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Matthew W. Phillips

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Everything posted by Matthew W. Phillips

  1. I wasnt disparaging still photographers or mentioning about 35mm stills vs motion pictures. I was talking about how Karim was mentioning about high resolution being helpful in solving open criminal/missing person cases. Edit: I imagine if Gabby's car had a digital cinema camera with a > VV sensor as a dashcam then things may have turned out differently. ?
  2. I am quite positive that mine is not nearly that quiet. The boom mic (AT4053B) picked it up 10 feet away and even denoiser @ 37 in Adobe Audition didnt get rid of it.
  3. Those woods are so inspiring...and in your backyard no less. One of you want to let me crash at your place for a bit so I can shoot my horror film there? Maybe one of you fine chaps can shoot it for me too. ?
  4. Forgive me but I had to play...the setting was just too nice and I don't have anything like that out here.
  5. I though it was obvious that Jon's comments were in the context of filmmaking? Maybe I am wrong.
  6. I was not aware that this was a standard. I could redo the test but what is important is that it is too loud. How much louder than acceptable is what I have yet to determined. I did do a test with the boom mic about 10 feet away from the camera and I could still hear the motor even with noise reduction. I cannot do too many tests now because I am waiting on the charger and the battery had enough charge for me to test running a 400' test load through. The strange thing is that is sounds like a normal CP16 but louder. It doesn't sound ratty-tatty or off in any way. It just has too much hum for suitable sound without wrapping a jacket around it or something. I would prefer to stay away from ghetto-style modifications for now. I have no Arri lenses and the seller did not end up throwing in an Arri adapter after all so I couldn't use one even if I had one. I am torn between fire selling this beast (once I get the charger) or contacting Whitehouse or Visual Products and seeing about a PL mount conversion. I inspected the internals and the electronics look clean, the board looks sturdy, and the belt looks new (it was the same belt in the Whitehouse belt kits on eBay). The battery isnt a Whitehouse recell but it still holds a charge.
  7. So is that why you are always so grumpy? just kidding ?
  8. I love the location and envy you having access to it. That being said, I would like to ask a question... Did you take stills or actual video? This looks like a slideshow of still images and any movement present looks like a slow digital pan. Therefore, I would have liked to see more movement. Also, I personally would prefer this in black and white as opposed to the brown haze. I see this scene as having the potential for a powerful horror/thriller setting instead of a slow and serene setting but that is just me. Your framing is good though so I will give credit there. The constant dissolves were distracting to me though and didn't feel very cinematic (if that is what you were going for. And I realize the term "cinematic" is cliche at this point but I really didn't know what else to say...maybe "movielike"?)
  9. To post an update, I must rant a bit to my brethren here... I received my Ultra 16mm package and the seller forgot the charger. An honest mistake, perhaps, but it is just another delay that is frustrating. I had wanted to do a camera test this week but that set back those plans since the seller sent off the charger yesterday and it wont be here until next Monday. However, the charger issue is now a non-issue because my Angenieux 12-120 zoom came in and it had a massive fungus spot on the front. Not only that but this lens vignettes in the viewfinder even at full telephoto. I was surprised because I expected a light vignette at the wider end but not beyond 50mm. The seller accepts returns so I sent that off for a return but now I am back to square one without a lens. Even if I wanted to sell the camera, I doubt I could without a lens because someone else would end up with the same problem. Also, the CP16r runs a wee bit loud. My sound meter showed 50 dB noise at the lens mount which I think is high for these cameras. They are never whisper quiet but I don't recall getting readings that high in the past. I was careful to load the tester film correctly with a slack loop before the gate as is commonly the problem. I have attached pictures of the lens for those that are interested. I am feeling quite down now as I had hoped to shoot a short film soon but that is not going to happen.
  10. This is good advice. I have fell into this trap too. I still have to try to talk myself out of thinking I can design a new film camera from scratch. It is a stupid idea but it "feels right". However, once I get knee deep into it (and down quite a bit of money/time), I will probably asked myself why I started such a silly quest.
  11. Yep, sure is. I personally love the look of 16mm and find it to be the most unique look in the cosmos. It has the beauty of 35mm with the grittiness of 8mm (without being too gritty). If I had my way, everything would be shot in 16mm; that is how much I like it. I think 65mm is largely pointless (my opinion only) and overly sharp and detailed tends to take away the suspension of disbelief (again, only my opinion). What isn't visible is often as important (or more so) than what is. Keep films magical and mysterious for the win.
  12. Interesting that every time a new digital camera comes out (Red especially), we have fanboys remind us of how much better digital is than film yet I notice I never see shootouts comparing their camera's images to that of film...strange isn't it? It is because they know that most of the population will prefer the look of film. Therefore, it is easier to have shootouts with other digital sensors since many sensors output a similar look with proper lighting, LUT, etc.
  13. Because it is the holidays, I will try to be polite. But this is a garbage quote if I ever saw one. Who determined this and by what criteria did they determine it? I may not like the film workflow much but the image quality and aesthetic is amazing and is the standard by which everything else is judged. Even on digital camera forums or comment threads on YouTube and Vimeo, most concede that film looks better but that digital cameras are a compromise based on other factors (not image quality). Please don't open up another can of worms with the film vs. digital argument. This has already been settled many times before: 1) digital wins on convenience 2) film wins on absolute aesthetic, skin tones, color, etc
  14. Here is a brochure for the Arri SR3 Advanced: http://davidelkins.com/download/download_files/arri/brochures/16SR3_advanced_brochure.pdf TL;DR: It looks as though brighter viewfinder, IVS (Integrated Video System), high speed options (up to 150 fps), options of 800 ft magazines, LCD control panel, and variable shutter are some of the key features of the camera. Standard speed versions are super quiet at 20dB and high-speed is 27dB. Hope this helps.
  15. Happy holidays to all of you. Hard to believe that I have been here for over 15 years now. Here is to keeping the dream alive no matter how old you get. Best wishes to all.
  16. Wouldn't any scanner worth its salt make sure the light isnt too "hot" on the film?; compensating for the extended duration under the light with a cooler (real temperature; not Kelvin) light source than a projector?
  17. Got my CP16r in and forgot how heavy they were. Need strong support which I don't currently have. Trying to get best value for strength so looking for an O'Connor 50D Fluid Head with sticks. Hopefully not in need of rebuild. Thanks, Matthew
  18. Rich color and beautiful grain. God, I love 16mm. Thanks for sharing.
  19. Watched the short and enjoyed it, Tyler. My favorite character is Nats, admittedly, but I ended up liking Frogy more than I initially thought I would. His look made me "prejudge" him (maybe this was intentional to demonstrate the shallow perception and summary judgments we give people based on appearance) but his situation made me relate. Oscar was my least favorite but I guess he was a friend who just didn't know how to handle the weight of the situation (which is often how it is; death is tragic but also awkward and few are prepared to engage with the reality of it) Maybe I missed this in your notes but are you putting it on the festival circuit? When are you expecting to release publicly? Good luck and congratulations. Completing a project on 35mm these days is quite the accomplishment and rare gem.
  20. For my next project (a short horror film), I want to be able to Direct as a Director. I don't want to be burdened down by worrying about the camera and lighting, etc. The problem is...where I live (Northern California), it is as different as can be from the industry in Southern California. I am not too far from the Bay Area where there is somewhat of a film scene but still not sure of the talent that is willing to travel up where I am to shoot (especially on a budget). I purchased a film camera because there are no film rental houses up here. I also did it because I don't want to hire a DP who is going to push a look that I do not want (a modern DSLR/Red/mIrrorless camera with modern desaturated look). That sort of thing is about 99% of what I have seen up here. Most are really young and never shot on film. So my dilemma is that I want a DP but I cannot afford to pay for traveling expenses + a decent rate to import one from the Southlands. Also, I like to work with people in my community and encourage a film scene here. However, almost none of them know film. Therefore, what is the proper approach to handle this? As much as I want to trust people on a collaborative project, I simply cannot risk ruining film stock by novices, etc. My wife is my loader (as she has loaded film for me for over 10 years now) and I feel like I still need to worry about things like checking the gate, threading the camera (CP is a stickler for doing it right), checking the claw against the shutter to ensure a loop, timing, etc. This stuff takes me out of directing mode though but I don't mind. I guess where I am concerned is in whether the DPs up here can meter for exposure (or even own a light meter), work without a monitor, and have a camera op. who can keep focus with an old viewfinder. All of this sounds like basic no brainer stuff but I really worry that the people up here have never had to do that before and are used to the modern conveniences. Anyways, I have rambled on enough. Would love for you all to give some feedback and help a brother out! (Yes, even you, Tyler. Share some wisdom if you feel you want to. I can't stay mad at you; you are a brother in celluloid ?). Thanks, Matthew
  21. I agree with this. Although Double-X will be more forgiving, when you come from a Super 8 background, you were at some point forced to shoot reversal since that was largely what was available.
  22. Are they still offering student discounts? My daughter is starting a film program soon and wants to shoot on real film.
  23. Actually, the more I think about it, this really isnt true. The reversal film will do better being properly exposed (or even underexposed by a wee bit; 1/3 stop or so) whereas the negative film would do better being overexposed by about 1 stop. Therefore, you might be better off with the reversal for indoor (if light is at a premium). Sorry about the mistake; I need to slow down and think through posts before I clack away!
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