a Zeiss 12-120 T2.4 Zoom lens. Many of them were originally 10-100, but have been covered to 12-120 to cover a Super 16 gate. Its a sharp and versatile lens for the money. Regards, Joshua

Hi, what visual / aesthetic style are you going for? 5205 is a very versatile, low grain, and low contrast film-stock. Will you be shooting for a contact print, telecine, or film scan? I think it all depends on what you want your film to look like. Sure you could shoot with an 80A filter. Its probably not the most practical solution, but I'm sure it can be done. Shoot with 80A and push 1 development for a 1 stop in exposure compensation? You could shoot with half correction? Or you could even shoot without any color correction filters and completely time out the color shift in telecine or the DI. Gelling the lights is another option, but again that probably wouldn't serve to be too practical depending on the scope and size of your lighting setup. There really isn't a perfect answer. If you have the opportunity, do a number of tests simulating different scenarios. Discover what appeals to you the most. Best of luck Joshua

The Kodak 7201 is by far the lowest grain color negative film-stock out there. If you have the light, it would be your best option for what you are desiring as their is a significant increase in grain in the 7205 and 7212. I have experienced my cleanest Super 16 transfers on a Spirit 2k telecine. The Spirit has pleasant way of making the grain appear soft while still providing a sharp image. Using the latest telecine technology with a mild de-grain pass will give you grainless NTSC transfers. The canon 8-64 is a sharp lens, but it has a tendency to easily flare when shooting into lights and hot sources. Stepping up to the newer Canon 7-63 will give you a slightly sharper image and less flaring. Best of luck with everything.

Hi. It has been awhile since my last posting on this great forum, but I wanted to post a link to my recently updated reel. Thanks for looking. Joshua Small http://joshuareis.com/quicktime/Quicktimes_Reel2.html 480P version http://joshuareis.com/quicktime/hd/JR_DP_R...P_23.98H264.mov

Hi, I previously owned a converted 12-120 T2.4 Zoom lens. As a zoom, its compact, relatively fast (T2.4) and is a good value. I have some sample frames pulled from this lens shot with a Super 16 converted SR1. The footage was transferred via a Spirit 2k to HDCAM and the stills are posted as tifs or jpg files. For standard definition work I think the lens is sharp, but for HD transfers I think you can begin to see the chromatic aberation in the corners. I now use a Canon 11-165 Zoom and can say it is a bit sharper than the Zeiss 11-120, but at a much steeper price. http://joshuareis.com/super16/ Joshua

Hi, I purchased an SR 1 a few years ago and I think I have a few pointers that may be of help. When looking at a camera, be sure to find out as much history about it as possible. Find out its maintenance record and speak with the tech who has been servicing the camera? Has the camera been a rental or has it been owned by a end user? Rental cameras tend to have a lot of miles on them and I've seen some SR 2 bodies run louder than a well maintaned and regularly serviced SR 1. Its true, its recommened that a camera should be oerhauled at leaast once every year. Some of these cameras are over 30 years old and some late SR 2s are near twenty so one must really do their homework to understand what they are investing into. When was the last time that the batteries were recelled? Is the gate steady Also, not all Super 16 camera conversions are equal. Find out who did the Super 16 conversion. Have the Mags been converted to Super 16 as well? Generally, buying a complete camera package with PL, Super 16, CCD video assist, CE electronics, baseplate, charger, batteries, etc. will be a better value than adding items seperately over time. Owning and maintaning a camera can be a headache at first, but its a great way to get hands on experience and build a reel with film. Best of luck with your search.

Hi JD. I previosly owned an Arri SR 1 with a Jurgens color video tap. It sounds like you are looking for an onbaord LCD monitor? If so, I recommend taking a look at Nebtek monitors as they have a handful of affordable models. Transvideo seems to be the industry standard, but they are more pricey. Also be sure to consider how you will mount this monitor onto your camera (Isreali arm, 3/8 thread or 1/4 20?) and how will you power this accesory (do you have a spare fischer 11 port, correct cable?). Hope this helps. http://www.nebtek.com/

Hi, I own a SR 3 as well and a Canon 11-165 zoom. I am extremely pleased with the lens as it is sharp and relatively fast at T 2.5. Its my understanding that the newer Canon Zooms are only as fast as a T 2.7. I shot a feature last summer with the Canon 8-64 and 11.5-138. The 8-64 is sharp, fast (T2.4) and the wide field of view is great, but the lens flares too much. The image quality also always seemed to have a lower contrast to its imagery, so it never really matched well with our MK2 primes or the 11-138. The 11-138 however was fine. I previously owned a 11-120 Zeiss zoom. Its an affordable entry level zoom with an SR 1 or 2, but its definitely not as sharp as the mentioned Canon lens. I hear it also has collimation issues. I was considering to purchase the Angenieux 7-84 zoom, but it is more difficult to find used.

Hi, yes, if you are shooting standard 16mm (4:3) and transfering to lets say HDCAM (16:9) you can perform a horizontal squeeze. Normaly anamorphic transers are verticaly stretched (lets say super 16 1.78 HDTV GG to digibet 4:3). This would allow you to maximize the horizontal resolution and utilize the full data rate of HDCAM or whatever tape format that you choose. When you import the footage in finalcut pro, you can actually create a custom sequence present and assign the footage and sequence with the correct pixel aspect ratio. This way final cut pro will unsqueeze the footage on the fly on your computer monitor without any rendering while you edit (just like regular anamorphic footage). I dont't know what the correct pixel aspect ratio would be to set in the sequence settings at the moment, but I'm sure with a few tests one could easily figure it out. However, if your deliverable is 16:9 in the end, its best to perform a zoom or pan and scan in the telecine to pull the most detail from the film. Even though you are photographing with standard 16, this assumes you would be framing for 1.78. Essentialy this is done all the time with 4 perf 35mm when framing for 1.85.

Hi, yes there are a number of different video taps for the SR 1. I have a Jurgens J-cam color CCD unit. Jurgens is good, but one would have to find used units since he does not manufacture them anymore. CEI is another great manufacturer of flickerless video assists. Visual products makes their own which are more affordable, however i do not have any first hand experience with them. PS technik video assist upgrades the SR 1 or 2 optics to an SR3 and is probably the best out. However, it is the most expensive option. Some video assists have footage counters, are flickerless, generate frame lines, and offer more image controls than others. Its best to contact each vendor directly to find what models are best for you and your camera. http://www.jurgen.com/ http://www.ceitechnology.com/ http://www.visualproducts.com/ http://www.pstechnik.de/

I am selling the last Color CCD/J-Bar SR 2 video assist system sold from Jurgen last year. I purchased the unit from Mr. Jurgens last summer and have just recently sold my SR camera so I am now selling the video assist system. Unit comes complete with the J-Bar, 50/50 prism, Sony XC99 color CCD, Hirose to fisher 11, and Hirose to 4 pin XLR cable. The unit comes complete and is in mint/great working condition. Photos of the unit on my now sold camera can be seen at the following link. Asking $4000 or best offer. Feel free to email directly at mail@joshuareis.com is you have any questions. Regards, http://joshuareis.com/sr/index.htm http://www.jurgen.com/sr2-1.htm Also still have two SR 2 Super 16 mags available for sale. Asking $1600 for both.

Hi, if you are shooting Super 16, I have a few suggestions, first regarding workflow, if you do go to hard drive, I strongly recommend that you got to a tape format - if standard definition go with Digital Betacam. DVCAM clones for the offline edit are acceptable, but the digi is for online and archival of the footage. Also, I am guessing that you will be framing 1.78 (16:9) or 1.85..if that is the case, ask for an anamorphic transfer. This way you will be able to produce a widescreen master (without letterbox) for DVD. The widescreen tapes will give you more lines of resolution, better encoding results, a sharper image versus doing a 4:3 letterbox transfer. It will also give you acceptable results if you need to to an upconvert to 720P for future Blu Ray reel. of course, if you can afford it, record out to D5 or SR, but I'm sure thats way over your budget. Also, when you edit, edit at the native framerate 25 or 24fps. This way you will be able to make a progressive scan DVD. I do nearly all my projects for my clients and people alwys compliment on how sharp and clean everything looks. Most people beleive the footage is 35mm, not Super 16. As the DP I supervise the post workflow and make sure the quality/aesthetic of the camera negative is carried through to the final delivery. Best of luck. Regards,

Only the items listed in my original posting are for sale. This excludes the Jurgens Video J-Bar, MB-19 mattebox, FF-4 follow focus, and the onboard LCD. I purchased the Jurgens video tap directly from Jurgen last year and he told me this was the last one to ever be manufactured, so I am hesitant to sell the video tap. If I find a High Speed Body already with video installed, I may consider selling the Jurgens for an additional sum. Regards,

I have posted a gallery of photos of the camera through its series of upgrades and additions over the last two years. Here is the link to the photos. http://joshuareis.com/sr/index.htm I have also posted a 720P sample Quicktime shot with this camera and lens. This project was to test the quality of Super 16 for HD deliverables. http://joshuareis.com/sr/Super_16_Test_720P-H.264.mov Please feel free to ask if you have any questions. The camera package is located in Los Angeles, CA. Regards,

Hi, I am selling my personal Arri SR Super 16 camera package. The camera has been upgraded with CE electronics (1-75fps), PL mount (180 shutter) Arri SR 3 gate, 3 Super 16 SR I mags, 2 Super 16 SR II mags. The three onboard batteries were recelled less than 4 months ago. The camera body and mags were converted to Super 16 by Axel Broda. Also, selling a Zeiss 12-120mm zoom lens. The following is a complete listing. If you have any questions, please don't hesitate to contact me by email. I am a DP and have shot a handful of short films (The pretty Boy Project, Speed Dating) music videos (Amundsen, Tyrant-The bravery, PIN) commercials (Pentax, NY Red Bulls, Ellesse, Student Loans) and even a feature (The Take -B camera). Selling it becuase I am upgrading to a High Speed Model for some sports work. Check out my website to see what this camera has filmed. Arri SR Super 16 = PL mount, Arri SR 3 gate, Cinema Electronics onboard crystal, onboard battery adapter, 3 onboard batteries, 1 charger, lightweight rods, right hand held grip 3 Super 16 Mags All the above $14,000 ____________ 2 Super 16 SR II Mags $1,700 ____________ Zeiss 12-120 T2.4 Zoom lens, Optex conversion, fluid brake, 2 levers $6,000 All Items 20k

As Thomas suggested, I would hold of on transfering to HDCAM SR until you have a locked edit and have generated a EDL for selects. It will be very costly to transfer that much footage to HDCAM SR. Also, it sounds like you shot 1.78 or 1.85, so why not make anamorphic DVCAMs with slated window burns. This will help you get a bit more resolution out of DVCAM. Also, when you do go to HDCAM SR, are you going to record in linear or log color space? There are a wide variety of price/ performance options for digitally grading at HD res. ( Lustre, Final Touch, Avid DS, etc)

In Southern California I have been happy with a company in Glendale, Compact Disc Services. They have their full rates and servies listed on their web page. Be sure to explain what you are lookign for as far as manufacturing becuase they may have a few solutions. http://www.cdsg.com/ Regards

Hi, I am workign on a feature and am renting out my camera package on the show here in Los Angeles. Does anyone know of or can recommend a camera contract or rental form? Thanks very much in advance. Regards.

The International Cinematographers Guild has an interesting article online, "The New Demo Reel." here is the link. http://www.cameraguild.com/index.html?tech...tml~top.main_hp

Hi, you have soem great work. When i opened your site, i didn't know where to begin. I clicked on the images and kinda wandered. It may be best to have a link to a quicktime reel center top. I know you have a link to request a reel. Is it possible to see some quicktimes instead of just stills? Other than that, your work looks very nice.

Before making an investment I would recommend trying out both software packages. I would go with the software package that fits your needs. I know Final Cut Express only allows one to edit in DV or HDV compression. I imagine you will need a package that works with uncompressed codecs if you are doing some keying and VFX work. I personaly prefer the Final Cut Studio, but thats becuase I have the Mac hardware and have spent years learning the software package. Best of luck!

If both XDCAM HD and HDCAM footage will be intercut, the most efficient thing to do is rent a XDCAM HD VTR and capture via HDSDI. The F900 footage will most likely captured via HDSDI as well. Using HD-SDI allows both formats to be captured for online/offline using identical capture settings (compressed, uncompressed, 1080, SD, etc). Dubbing the XDCAM HD (Mpeg 2 compression 18, 25, or 35 data rates) to HDCAM would introduce additional compression. Capturing the XDCAM footage in its native codec is an option (via 1394, or ethernet), but not sure how that would intercut with HDCAM unless the HDCAM is recompressed to the same codec. This may be ideal in an offline scenario to keep data rates low. I'm curious to see how the aesthetic quality of HD XDCAM cameras will match with the F900?

Hi, I want to thank all the responses thus so far. I think all the posts have very valid points even if you don't entirely agree with what I have done. I think now would be a good time to perhaps explain my thinking. My reel is designed to give someone a general feel for the style and work that I have done without demanding more than two minutes of his or her time. If a producer has a pile of DVD reels to go through, I want be sure that my presentation (reel) immediately grasps their attention. No one can truly understand your style and qualifications unless they watch "your full body of work," which isn't going to happen. The quality of ones DP work (lighting, composition, etc) does speak for itself. But remember, a Cinematography reel strips away the narrative context in which your work was intended to be originally shown. What you choose to edit in or out and how you choose to present your work to a client is just as impressionable as the work itself. The music that you choose, edit tempo, design, and other aesthetic decisions is an artistic statement. My reel is the first thing that plays when my DVD portfolio is viewed. If the viewer likes what they see and is now "motivated" to take the time to view more of my work, they can view extended montages, commercials, or music videos. I realize the risk, but wanted to try something that was creative and bold. Like the movies we shoot, our reels are creative statements, a rare opportunity for us as DPs to "edit" and present what we want our viewers to see. I don't think there should be a general rule for how a reel should be edited or made. The only rule to making a reel is that you should be encouraged and allowed to take full advantage of all creative possibilities.

I would suggest transfering in telecine to HDPRO 720P since you mentioned that the rest of you project was shot with the HVX200. Obviously it would be better to go to D5 or HDCAMSR first, but that may be overkill considering you would need to pay for an expensive online unless you have a workstation that can deal with uncompressed HD material (RAID, SDI card, HD monitor..etc.) The rest of your material is HDPRO, so you might as well consider your HDPRO material to be your online material as well to simplify your post workflow. If you can afford it, go D5 and do an 108024P uncompressed online later down the road. I would recommend transfering form a Spirit 2k telecine..maybe even use a DVR box to reduce grain. Unless your deliverables specify a 1080P master, downvonverting your HDV footage to 720P will help eliminate some of the Mpeg-2 compression. plus HDPRO 720P in Final Cut Pro is a great codec to work with becuase of all the real-time performance. Best of luck.

This is a tough question to answer since there is so much subjectivity invlolved and everyone has a different opinion. I've transfered standard 16mm to HDCAM (108024P) and never have been really pleased with the results. Grain size and sharpness always seem to be the limiting factors, but you may be ok if you are going for a documentry kinda grundge style. Now Super 16 for 108024P is great, but standard 16mm is a bit of a stretch. Ive transfered standard 16mm to 720P and have been pleased. Obviously the film stock and lens that you choose are a huge factor. Remember, that you are eliminating about 20% of the negative going 4:3 to 1.78. To get good results, you are really working with tight tolerances regarding exposure, focus, camera steadyness, etc...everythign really needs to be dead on going standard 16 to 108024P. You mentioned that you are a student so I imagine your post bugdet is limited. Even if you did get the HD 108024P transfer, how will you edit it? May I suggest transferign to 720P HDPRO, this way you can edit in Final Cut Pro/Avid on a standard system. if you transfer on a Spirit 2k with a good colorist, you should be pleased with your results. Best of Luck!