Kip Kubin

This may be a silly post and may be the product of cheep transfers posted on line that I have seen. Some footage I love as far as how much grain...and some who's grain looks wrong...excessive and pulls my attention from the film, I'm just curious if grain reduction is just something a Telecine operator always does to some extent ...or just if needed with higher ASA stocks if desired.

Hi All I'm about to have my first Telecine session of 16mm footage I shot last week. Fuji 250T Eterna - overcast day so I was within 1/2 a stop all day with even light.. I say this because I don't think I'll need anything pushed that would increase the grain. I'm not in the state where the transfer will take place...so the communication will be email and phone. The system they use is a DFT SHADOW TELECINE with Spirit Data Cine System My questions is Do you typically ask for noise/grain reduction when transferring 16mm footage? If so, how would you phrase that request to reduce grain but keep the 16mm-ness of the footage.

Is there a tap? You could always send the tap to a SMALL HD monitor if there was. THose monitors are a cheep rental and they will stretch Anamorphic lenses. http://www.smallhd.com/site/home.html I know this is a work-a-round and not really the answer you sere looking for but I thought I'd throw it out

Taps are 2500-3600 at Visual Products http://www.visualproducts.com/store02.asp?ID=11 Optical viewfinders are way better than EVF's....I've never had an issue but I never used LCD's ...I always use the viewfinder for composition...and now that I have an Aaton I couldn't be happier. That said..an extension viewfinder is a "must have" for ease of shooting...

Exposure and metering tip You could get a meter and double check it with a DSLR but it's just quicker to have a meter. I use a Gossen Luna Pro - $65 on EBAY...just a s accurite as the Sekonic I used to borrow from friend at a fraction of the price. My solution was to buy a Nikon F3 35mm still camera and practice with that...ignoring the internal light meter...it will only take a few rolls to build your confidence and get to a place where you can meter and shoot with predictable results. Also, it's an easy/cheep way to test stocks without a 100 to 400 ft commitment. Fuji, Kodak, cross processing pushing pulling etc.

I agree wit the last post. What is the reason for the vid out? That where your going to get hung up. My vote would be for an Aaton that's switchable from 16 to S16. You can add a tap later that later...pick and pay wisely and the cam may be the only one you need forever.

I followed your advice and shot a roll of E100 and had it cross processed. I have a few questions. Is E100 G the same stock as 7285? I'm trying to see what the differences will be between the two once I film and cross process. I'm trying to get a more gold/amber tone out of the film and for not it's mostly green...even though most websites state that Kodak reversal does not skew to one color or another like Fuji. I shot 1 stop over and under with the same results. I'm trying to achieve the Cowboys vs Aliens/Domino Or this clip on Vimeo (Which I love the look of the DP really nailed exposure and I'm sure that helped with skin tone CC if there was any) http://vimeo.com/24258785 Here's another question...can anyone guess what stock was used or how the cross processing look was achieved My test was flawed in that I shot it in a forest so that may be contributing to my overwhelming green hue.... I'll shoot some city shots tomorrow and wee what comes of it. As for exposure Rating at 200 seems to be the key esp with light skin...will that also be the same in 7285..my guess is yes. Thanks for any help or advice you can give Kip

I was borrowing a Sekonic Cine meter.... that had to be returned Bought a Gossen Luma Pro as per the suggestion of R Deakins on his web forum. It was $65 on ebay and it's the best thing I've ever done....not only was it way cheeper, just as accurate it's quicker and easier to read.... there are reasons for an expensive light meter but there are cheeper ones that work great and are reliable

What studio? Would be my first question... that will, to some extent, motivate my answer. With out any consideration of actual camera specs I'd go with the smallest camera footprint for an "in recording studio" doc... so A-Minima...I'd also have a Kinopik 5mm in there for vocal booth/small spaces. Having not seen the studio space...but speaking from having several record deals and now directing about 5 to 10 of these a month artists like their environments how they like them... and so do the engineers... generally under-lit and top lit...bring in a light and you'll spoil the vibe...or they think you will... the recording studio is where an artist will be the most self conscience and at their most vulnerable .... that's the part that will be tricky for you... Anything with a larger mag and body may call too much attention to you and what you're doing. If you do go with a larger cam/mag I'd suggest being there and not rolling...faking it... just for a bit, (Scratch vocals and tracking or working on arrangements) so the band is used to you and the cam on your shoulder....even an established artist can be thrown by a non-band member being in the studio or vocal booth... you have to get good at it...being there and not being there in a 5x4 booth In any case with some good studio etiquette you should be successful no matter what camera you choose. I admire your wanting to shoot 16mm in that environment it will be tough but really rewarding...please post the resulting videos. DM me if I can help further.

K Where are you? What is your company? Thanks for the responses Kip

With the purchase of a camera the seller threw in a large amount of film stock. Mostly 50D/250D but there are a few cans of 500T and 320T that concern me, All film was stored in a refrigerator and doesn't look very old... how old he didn't know though. I don't mind some fogging or artifacts of age as I can use those for experiments and tests... I just need to now which stock is OK and how much to push to get a usable image. So that leads me to my question Can someone walk me through the correct method of submitting film for a strip/clip test? I have several rolls of several types of 16mm film and don't know how to submit the film for testing. I've read that 2 ft from can. One strip for each batch of film cans. How do you label these strips and how do you package them? Stocks Some numbers may indicate age... I'll start researching that now. 50D 7245 50D 7201 250D 7205 250D 7246 500T 7279 TRI-X 7278 320T 7277 Also, on a side note is there any way of reading the numbers on a can of Kodak film that will tell you the year it was manufactured? Thanks Kip

Sorry..the one I thought of was already mentioned

That's a my 35mm Square Front 3 meters.

Peer... I've done tests like the above youtube flair test.. it's clear he's operating and has no idea where focus is. T4 I find it funny that when people try to do a fake "Lomo"look they soften up the image. I can't speak for spherical Lomos or even round fronts but my square fronts are sharp.

I'm in Nashville TN Duclos works on my anamorphic lenses but I was looking to find someone closer.

The back focus is now off on my zoom. What should I expect to pay for the back focus to be adjusted on a Cooke 9-50 zoom? Can anyone tell me if this is a simple adjustment or a complicated ordeal for a lens tech. I'd like to know this information before I talk to anyone who repairs lenses. Thanks Kip Kubin

I'm DP'ing a video on RED and there is a scene using black light shining on a wall. Has anyone shot black light on a Red anything I should watch out for? The black lights are 400 watt UV Flood Stage lights rented from a stage supply and touring company in Nashville. Does anyone know what the lighting = would be in terms of a tungston light Does 400w = 400w in black light Any thoughts and help would be appreciated Thanks Kip

Thanks I bought my 35mm from Sergey, I'm just collecting all my options for a lens purchase and looking for a good deal if one arises. Kip

Hello All Lomo anamorphic lens owners. I am looking for an 80mm Square Front to complete my set in PL mount Please PM me with condition, and serial number along with price. Kip Kubin

It's just multiple exposure. Duvitine with holes cut out... back lit.. make a box so there's no spill. Dolly or zoom in in a way that you can control speed. Starts closer will move faster and be brighter. Move the background and repeat.

Looking for a great deals on Plus X 16mm stock. If you have any gathering dust in your film fridge I'll do my best to take it off your hands. Using it on a self funded short so I'm looking for deals. Id rather not use daylight 100' spools so just short ends or full 400' cans. Old stock welcome. Thanks Kip

Are you shooting with a 35mm adapter or stock lens. With an adapter, using an older Cooke lens or Angeneux might get you close in camera... I have a set of speed panchros that work well for this. If you using the stock lens than it will be in color correction. One trick I use is to import the frame you want to emulate plop it in your timeline and use FCP's 3 CC plug in using the "match hue" feature. You could easily match the whites and probably be close to tweaking the footage the rest of the way. Looks like a pola was used on the exterior to make the sky pop and control any reflections in the pavement. Hope that helps you.

Can anyone give me some tips/pointers on proper setting of the counter balance on my Cartoni Gamma head. Bought it second hand... and the on line manual isn't too clear. The dial on the left side of the head, next to the tilt lock, even at 10, still seems not to be strong enough a counter balance... the hear keeps wanting to pop back up to a level position. What am I doing wrong? Also, how do you set the dial on the back correctly? It's my understanding hat proper counter balance will allow the camera to rest at any tilt/pan position... so that's what I'm trying to achieve. Thanks for any help. Kip

28f2.8 35f2 50f1.4 105f1.8 This is my inexpensive lens kit. $45 was the most I spent for any lenses. Using a Letus Extreme I only loose 1/2 a stop before I put the lens on. The main issue is build quality and rack focusing.. as well as enough light indoors. My point is you can go cheep... but I'd rent if I needed faster glass or a different look.

PM'd on the Cooke Zoom