Chris Burke

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

On Netflix, check out The Other Side of The Wind and then the companion resurrection documentary, They'll love me When I am Dead, for a great night/car/rain/sex scene. Gary Graver shot it poor man style with great results. The scene was shot over several years in different countries. You would never know.  The doc has lots of behind the scenes stuff and shows Orson Welles brilliance in crafting the scene. Very low tech. Garden hoses, PA's moving lights, completely convincing. 

My Gemini 444 recorder is hooked up to my Sony F3. A few days ago, all of a sudden when I wanted to shoot something, I turn it on and it immediately started to record. I couldn't it to stop by any other method other than unplugging the power. No choice. When I go to restart it, on all of my  SSDs, it does the same thing, starts to record and can not be stopped. I updated the firmware and then the SSD firmware, but each time I finish the update, it want to do it over and over and over again, until I decided to cancel. That is with one SSD, the other two since updating firmware of the recorder itself,  keep recording automatically without being able to stop it other than unplugging power. It doesn't even ask to update SSD firmware. This is all of a sudden.It was working fine a few days ago, the only change is that I reversed the direction of the HD-SDI cable.(does that matter?)   Then the trouble started. So I swapped out cables and I still have the problems. I hooked the cables up to a different kind of recorder, Samurai Blade and they work fine. I am not sure what to do. Should I get brand new cables or is there something I can do to the SSDs?..........

Cool Super 8!! I am looking forward to seeing the final edit with sound. 

They should do a 70mm drive-in screenings. If there is such a thing

Why do you want to underexpose? I am assuming that you are shooting color negative?? Correct? It can handle lots of overexposure, which is what you will get if you meter for the shade, the highlights will be overexposed. But there are many variables that you should consider. How do you want the scene to look is one of the biggest things to think about. Do you want nothing too bright in the scene? You can go a few stops under to protect highlights, but that isn't needed that much compared to digital or reversal. I find that film often clips in a very pleasing way. Not always and not for everyone, but it looks quite good overexposed. Vision 3 film stock can handle many stops over, someone else will have to chime in as to how many. 

On 4/13/2020 at 12:50 PM, David Peterson said:

No, the F3 doesn't output 10bit over HDMI. 

You must get an SDI recorder. 

That's because it is an HMDI recorder. 

Even though I own an F3, and I'm a big fan of my camera, I'm not so keen in strongly recommending the F3 to newbies starting out. 

There are too many "gotchas" or hidden costs / hassles, which even if you know about, you might not still fully appreciate the magnitude of it until you get the F3 into your hands and start working with it.  

They're better off getting a Panasonic G85 or an OG BMPCC

So what if it is 8 bit out if HDMI, they said that they were having trouble getting an image with Ninja Assasin. That combo should work, despite bit depth. 10 bit is great, I shoot it almost exclusively, but it is not necessary all the time. Sometimes you can't tell the difference. 

What gotchas? You have to record 10 bit over HD-SDI, so what? Other than that non issue, what are some of the many hidden costs you mention? What cost are present here that are not inherent in any camera ownership? 

Never heard of a Panasonic G85 so I can not comment, but first gen or 0G blackmagic pocket camera??? In terms of image quality, F3 hands down. No FPN, better low light images, S35 sensor, more lens choices.  Reliability? F3 again by a long shot. Firs gen Blackmagic are notoriously unreliable. Known to fail in the field when you need them most. If you buy one, buy three, you'll need them. Where as with most any Sony camera, they are tanks, will work all day long without fail. Battery life? Again the Sony F3. There are several battery choices, but the native batteries work great and last a long time. Not so with Blackmagic. 

AVOID first generation Blackmagic Cameras, especially the pocket camera.