Joshua Reis

If required, it is also always better to reframe a shot in telecine workign from the negative rather than reframe from a tape format which is limited to a NTSC or PAL resolution.

Hi, without getting into the cost logistics or quality issues, but I think I understand what you are askign here. basicaly you would like to use HDV for a low cost HD offline. If thats the case, and if you have a Final Cut Pro edit system, you should call Digital Film Tree in Los Angeles. They are a post facility that specializes in Final Cut and I know they have been performing tests with the JVC 24P HDV equipment. They may already have a workflow figured out. www.digitalfilmtree.com

I spoke to Rick at Visual Products last week regarding Arri 2C parts and they may have what you are looking for. Also, I hear just about everything shot in India is Anamorphic, so you may may find someone to exchange with in that region. www.visualproducts.com

Hi, If you don't have the funds to rent a newer Arri S3, most camera rental houses carry Super 16 converted SR 1 and SR 2 cameras with CE crystal speed, video, and PL mounts. Also, be sure that all the SR 1 and SR 2 magazines have been modified as well so they do not scratch the negative within the extended exposed area. Also, most camera houses should be able to provide you with a specif groundglass whether it be 1.33, 1.66, 1.78 for HDTV or, 1.85. Most if not all older 16mm zooms will not cover Super 16. For example, the polular Zeiss 10-100 must be modified to a 12-120mm to cover Super 16. Best of luck.

Hi, what version of Final Cut and OS you running? Also, can you give me a little info on the hardware configuration and the deck model? Regards, Josh

Hi, to answer your question, yes. If transfering directly to a hard disc, one should be able to be given a Progresive frame format. For example, if you shot at 24 fps, you can obtain a native 24P quicktime movie. However, even if you were given a 29.97 interlaced quicktime (or even a 29.97 NTSC digibeta tape), via a quicktime editing program (Final Cut, Cinema Tools, After Effects, etc.) you can perform a 3:2 pull up and obtain your native 24 fps frames. Without getting into the details, the pull up process is a matter of throwing away the redundant fields that make up the extra frames, so it is a lossless process - no degredation to the image. Whether you are given a Quicktime file or image sequence is dependant upon the telecine facility. Hope this helps.

When investing in building a filter library, it is first important to determine what size will best meet your current and future needs...Will the filter size work with your mattebox? Cover your widest lens? Common sizes that you will find are 4x4, 4x5, 4x5.65, and 138mm. For 35mm, I would recommend 4x5.65 (which will typicaly cover you up to a 14mm lens depending on the mattebox). Another popular, but bulkier size is 6.6x6.6. I defintely recommend the following as a good start for any camera package. Set of NDs= .3,.6,.9 Color Correction= 85, 80A Circular Polarizer One of the following=Optical Flat, UV, or Skylight (great to have one if don't require filtration, but need something to protect the lens). Once you have the basics, other popular filters to look into would be Black pro Mist, Low Contrast, Grads, Enhancers, and Corals. Another favorite of mine is the Black Diffusioin FX series.

Hi, I was in a similar situation when I had to film in Rome, but all the post and transfer was goign to take place back in the States . Being an international project, the client required a master be made for 1080 HD, NTSC, and PAL. Shooting 24 frames will protect you for a theatrical release whether you project from a print or any tape format with minimal headache. If you will be finishing on tape, 1080 24PsF HD (whether it be HDCAM, D5, or HDCAMSR) seems to be the "universal tape master". Going from 24 fps to 25 fps for a PAL master is just a matter of speeding up the audio 4% and making a slight pitch adjustment. Making a 29.97 NTSC master from 24fps (as performed in telecine) is made through a 3:2 pulldown, no audio adjustments are needed. I realise you are in a PAL country, depending on your budget for post, it may be better to do everyhting at 25 fps (becuase of the accessability of PAL post equipment for offline editorial) and slow the audio 4% if you ever have to deliver a 24 fps master, then 29.97 NTSC. Ultimately, I suggest talking with your post supervisior and producer to devise a post production workflow that will work with your resources and set budget. There are so many options out there that a complete post plan is wise, otherwise you may find yourself with some costly and unexpected conversions. I realize I come from a NTSC region. I'd be curious to see what other people from PAL regions recommend. I hope this provides some insight.

When cropped to a 1.85 ratio, Super 16 (.488"x.263") offers 46% more film surface than standard 16mm (.404"x.218"). The tremendous loss in usable negative area will undoubtedly result in a softer transfer to D5. I am assuming you are speaking of D5 when it is in 4:2:2 1080p). I have transfered 7205, 7212, 7245 Super 16 to D5 and HDCAM from a Spirit 2k, as you have have done too, and yes the sharpness and resolution of the negative is more than adequate when you have a properly exposed negative (I realize this is subjective). However, having shot some standard 16mm tests (Fuji 250D and Kodak 7205) myself and transfered to HDCAM (1.78), I wasn't very pleased with the results. Again, it all depends on what your expectations are and the style of the look that you are going for, but I think the image will be unacceptably soft. If you are shooting with 7229, I would rate the stock at 320 ASA to get the extra density on the negative . If you were going to a 720p format I would feel okay, but a 1080p format is a bit of a stretch for standard 16mm. Ultimately, testing is the only real way to find out as there are other variables such as lenses, camera steadyness, and telecine that will affect the resolution throughout your production pipeline.

Yes, the Arri M, S, and 2c has a tach on the back. The outboard gearing is necessary becuase the original motor rod spins three times per single revolution that the shutter makes. I would be impossible to get anywhere near 24 fps without some exterior gearing.

I was recently told by a peer that 16mm is dead and that the new wave of hdv cameras and the HVX-2000 was going to be the reason why. To an extent I agreed with them, but inside I knew that 16mm still had a great amount of life left in it. Super 16 may be a different story, but surely,16mm may not be able to compete in resolution, or runnign time between loads, but great results can be had from 16mm for SD television music video or commercial work. So with that said, I took a look at one of my Arri M cameras and decided to convert it to a hand crank. I'm sure the most of us are familar with "Man of Fire" and "Domino," where both films utilize a customized Arri 2c hand crank body. The hand crank look and aesthetic is truly unique and in my opinion, cannot be replicated in post. I consider myself a fairly good mograph artist (http://www.jrlab.us./) and no digital combination of effects can mimick the look, exposure, erratic motion, and pure rawness of a good hand crank camera. I knew it was goign to take some engineering, but luckily I have a brilliant machinist as a father to develop the camera. I have attached a photo of the design. The camera is a typicaly Arri M with a turret and set of lenses, but it produces some amazing lookign footage at NTSC res. As a camera assistant, I worked a show that rented the Panavision Arri 2c hand crank, which was great, but it was difficult to get over 32 fps. With their design, one usually hovered around 18-29 fps at moderate speed. With my Arri M, I can swith between two different gearing easily hovering around a max of 50 fps and thats when things really begin to get interesting. Overall it took about a month to materialize the design, we went through two complete redesigns before finding something that was robust, flexible, compact and lightweight. Anyhow, I embrace the new technologies and look forward to a digital future, but in the meantime, I think there is a lot of life left in these 30, 40, even 50 year old cameras. With a little imagination and engineering, you may be able to come up with something unique and new... Next, convert an Arri 2C!

I think the key to being a good DP is making the most of what you have. I don't think I have ever been on a show as a DP or an AC where there haven't been uncontrollable limitations. We don't have enough film or enough lights...heck, there never seems to enough time in the day to get all the shots off. However, I think it is the limitation of resources and logistical boundaries that make us as DPs excel and improve our craft. I shot an entire Super 16 short without an AC or loader. I operated, pulled focus during all the shots..I even had to download and load 20 cans of short ends throughout the day. I was extremely stressed, but in telecine, everyhting turned out great. If you can't afford HMIs, use shiny boards. If you can't afford the Arri 435, shoot with an Arri IIC. Again, last week I found myself shooting a spec commercial without a camera crew, but I was better able to focus on DP stuff becuase all the technical camera stuff was transparent to me, I had trained myself and I was able to take care of the camera by instinct. Embrace your limitations becuase in the end, it will only make you a better cinematographer. You will develop a new style that is unique to you becuase you are not workign with the same "tools" as everyone else. I'm a firm beleiver that sometimes "less" can be "more." Regards, Joshua R

Hi, I can't recal of any on air 16mm commercials off the top of my head, but I do know from 2003-2004 the Telvision show Scrubs was entirely shot Super 16mm on an Aaton XTR Pro PL framing 4:3 (for TV, which is the same surface area as a standard 16mm gate). Joshua

Hi, I recently purchased an Arri 2c with a PL mount and now I am looking for a decent low cost zoom..lets say under 10K. Whats decent? I'm looking for a spherical zoom that is crisp enough for HDCAM transfers, has decent contrast, low vignetting, offers at least a T4, and isn't a such a gigantic burden that it breaks you back in the field when working solo. I have a Super 16 package with a Zeiss 12-120mm T2.4 zoom lens and I have been extremely happy with its optics and performance. I'm Curious to see what people have worked with and recommend, or not recommend for that matter? For those with feedback..I thank you in advance. Regards, Joshua Reis

I am looking to purchase two Arri 2B or 2C 35mm cameras. Models must have variable mirror. Cameras can be basic and stock (prefer no lenses or motor) as I am looking to fix them up and convert both to PL mount and CE base. If they already have CE crystal base, PL mount, Jurgen door, 200 or 400 ft Mags, sliding baseplate, I'm defintely interested. I am located in Los Angeles. Please email me at mail@joshuareis.com. Regards Joshua Reis