Chris Burke

I was willing to cut Baldwin some slack, but forget it now. He was probably told to go hide in the Green Mountains and keep his mouth shut, but couldn't even do that. In the video he came across as quite disingenuous and has chosen to stand with production. Well oiled my ass!

If you are moving the camera during the shot, you may get some rolling shutter effect. This might occur if you are shooting out the side widows while driving and moving the camera around. But film cameras have a fast rolling shutter and I as an Aaton owner have rarely seen it. 

Aaton XTR Prods have legendary great registration. Driving in a moving car without any stabilization (steady Cam) won't or shouldn't cause the film to "jump" in the gate. Highly unlikely, even less so if the camera is recently serviced. However, the image may still not be steady, but it isn't he cameras fault, it is the movement of the support under it. In your case, it seems like it might me very little. If you cannot use a steady cam, use a car with a very soft ride. For example a big Cadillac and not a Corvette. Try padding under the Hi-hat to help absorb vibration. 

How many of the people who really made all the decisions that lead to this will be prosecuted? The AD and armorer and maybe the line producer, for sure, but they are lower hanging fruit. I really don't think Alec Baldwin will fight any decision made by the law as to punishment. He will take his. He will be living with immense remorse and guilt from now on...........Beyond that, the scum that kept cracking the whip, cutting every corner they could, are all now scrambling to protect themselves.  The AD and armorer have been put up as the fall guy/girl. which is obvious and just. The line producer was probably only working with 1 to 2 million when you factor in Baldwin's salary, so the corners they were tasked to "cut" were quite tight as it was, but still.....guilty!  How did they get bonded knowing that live rounds were on set??? Answer, the insurer/bondsman didn't know about them.

Time will tell us what is to come, but it has been my experience in life that wealthy and powerful people are not held to the same rules as everyone else. Given that and how small this budget seems to be, perhaps more heads will roll, like the director. . Lots of horrible shit is yet to be revealed, but who is really going to pay? That is my question.

Why not true, care to elaborate?

Great point and well said Frank. I completely agree. A compramise may be the Tangent Ripple. I have never used one, but the cost and size may be a perfect fit for a advanced home user.

15 hours ago, Raymond Zananiri said:

Now I'm very curious to know what that is, but I'm still confused. Flicker usually implies a shift in luminance. Something becomes more or less bright from frame to frame. Is that what you mean? Or, is it a change is place? Something moves abruptly from frame to frame. The Meteor lens does not cover s16 on the wide end so I had to shoot higher than 40mm or 50mm handheld. Maybe that is it?

Was the lens re-centered? I ask because I used to own a S16 K3 that was re-centered and at 17mm, no vignetting. That zoom lens isn't so bad. 

Looks great! Congrats on your win!

what resolution did you scan at? I watched it on my 43 inch TCK UHD panel and it looks great. Definitely grainy and  it was a 1080 video being scaled, but looked good. Is there a 4k version out there? I would be curious to see a 4k Youtube or Vimeo version of s16 from the same scanner. 

On 11/9/2020 at 4:22 AM, Stephen Perera said:

Gracias Ignacio y todos......had never even heard of Baraka...thanks for mentioning.....I'm gonna watch it!

Samsara is considered the sequel to Baraka. Both are great. I have seen them both in 70mm and digital many times. Two of my all time favorites!

I did watch it in two sessions only because I was interrupted. I easily could have finished in one go. 

36 minutes ago, Satsuki Murashige said:

As stated before, that would actually require me to watch the film! As there is no chance of that ever happening, I will leave that to others.

Maybe it's not your cup of tea, but all in all, he has a hit. It is worth it to watch even for research sake. I cared about the heroes stories, not so much the about villains.   Everyone's concern about aspect ratio and length didn't really matter. You forget about those thingst pretty quick. I was engaged throughout. Of course the chapters help. Streaming is a great venue for it.  Too bad there won't be a sequel. 

I use Nikkor AI-S lenses all the time via an Nikon F to Aaton adapter. All the lenses work flawlessly with no issues. I have never noticed any "ghosting", but that doesn't mean it doesn't happen. With some modern Nikon lenses, the fit is very tight. 

Or 3 perf. All three choices will work. With 4 perf and 3 perf you are using the exact same image area. With 2 perf it is a little smaller for 2.35. 

What is your budget?? There are many options available.

Here is one https://www.moviestuff.tv/moviestuff_universal_mark_ii_series.html

Hi,

I have recently read online that if I do not have identical GPUs in my Mac Pro 5.1,  Davinci Resolve will only use the lesser of the two.  I currently have a 8GB Radeon RX 580 for resolve and a NVidia GTX 640 4gb for my gui.  Within my preferences, the GTX 640 says GUI only. Despite this, people have stated online that GUI only selected does not matter. My Radeon is not flashed, but I will pull the GTX and go it alone with the Radeon if it will be a boost in performance.  Does anybody have a definitive answer?

The film cartridge that you will use is a one time use cartridge only. As is all film. You send the film to a lab to be processed and scanned. They will send you  the film back and a HDD/SSD or USB stick with your footage in a video or data format of your choosing. Some labs also will post the scanned files to a cloud for you to download via the internet. 

I am in....

I think the issue lyes with the SSD's. I ended up reformatting them on my laptop. MacBook Pro, as FAT 32 and then insert them into the Gemini. It then in turn wants to reformat, which I allow and all is good. The problem has happened twice. The footage that it shoots when it starts to wild record, is all there and can be recovered if you don't reformat. The problem is more of a nuisance but I would welcome any other feedback if anyone else has experienced this. 

13 hours ago, David Mullen ASC said:

Can't most color-correction systems like DaVinci Resolve output a project at a different resolution than the original?

Yes, Resolve can. You can scale the image so it fills the frame. People may also put the footage through a Teranex. I have found that uncompressed 2k or 3k footage can upscale very nicely. 

Is that a PL mount? 

Great work! Bummer about the cart. It does happen. I have had better luck using the Kodak branded carts.

Hunts Photo and Video, at least the one in Melrose, carries 100 foot daylight spools of 16mm.

On 7/22/2020 at 7:02 AM, Frank Wylie said:

I would venture 4444 is compressed just enough to make working with the files much faster, but retains the proper color space without impact on color operations.

Uncompressed DPX files are quite taxing on playback;  4444 less so...

This is true, however it is very easy and cheap to build a system that plays back 2k DPX in real time for finishing.  UHD or 4k DCI is MUCH more demanding, but HD or 2k is no biggie.

Yes they do. Some may change at longer foical length, but none come to mind.   Have you been to www.super8wiki.com  ?

Check it out for specs on pretty much every super 8 camera ever made. Including the Logmar and new Kodak camera.

I believe your cameras are a constant aperture throughout the entire zoom range. Wide open zoomed all the way out looks great. a lot like 16mm