Kenny N Suleimanagich

The 68th Street AMC actually had its 15/70 IMAX projectors removed, and then after The Force Awakens had its theatrical run, reinstalled.

I've seen some great documentary work done in 360 video, produced by BBC in the Calais "jungle" of migrants. But very very few things about it make sense beyond the "wow" factor.

I saw it when it was in NYC, doing 35mm dailies for "The Book of Henry". I believe it moved south after that for another feature.

How recent is this info? I saw the lab myself when it was in NY. It traveled south for another show.

I meant just for your finished cut. You seemed willing to buy software to fake it, so just putting it out there. There was another thread about that on this site recently. Though Livegrain has largely overtaken that technique.

You could also do a film out to color negative from a log image after you have picture lock. Then re-scan it.

Hey Kalle, sent PM

I found this video very useful to explain s-log3 exposure.

The IIIC was an improved and updated IIa/b/c platform produced in very small quantities originating with a need for an updated lightweight camera for use on "Das Boot" The 35-3 is an entirely new design. There were different "Mark" eras that had things like switchable lens mount and the like.

Nice! Now keep us posted on your DIY video tap :)

The last time I worked with an Elaine was 2009. Would love to know of any recent stuff done on them. Those were rad, if not incredibly clunky cameras.

Satsuki, You might try giving Hand Held Films in NY a ring. They were / maybe still are a Moviecam house and their techs are very skilled folks. I wonder if it’s just an old fuse that went bust. Who knows how long the camera was mothballed before you purchased it.

Unfortunately, I'm not familiar enough with those to tell you. Dom Jeager on this forum might be able to lend some insight to that end.

Did you check it against another battery? It sounds like it's stuck in a "phase" setting.

I've also frequently been blown away by the resilience of the original Blackmagic Cinema imager. Though I do think that for a lot of what people are doing for the web, the C100s are great cameras. Coupled with external recorders, even better.

F-stop is a mechanical measurement for a lens. Unless you’re talking one of those new Lytro cameras, you will always have f-stop be part of your vocabulary. Satsuki, those look great! I agree on WYSIWYG. For doc work when I have the C100 MkII I’ll usually use Wide DR and try and keep the skin tones right in the middle of the waveform, or just below, shooting native [850] ISO as much as I can. The image is remarkably clean.

Despite the internal-recording shortcomings of the C100s, the images they produce are very nice and clean. Especially using the “Wide DR” color profile. A lot of web video work I do at the moment is on these. It gets you about 90% there. I was very impressed by “Cartel Land” which was done on the C100 and recorded internally.

They planned on shooting it on Plus-X. I wouldn't put it on them, when it was Kodak that discontinued their preferred stock. The alternatives of Tri-X and Double-X pale in comparison. When your choice is that limited, you have to make do with what you have. And it was under cranked, though not hand-cranked.

"The White Ribbon" (2009) was photographed on color film and finished in black and white, from the same period as "The Artist". Like "Ida", "The White Ribbon" is among the recent black and white films to earn Academy nods for their cinematography (both won Best Foreign-language Film).

Another great example from the 1980s the work of Jim Jarmusch, particularly his collaboration with Robby Muller on "Down by Law".

Wim Wenders is another great example and it'd be useful to look at some other European cinema, too. David mentions the 1960s, this is also the ending of the B&W TV era, so many programs changed to color after that. Even documentaries.

“The Artist” was shot on 5219 and converted to black and white. That was pretty recent. They wanted to do it all on Plus-X, but another feature beat them to the remainder of the world’s stock. I think Satsuki is right, though. Up through the breakthrough of decent DV, a lot of these were small films that couldn’t afford to shoot color (but many, in their own right, remain beautiful examples of filmmaking craft). Some of my favorites from roughly the era you mention are “La Haine”, “Pi”, and the documentaries “Dark Days” and “Lets Get Lost"

Indeed. The only units to my knowledge designed to work seamlessly with these cameras are the ARRI WCU units that are equipped with yellow radio.

It's a pretty straightforward camera. The main thing to look for when loading is the loop adjustment, which you double-check by putting the mag on to the camera body and pressing "PHASE" – it will give an error if the loop size is off. To check the gate you remove the lens and press "PHASE", which moves the shutter out of the way (unlike on the SR3 which is an inching knob). Press it again to move back the mirror in place. I seldom, if ever, have hairs in the gate. If I do, I'll just use an orange stick and get it out. If you use compressed or canned air to blow out the mags before and after a load, you'll be fine. Just don't take this air to the camera movement itself. Keep an eye on the battery level. It should last around five loads at 24 fps. Swap it when you get to two red dots. The IVS is an analog SD BNC, so you'll need a monitoring system that supports SD. You can feed both composite and component video out, both set on the IVS menu. If you're using the built-in wireless radio stuff, give yourself a couple of hours to get acquainted with the settings and be mindful that you'll drain the batteries quicker.

Colorlab is in Rockland, MD