Robert Houllahan

The gospel of Houllahan says: The first rule about religion club is that you don't talk about religion club. The second rule about religion club is that if you want to talk about religion club go make a movie about it and see if anyone shows up, you could get rich. Back to the Red camera: To me specifications only mean so much, a rough estimate of the camera but not descriptive on it's look or handling. People are shooting films with it now, right? films that have distribution attached, so soon everyone will see the result.... Furthermore I guess JJ talked a lot o junk at the beginning and now they're working on backing up the talk with something, it will not be the first or last camera ever made I assume they will get everything working at some point so it will be another camera out there after all the frenzy boils down and people will use it if they like it.. -Rob-

Hate is a strong word, I do not even know the man, and harbor no personal animosity for him. The lens was not super expensive as it was a Canon 15-150 F2.8 zoom made for 1" video cameras, a cheap Super-16 zoom not a 11-165 or 8-64 for which I would have booked a flight to get back. I understand it is a small job and sometimes when you have big jobs that pay your bills a few small jobs sometimes slide. I know Les had a few problems a while back possibly some medical condition, he has a generally excellent reputation I spoke with him several times in the past. As far as I understand it his work is top notch. I just put a word of caution up because if you need something from him there may be a long delay in getting it. -Rob-

Data Camera? Like Origin and SI or Phantom where there is no immediate way to get "useable" video out? -Rob-

It does not, but what you do is get the film transfered to a format like DvCam with keycode and timecode info such that you can have the original 35mm negative cut and contact printed from a cut list you make in the editor. Negative cutting is the traditional way it's been done long before computers. Many feel that a direct contact print is better than a 4K DI and the costs are far less. For an example go see "There Will Be Blood" as that film was a Contact print without a Digital Intermediate. -Rob-

Les Bosher has had a Canon zoom lens of mine for just under three years and does not return email or phone calls. I originally sent him the lens for a mount conversion because of his excellent reputation. I don't know what the deal is with him, I suppose his work is very good if he does it..... -Rob-

?? This thread started with a slip of someones med schedule and subsequent drinking of hater-aide and now ends with Jee-bhus and crew..... Lame. -Rob-

Reminds me of a student customer at Cinelab who insisted that we had not bolted our film processor down properly and that was why his film was out of focus :lol: We got allot of laughs from that one. I have a can of 5218 at the lab that we have been using for scratch tests and it was hit hard, really crushed the can, and there have been a few marks on the emulsion at the beginning of the roll and the rest is fine... Obviously if you are shooting a studio picture you would not take a chance on even a small dent but for and indie shooter it's ok.. -Rob-

It does not sound like you will have any problems with these cans, the emulsion numbers are basically "batch" numbers and should not effect the look of the film... -Rob-

I have shot cans like this and we have used dented cans from Kodak as scratch test film quite a bit at Cinelab. I have seen some very badly dented cans and there have been marks on a few reels of film from these badly dented cans. If the can has a mild dent I would say it would be ok if the thing is crushed you might want to spool off the outside few hundred feet where the dent has impacted the film, especially if you are shooting an important shot. Good Luck -Rob-

Hater-Aide comes in five burning flavors now (green, blue, yellow, orange, red) Hater-Aide red is clearly the strongest available, just ask Phil, I had some Tennessee boot moonshine back a few months ago that nearly led to a knife / angle iron fight but maybe hater aide red is more widely available. -Rob-

Heh heh... can't say exactly but the 1k's were cheap in case they broke, they are easy to place around a large object and most 5k's are fresnels which don't work as well as open face reflectors...all other lights were tested... -Rob-

You could use a regular sekonic L398 with the high slide..... -Rob-

Is this a rotary prism camera? like a hycam? you need to find the shutter i.e. a 180 degree shutter will be 1/4000th of a second and the minimum optical stop, i.e. my HycamII's are a minimum of t4 then you need to find the exposure for the stock you are using how many foot-candles needed for the time and film ISO An example we recently did a 500fps shot on a 4 sq foot area with a Locam and a pair of 2K tungsten lights which measured at 1800fc and I had a load of Tri-x that I rated at 140iso as I cross processed as negative. I exposed at a 2.8/4 split and the shot came out great. On another setup there were 450 1k lowels and 500t at 8000fps exposed at a t4 I think there was around 4000fc on the subject. The key with any hi speed photography is dump as much light as you can afford onto just the area you are trying to photograph, open face tungstens work best so 4 or 5 or 6 or 400 :blink: lowell 1K totas or omnis as close as you can get them to the subject. -Rob-

Also do not forget that video has rectangular pixels when you look at a video image on a computer screen with square pixels it ends up getting shorter.. -Rob-

What are you shooting? If you have some 52/7219 (maybe with a push 1) and you are shooting outdoors in a city where everything in the shadows is metering a f0.7 (at best) and you want to retain detail of roadways, etc. working wide open will get you a nice picture with overall detail. If you are in a studio where you can light to a 5.6 why would you want to open to 1.4 unless you wanted a burnt neg? Maybe you do there are good reasons to have a look that you get from a burnt neg (3 or 4 stops over??) and maybe you don't have the budget to light to an 11 but a 4.... =Rob-

Indeed! this is certainly not the camera/lenses but the transfer.... On a rank TurboII it looks to me that one of the following things is happening: 1. The tube is old and is burnt at the edges of the patch. 2. The tube burn correction system is either off or not functional. 3. They have the wrong shading mixer card installed or activated for the super16 gate, All three indicate a lack of maintenance of the telecine, but maybe they just let it go. These problems will show up no matter how the film is graded as they are a problem with the telecine itself and before the color corrector. -Rob-

A friend of mine has a 24fps version of this for his eclair NPR.... -Rob-

http://www.techfilmsystems.com/ -Rob-

We have 3 Allens a Treise and a Filmline...... none are turbofan powered... The TFS seems really great and I wish one could be supported here in Boston..... I don't see much difference between a newer treise or calder and our allen(s) ( one 35/16 and one 16/8 ) demand drive ecn processors... which run at 50ft/min. I assumed the TFS cleaner worked like a rewash with the accompanied emulsion softening and what looks like a big drybox on the machine. I would think it would work well but keeping up on maintaining clean mold free water would be a big priority. We have a San Labs alcohol machine and a older Lipsner ultrasonic it seems with commercial 35mm any little spec is a big (producers??) problem (which I think is a bit silly but..) so I have been looking at a Lipsner CF8200. -Rob-

When i inquired about the "cleaner" which I kind of considered as a possible stand alone re-wash machine (with heavy modification) I spoke with Mike at TFS and he was very helpful and I would think he could scare up an old manual but any further support would be out of the question. I got the impression that the machine was very well engineered but as Dominic said when you loose a 747 in the film lab world that's that.... This machine seems like an interesting concept from a enviornmentally friendly POV but with alcohol and newer engineered fluids like prista and novec (3m right?) being used for cleaning using straight water seems pretty risky on valuable films... -Rob- Oh and BTW the TFS film processors really seem like the Cadillac's (or Bently's) of the processing world but at 200fpm for the smallest one i do not think many have been sold outside of LA...

I looked at that machine for Cinelab and spoke with the owner of TFS in LA, they make very hi end hi volume film processing gear. He told me that these machines were pulled off the market after ruining 50K ft or more of archival OCN at a big facility. The machine uses water rather than a solvent like Prista or alcohol. The problem stemmed from mold growing in the water for the system which then contaminated the emulsion. Be careful with the machine and get a good fungicide to use with it. -Rob-

It certainly is more expensive to shoot S8 and optically blow up to 16mm as Interbeg stock is expensive but the look of a S8->16mm optical blowup is very distinctive and cannot be made any other way... -Rob-

I have seen some really great looking E6 and K40 Super8 optically blown up to 16mm on a JK printer using inter-neg stock. Really amazing results but the original was well shot..... -Rob-

We at Cinelab run B+W reversal every day and B+W negative at least twice weekly, Duart is probably the only other choice in NYC for negative and Pac-Lab runs B+W Reversal. We have a drop at the Standby program ( www.standby.org ) in NYC. -Rob-

Wasn't Last King of Scotland 'scope 2.40 from a mix of Super16 and 35mm ? -Rob-