Laurent Andrieux

May be was it for a night street scene and the gel used to make some sodium effect or some sort of street lamp.

I was meaning a mag smells better than a baby's diaper/diper (if I understand correctly, please correct if not), not the other way around ! But in fact it's the stock's smell that give it flavour ! I know the feeling about photo fixer too !

Can you give us a new link, then, browsing CML is a pain in the neck. Thanks !

You're welcome ! In case you need, remember Paris is just a bit closer to you than Japan ! :lol:

And disapointed, most of the time, by the result, BTW ! I second Chad's statement !

On the other hand, the smell ain't that bad ! B)

Ok, it's good to have these precisions. I am not a specialist for rear projection, but I think it's a pain in the neck to setup, won't necessarly be more powerful and involves many problems, such as flip-flop left to right to the image that may be a problem depending on what you are projecting... EDIT : Mind, that as you mentionned the fact you're shooting super 16, the camera and projector should be synchronized, I think... See this with both camera operator and AC. Anyway, if I were you, I'd rent a more powerfull projector. No necessarly need for a scotchlite screen since it sounds you're actually running on a low budget... A scotchlite screen should be avaible for rent around NYC or Philly but as a studio rental, not sure you could find a movable one... There must be a 2 kW projector to rent somewhere around ! you'd get about 2 stops higher, that would be ok, I guess. What do other people think about that ? EDIT : don't think W/B should help in anyway, vs color...

Have a look at this thread : http://www.cinematography.com/forum2004/in...ost+one+of+your

If you can't find a repair in London, I know a good and official one in Paris. We could manage something if you need, with my friends at camera-forum.fr Let me know.

Projecting something that is overexposed may not be satisfying... What power is the projector you have tested ? How far from the screen is it ? It may be more powerfull if closer to the screen, and then the question will be of the focal length of the projector lens. The properties of the screen can do a lot, as mentionned. If your projector is already powerfull and if you have no way to get it closer from the screen and if you have a good budget for this shot, you can use a 3M scotchlite screen, it's very powerfull. It's used for front projection compositing on set. You set its lumination by the angle the camera makes to the frontal plan of the screen. You'd easily get a T 11 with that material !

I remember ACs discussed this topic before. Did you make a research ?

Yes, it blurs a lot, you're right. Even at F 19...

I'm very disapointed... I thought you were coming here only for the faithfull love of arri 16Ss and glory, and you actually are interested by money only... :( Don't bet money on the forums, it takes longer for 400 ft mags to get repaired ! :lol:

Sorry you posted while I edited my post... Thanks for the answer, but I wonder what the blacks will look like, at overexposition...

EDITED I wonder if I can say what I think from these grabs, since it looks like anytime someone critiques the RED, on these forums, he gets offended by a team of so-called producers and DOPs who never came here but for promoting this camera... Maybe it's part of a commercial policy to be so agressive I don't know, but, hey, I'll try and prepare for the hard time to come... - There is no pure black in the image, even though the exposition is low enough so that the whites are not white (at F 19 for instance)... - The image doesn't look very contrast, in any situation. - Pity he doesn't go further on the overexposition... - The colors don't look very saturated, but maybe this is to match the Varicam's color rendering, that is loved by many DOPs, I don't know, but there is a need for color timing after that, just as Varicam needs it, I think. - Pity there is no definition chart... The Siemens Star is not enough, to me. Ok, now, RED team, pull the gun... :unsure:

That's what I was meaning, sorry if my words weren't correct... It's only a couple of feet more, in'it ?... Do you really think so ? I reckon they would be surprised, but it shouldn't really be big trouble, should it be ? That's a good point I didn't think of ! I second that. Anyway... Wait a minute... He didn't say he would owe you 10 $ if you wouldn't answer first ! I assume he should owe 10 $ the first who answered his question, no matter if the answer was good or not, BTW... It's too easy just to sit and wait until someone else comes around and then come up and say "You owe me ten bucks" ! I suggest that Jonathan and I get at least half of it since you should be gratefull to us that we answered before you do, Tim. :D Anyway, that doesn't tell us why you want to do this, Keneu, if you tell us, may be we can help better !

Lost ! No it should not be a problem, if you can fix that spool in the take-up side... I don't remember if the pin at the center is the same, but if yes, it shouldn't be a problem. EDIT : the more I think of it, the more I'm afraid that only "classic" cores fit there... So the question only would be can you fix spools instead of cores at the take-up side... The lab has nothing to see with that... I know there are intermediates that allow to fit classic cores on square pins. If you use one, don't send it at the lab, remove it as you download, that's all. 10 more bucks if Tim confirms that ! Do you have the 400' mag before your very eyes ?

Well... Mind that the shutter speed in a video camera is actually the exposing time, not the frame rate. The frame rate will always be of 30 fps if shooting NTSC, 25 fps if shooting PAL. At these nominal settings, the exposure time is to be considered respectively of 1/60 and 1/50 when shooting interlaced. If you shoot with the shutter speed at 1/24 s it means the frame rate is still the niminal one, but the exposure time of each frame becomes 1/24 s instead of resp. 1/48 if 24 fps, 1/50 if 25 fps or 1/60 if 30 fps. Well, yes you can, the thing is it's not exactly two stops beetween 1.6 and 2.8, but 1 stop + 2/3 since 1.6 is 1.4 + 1/3.

Do you mean that according to the manufacturer's specifications, this camera requires only 3 lux @T 1.6, with +12 dB and shutter @ 1/24 ? The general formula is : T²/t = E.S/250 Where T is the T stop, t the exposure time, E the required illumination in Lux and S the ASA sensitivity. --> MIND that + 12 dB is not equivalent to a 4 stops gain but only a 2 stops gain ! It's 6 dB for 1 stop since the dB definition is GdB = 20.Log(N) where N is the arithmetical factor, N being 2 for one stop (you double the signal value each time you open up one stop). Therefore the gain will be 20.0.3 = 6 dB since Log2 = 0.3 Therefore, if I follow you, let's find out if we get rid of this gain as well as of this shutter speed : from 3 lux @ T 1.6 G= 12 dB, 1/24, I'd say : 6 lux T 1.6 G = 12 dB, 1/48 (sorry, I like to get rid of this one first), then : 24 lux T 1.6 G = 0 dB I'd then find a sensitivity for this camera, at its nominal settings of 1.6².48.250/24 = 1280 ASA !!! That's a lot ! I would suspect this kind of camera more likely beetween 800 and 1000, but, hey, why not, let's start from this point( it's only one or two third of a stop more sensitive anyway). Of course, if you keep the shutter @ 1/24, it should be 2560. If you want to work at T 2.8, with no electronic gain, at 1/48 s (that is very close to 1/50 or even 1/60 at 30 fps), you then need 2.8².48.250/1280 = 73.5 Lux, that is about 7 fc, to about 9 fc if you consider 1/60 s. I know also a rule of thumb, that is called "1.2.4" : you need 1000 lux at 200 ISO for a stop of 4, or 100 Iso require 2000 lux @ T 4, therefore, we see that 100 ISo require 1000 lux @ T 2.8, therefore, 200 ISO requires only 500 Lux, 400 ISO 250 Lux, 800 ISO 125 LUX, and 1600 ISO 62.5 Lux, all for a stop of T 2.8. That coroborates the value of about 70 LUX ie 7 fc for a sensitivity about half way beetween 800 and 1600 ISO. and only about 35 LUX ie 3.5 fc if you stick to the 1/24 s shutter speed. But I can't be more precise since I don't know your nominal speed. 1/48 ? 1/50 ? 1/60 ?

Topic moved

The subject has been asked manytimes, here. Please make a research with the search engine, by clicking Search on the top menu. You can also have a look at the library.

Could you do keylight tests at the same time as the camera tests, with the cross process ? I would think the lab itself has to be taken in account... It may vary from one to another...

I've been loading mags before I "grow" as a focus puller. Sure it's stressfull, just as focus pulling or operating or lighting, as somebody mentionned. But I never foud it boring. I wonder if english and american clapper loaders don't feel worse about the job just because they have to clap and write the reports... I can understand that that would really bother me if I had to be a 2nd AC again. When you work as a 1st AC you sometimes have to load mags yourself, that ain't such a pain in the back. But clapping and reporting at the same time ?... The hell ! You feel like you are the cinema lumpen proletaria ! In France, the grip does the clapping board and the continuity girl (script girl) does the reporting sheet. :)

Of course there is a ARRI BL 35 II (that is crystal sync), not any BL II B or C. ARRI 35 II B's and C's are non BL (blimped) cameras. One should know - as Stephen asked - if one is talking about an ARRI 35 BL II or an ARRI 35 II B or C...

Sounds good to me. I think its just what Jansik ment. I see the point by now. Thanks.