Chris Burke

29.84 gigs for ProRes4444 170.83 for 10 bit DPX only an estimate

super 16 is a better bargain. If you factor in the quality and ease of use and world wide acceptance of the standard, super 16mm makes lots of sense. Super 8 is a niche, and it is great as that.

I guess so, but would it add any latitude?

reposted here http://www.cinematography.com/index.php?showtopic=76303 sorry to highjack it

What will happen if I do this??

Rob, I have a 400' roll of 7265 that I am itching to shoot. What would be the benefits/differences if I were to process as negative?

The nikkor 28mm ƒ2.0 ai-s. Also the 35mm ƒ1.4 ai-s. Both manual focus. What are your opinions about both lenses? I am considering purchasing both for video and still, film and digital. I used to use Canon, but because of a few changes, Nikon lenses will fit all my cameras.

You can also record audio with the camera rolling and immediately after your camera take, do an audio only take. It is important to do this right away, that way the actors will match their performance very closely, if not identically. Compact flash or hard drives are much cheaper than film, so doing extra audio isn't that big of a deal at least in a indie, low budget setting. For a feature film, this might not be the way to go, but for a short.....

try this calculator for judging how much storage you will need. http://frogsoft.com/filecalc/

It seems as if 16mm and 35mm cameras have dwindled away on the used market and prices have gone up a tick. Depending upon what it is, you might do alright selling your gear. If I had the $$ I would have bought your IIc 2 perf

does this lens have a rotating front when focusing?

At least a short.

this seems like the beginning of a great sci-fi script

I recently purchased a camera from Lensauthority. Inside the very nice KATA case that they just gave me with the camera, are LOADS of BNC cables. Too many to list. My question, is the cable the same whether HD-SDI or SDI?? I am a film guy, but I suspect yes. Can I use any of these wonderful cables for 4:4:4 output. It is an F3 I scored for a grand. Only has 179 hours on it. S log, 444 RGB output, KATA case and they threw in a 12 foot HDMI cable in addition to all the BNC. Footage in ProRes HQ Slog 422 with bargain glass looks good. I bought it for many reasons. It does seem still to be a viable camera. I can use the same lenses on it, my Aaton and my Nikon F100. Huge thank you to Lensauthority. They really impressed me.

Was that 50D in the low light dusk shots? Looks pretty good for such a low iso!

Cinelab.com, they are in MA for process and scanning

As the previous post stated, if you are shooting vision3 stock you do not need a high dynamic range scan. Spirit will get all the information off of the negative. Maybe the one that you our school needs a tune-up but modern-day stock and the spirit datacine go hand-in-hand very well.

Most likely they are stuck. I would get another camera.

I really enjoyed the more understated performance from Connery. Sort of like the OK corral except in space. I am a big fan of the film and argue that it is one of the more underrated sci fi films of the era.

I am assuming that your client wants super 8 footage for the look, which I think can not be replicated artificially. If this is the case, what trade offs are you talking about? Shooting film forces you to be more efficient as a shooter.

How was the 7218 stored?

You could print and scan from that.

If you are looking for a zoom to use in S16, I would suggest the Canon 6.6-66mm.

What ever happened to this lens?

Did you get ypur asking price?