Robert Houllahan

They may be making rounds that are closer to true (crimped) blanks, anybody use these? http://www.simunition.com/cartridges/secur...training_en.php The other ones they make have projectiles: http://www.simunition.com/cartridges/fx_training_en.php there is something coming up where I will have multiple auto rifles and one handgun in a short war recreation I planned on getting several screw on restrictors (blank adaptors) for the ak's we are going to use but if there were straight blanks that would be nice. I noticed they sold these for rifles as well.. -Rob-

The cruder the better I don't think anybody has ever accused the AK-47 of being obsolete. Also maybe I have a few of these 100 round drum mags in back of me on the dolly for after I am done with the thread. Almost looks like a film magazine doesn't it?

HA! Im ready to empty this 33 round AK clip into this thread.... -Rob-

Iron Man: From the numbers: Theatrical Performance Total US Gross $300,785,869 International Gross $250,200,000 Worldwide Gross $550,985,869 Production Budget $186,000,000 Who said the "industry" wanted to wake up? 4-perf, 3-perf and 2-perf/Super16 are the most dumbed down, lowest quality forms of film origination and all d-cine camera systems struggle to technically match that weak target. The Viper is drastically inferior to todd-ao why would you want to use that? and with the disk recorder it's as heavy or heavier than a 765? what a drag. Instant playback on set? or it's own look? can you point me to the specs that describe how the camera makes that look? should be identical to the 950 according to the specs... Vista-Vision, oh that is for plates and special shots... except when Hitch has it for every shot in a brilliant show. Good thing he is dead and there is nobody to replace him. Todd-Ao 2.20 65mm well nobody is crazy enough to use that, that is for Dinosaurs like Lean and Kubrick, how could you even consider the costs of that. Or even worse using 15 perf Imax for a film like the new Batman. Just remember that the economics of the origination medium are completely insignificant on a big show and film is a cloth and all you have to do is cut more of it, http://www.gigapxl.org/ 44K x 88K so what? Oh Taxi driver 125iso(?) pushed 2 or 3 with crap cameras, technically junk by todays standards in every way, except everyone will remember it and it will live on for at least hundreds of years and resonate. Why are Imax shots scanned at "only" 8K ? because scanning has limits and it's own noise problems plus data grows exponentially maxing out computer infrastructure. Face it there are allot of ways to skin a cat, and make it into Gen. Tso's cat.. Pissing wars just get everybody covered in piss Is the fu*k*ng paint dry yet? really is it? -Rob-

Very Viper looking film, I personally like the viper and think it has nice color, they also shot some 35... There was a good article on studio daily (I think) about this picture and how with the viper they shot down and printed up where with film you would shoot up and print down... There are allot of ways to get somewhere and I don't think there is an argument here just a method.. -Rob-

Oh crap, only five more years left? and by then I'll be forty and I'll have to go back to drug trafficking and whacking people for the asian triads. Please keep shooting film!!! Oh the humanity! you don't know what you will be releasing on an unwitting public if all the people in the film labs don't have jobs! They will put it down in the history books as the great Metol Digeratis crime wave of 2013.. I think at least one of our guys is capable of eating fresh babies and from the looks of his avatar that Aussie guy Case is capable of just about anything..... -Rob- Makes a Pagan sacrifice to the great emulsive god every night" Houllahan And the Film vs. Digital debate is just like watching paint dry, yes really that exciting....

Thanks! we have cross processed B+W reversal into a Negative for a few super-8 jobs in the past. I would bet the guys at Spectra could cut and load some xx31 or xx22 into super-8 carts for you, there would probably be a minimum order. -Rob-

Much of the latest Batman film's beginning was shot with 65mm Imax cameras, if it's a studio film the stock costs and camera rental is insignificant. Seems similar to an indie mixing some 35mm with Super16, but better. -Rob-

Based on Pcam and a Super-16 frame the following: Focus (subject distance) at 3'11" Near 2'6" Far 8'11" Hyperfocal 7'0" Focus at 5'2" Near 3'0" Far 19'11" Hyperfocal 7'0" CoC is 15.24u -Rob-

Not bad for 28 year old 500t ...... -Rob-

Usually with a emulsion mark problem there will be blue splotches, not red and green which indicates a telecine problem to me. Was it transfered on a Rank? or a CCD machine? do these splotches stay consistent or do they move? -Rob-

Hey Dom, Great looking Mitchell upgrade, I am under the impression that most mitchell movements are basically the same, don't mess with perfection.... I am very happy with the NCS Eyemo motor I bought btw -Rob-

Bummer.... there must be some permit process, probably costs a ton of money and requires big insurance... -Rob-

Real firearms can be made to have cyclic action with blanks fairly easily, either by adding a restrictor to the barrel or by changing the spring rate of the springs which hold the action closed. A certain amount of phospher added to blanks, assuming you are self loading, will add muzzle flash (which is largely artificial) to blanks in actual firearms. When handled properly a firearm is completely safe. Real rounds from an AK47 fired on film only really show up with flash in near total darkness, it is actually the metal of the round in friction with the barrel that provides the spark, as most modern powder is smokeless. an excellent example of real on set firearms handling with all practical effects is on the extras for Taxi Driver. -Rob-

How would stocks like xx19 or eterna fit into a comparison of broadly spectrally sensitive medium? Are devices like a liquid cooled scientific or spy satellite CCD or Cmos sensor(s) more sensitive over a range of spectra than an emulsion like xx19 which seems to about as broadly sensitive to light as anything made. Understanding a "gain" boost from the A/D on a sensor or a post gain and noise floor acceleration and reciprocity failure. -Rob-

You could have caught a bad tape too, is the digital noise "blocky" any properly maintained telecine be it a Rank or Spirit should not have significant noise and should have good resolution and color, if there was a problem in the SDI to Mini-DV deck or a bad tape they should redo the job for free... -Rob-

Both 7231 and 7222 far surpass any standard definition video and if properly shot make the basis for a very good 2K scan or either a 16mm print or a 16mm > 35mm optical blowup. B+W stocks store very well on the shelf and a few weeks will do no harm. I am negative cutting a short film that I am making right now for a 16mm print finish which is 7231 and 7222 and all I can say about the quality of the print is that is much better than video in every aspect. -Rob- Plua an estar print might last a millenium or more, not bronze but pretty good......

Oh just wondering, are you using Sunpath or Sunpredictor and a compass/clinometer to frame up things like the solar transition with bridge in foreground or are you just lucky/seeing where the sun is at...? I just got a Suunto tandem and plan to add Sunpath to my kit, in addition to the SolII app for the Palm that I have been using. -Rob-

Really cool looking, great montage of the bridge. I love the dark sky stuff too, don't get that here in the northeast US, the two star timelapse shots I posted were in Princeton, NJ lots of NYC light pollution, not like the Au night sky saw similar in Africa when younger all those stars! who would have thought.... cheers..... -Rob-

I bought a 1" 14-140 TV zoom made by Tamron (yes I know) it is a big very high quality zoom which was adapted to Aaton mount and colimated. The front element is 88mm and it is a f1.9 (t2.1) through the zoom range. I have shot some stuff with it ans plan to do a 16>35 blowup test (both optical and scan) soon. From what I have seen in telecine so far I feel the lens at least matches the zeiss 12-120 optex zooms I have rented in the past. I paid something like $500.00 for it. 1" studio cameras were not cheap so I think allot of the optics that were made for them were of suitable high quality. I had a Cannon 15-150 f2.8 which looked like another great 1" lens but it got lost along the way... :( I don't personally see going into debt for personal kit as a good idea especially with such good new kit available at the rental house.... so finding glass like this is great.. -Rob-

I hear that! with newer glass the thing is just great perfect to get those shots, as you said, and indestructible to boot... Check out NCS Intervalometers at www.intervalometers.com I have been shooting all kinds of undercrank with mine since I got it a year or so ago, including many celestial events with long duration shutter settings. -Rob- timelapse.mov

What motor is that? I have a NCS Intervalometer motor for mine do you have it running in timelapse there or a variable speed motor for 6-48fps? I need to get my variable speed motor working and I think it's 24V... I broke a little panny hvx the other day when I went to shoot some eyemo hand cranked and all I could think of the plastic camera was you little wimp... eyemo's a secret weapon and the pictures and size soo sweet... Rob

I am shocked that a thread titled "I can't screw 'cause I'm not erect" would get on a classy site like Cine.com, just shocked.... Hula

I used both recently for very different projects, a EX1 for a Corporate interview and a HVX for part of a music video. The first thing I would ask is "what are you shooting?" and the second would be what is your delivery format? Web, SD some flavor of HD? Setup of camera's, etc... These factors are going to go a long way when you think about matching these cameras. -Rob-

Oh and just for the record I do like both camera's and they are about equal IMO and that said neither can take a check into the boards to save their life. Hey Mitch any idea about the cost of a screen? -Rob-