Chris Burke

I recently have been watching the new episodes and the old ones on Hulu. Wow! Viewed on a TCL 4k HDR panel. for a show shot on Super 16, it looks great! Shot on Fuji Eterna, it holds up very well.  The difference between the old and new is noticable, but not that much. At least on my screen. The tv must do a great job at "upscaling" non 4k footage.  the S16 footage has great color. It pops but keeps flesh tones realistic. The new episodes looks sharper with more desaturation. My overall point here is that all the talk of Super 16 not being adequate for modern streaming or TV is wrong. Perhaps the OCN from the original run has been rescanned at 4k or HD masters upscaled?? Who knows, but it looks great!

can you get a super 8 camera? And therefore shoot 500T... Or can you get the '19 500T in the load type you need? Your camera has registration pins, no?  Therefore, it would produce a much better image than super 8, sharper also,  but any way you can shoot 500t would be the way to go. If you are going for that "retro" look, an XL super 8 camera with 500T loaded can practically see in the dark. To me, even in super 8, if you get a dense enough negative, the 500t is rather low grain. How are you transferring your film? Some scanners do a better job with the film rated at the box speed, correct?

Clint Eastwood is or was great for shorter efficient days. He is a very humble and respectful person as well. He goes to the end of the lunch line and waits with everyone else . His sets are very quiet and low stress. 

some reality tv shows, without any unions backing up the crew, will regularly go over 20 hours./day and regularly are hiring new crew due to burn out. 

Season Three teaser looks interesting!

nice stuff. bravo

Imagine if Jodorowsky was able to make his Dune....

I worked on Road To The Winter Classic last fall and at least the home games for the Boston Bruins were shot with Amira and FS7 on at least one occasion.  If memory serves me correctly, they did not use those codecs and different lenses, but the footage looked very similar and great! I was very surprised at how well the Sony cut in with the Amira. See if you can watch that somewhere and watch the Boston footage. We are on standby for perhaps another go at it for the Stanley Cup. When on set I will inquire and report back here, which might be in two weeks.

HDMI to SDI converter for sale. Open box, but never used. 

$100 plus shipping 

On 2/7/2019 at 5:37 PM, Tyler Purcell said:

Well, honestly I've only physically shot one interview so far. I just made a new friend with a great XTR Plus package, who is willing to travel with me to shoots. So we may use my other trick, which is to record audio of the interview and when they say something great, run the two film cameras for that one moment and then stop until another moment happens. It's hard to use that trick for emotional moments, but if we get the funding I'm expecting, we'll have enough money to blow some film on interviews as well, especially now that I have another camera/operator willing to help out.

 

We have Four huge interview shoots this year. First Portland in May. Then on the east coast in fall; Boston, New York and Connecticut. Arizona for a week somewhere in there and then up to Seattle to finish it off in the fall.

 

I plan on shooting around 20 400ft rolls of 35mm and around 40 400ft rolls of 16mm for those shoots alone. Then we have 3 more shoots at conventions on top of that... probably another 20 rolls for the conventions as well. So 60 rolls of 16mm will give me around 600 minutes of 16mm and another 100 minutes of 35mm, that should suffice.

While during an interview with the two XTR's, do you overlap/stagger the cameras to get full coverage? Do you start the second camera a minute or so before the first one rolls out? I have thought about doing this and want to know others experience.  I know that matching lenses and the frame is very important for this, but you can cut away in the edit and then cut back to the interviewee and no one would ever know. Do you try to match the frame and focal length with the two or are they different?

What happened to all the cameras? Is it that everyone is hanging on to what they have like me? It seems as if they all disappeared. How many were there to begin with? Were cameras actually destroyed because they were thought to be worthless? I have an Arri 2c in BNCR mount which I want to change to PL. I can't afford to do so now, but will wait till I can.

Vuescan works as does Photoshop. Any software that can link to and import scans from a film negative scanner, will be able to invert the image. I have many times with Kodak Portra film stock which is a close cousin to Vision 3 and the results are great.

You have to clip test in order to tell the condition of the film, but 2 stops over is realistic. it will probably only suit you shooting outdoors on a sunny day. If you are shooting on an overcast cloudy day, be sure to have fast lenses. Metering it at 50asa on anything but the brightest of days will give you lots of grain.

You can use it to make all the individual frames into a single video clip. Make sure you have all the images in order in the same folder. When in resolve, it will see the images as one video, you can output to any number of video formats.. The program has a rather high hardware requirement, but the free version is very capable.

do you use REsolve?

Are you trying to match the two formats to look more like each other? If trying to make the hd look more Super 8, than perhaps shooting off a monitor might help you. Dan's suggestion of shooting the short end of a roll as a test is great. I highly recommend doing that. I would try to source a 4:3 flat panel monitor. Make or purchase a hood for the monitor.

You could do all this one frame at a time, maybe if you shot at anything other than 24fps. Not sure which stock you are using, but perhaps underexposing to boost grain is preferable.

But in the end, it may very well work out to be the same or more work going the digital route. I feel that HD can kind of pass for S16mm or 35mm, but Super 8 never quite makes it. It takes some time/$$ and the free solutions always look fake to me. You know that right out of the box, the super 8 is what you want. I would explain this to the talent and about the limited amount of takes per cart and find out if they can do it in X amount of takes. Then plan around that. Rehearsal makes shooting film feasible. Shoot the warm ups on HD. Start looking in the yard sales and such for Super 8 crash cams.

It can be done on film, it just takes a bit more planning.

I find it amazing that the producers that hire us, often do the work themselves by simply clicking and dragging to one location only and they are perfectly happy with that. But when the work load is sufficient enough to hire a dedicated DIT/Media Manager, they require X software and want to know what you have.

I have backed up thousands of hours of footage using Shot Put Pro on a 2012 Mac Book Pro. Sometimes I use Resolve. Zero issues that couldn't be handled immediately. Have back up gear for any contingency. I would also say that having a laptop with a second video card is beneficial. Otherwise, there are many options both mac and windows that work well enough. 16GB ram minimum.

my friend and fellow film lover Tyler, why did u shoot the interviews digitally?

Probably $$. So he wouldn't roll out during an interview. Very nice work Tyler. Looking forward to seeing it.

Great trailer! Best of luck finishing. Please share the finished film here. I just came to this thread, but would have suggested using Super 8. Did you consider that?

What about Duall in NYC???

enjoyed the footage

thanks

Get another camera, they are cheap enough or rent a good one. I have shot that very stock on a all sorts of cameras and get great results. This was a Sankyo 255 LXL. ten bucks at a yard sale. This is a Beaulieu 4008 MkIV @ 60fps. All 500T with the 85 removed, no filtration and often full auto metering in camera. The stock has such latitude, it is nearly fool proof.

For sale is my Atomos Ninja Star video recorder. It records video to Apple ProRes HQ, 422, LT. Uses CFast cards which are included.
•Recorder
•Atomos S2H adapter
•2x CFast cards (64gig, 128gig)
•card reader usb 3
•Three (3x) batteries
•Charger
•Many international AC adapters
•Three (3x) HDMI cables
•SDI cable
•case

Fully functional with minimal signs of use.

Over $400 invested asking 250US. Willing to ship overseas at buyers expense.

did they crop? IMDB states the use of cooke S4s and canon lenses

Also to add a way to check your film to see if it is indeed yours is to look at the edge code. Isn't there an emulsion number there indicating stock? 7203 or 7207 in amongst other numbers.

will you be doing processing of motion picture stock as normal, not as still film?

Great name.