Robert Houllahan

You would scan the original negative. -Rob-

I looked at the Specs for the SI-2K and SI Mini I think they would be ideal for electronic long term timelapse with modification to ruggedize the camera and recorder and they already support WiFi and IP connectivity for remote management. You will want to get a copy of SOLII for the Palm and Sunpath for Mac/Win to be able to calculate sun and moon movements and sunset sunrise times and transit paths. Just google Sunpath software and Star Pilot for the palm os... Good luck.. -Rob-

If it is a HD image you are going for I would skip the HDV camera route entirely and look for a set of camera heads with HD-SDI outs to use with a PC/MAC based disk recorder. You could also think about using a camera like the SI-2k (siliconimaging.com) which is a raw hard disk recorder based system with a removable head that you could package as a whole in a case with a battery backup and then possibly connect to direct power on the pole and have a wifi connection to monitor the camera/recorders over IP.... and maybe even download files too. The camera is basically a PC with a camera head and I would bet the software guys at SI would be able to configure and customize your cameras for your needs. For something more proven a set of super16 modified 100' load camera like a Filmo or Bolex and the addition of a motor like the Revolution (intervalometer.com) a battery and a/c power to maintain battery life. Then come around and change out the 100' rolls every few weeks... no computers to crash runs hot or cold...go for any transfer you like...SD, HD 2K..... -Rob-

I know of a few people who do this professionally at a high level with both dslr and 16mm, I think it really depends on how much detail (i.e. interval) you want and how complicated you can make the taking rig. The Bolex/Norris is a classic but a HD camera head with a PC and can be flexible but be aware of long term power issues, where do you intend to rig the taking camera? will that location cahnge? -Rob-

I personally have shot in weather that was -15c in an ice storm and from a helicopter in the middle of January with the door off I think with the wind chill it was much colder (100mph + -10f out damn cold) look at the many productions that have been done on everest or the north or south poles, brittleness is not necessarily a problem.. -Rob-

It seems to me that Seinfeld was a more "created" bubble of a world which is meant to be ever so surreal where CYE is more as if it is a reality style doc than a film, of course both are highly "created" it was funny to see some early curb shows which were more doc (dsr500 ? ) and less polished... -Rob-

Cool, Did lucas use this technology to make Greebo shoot first? could viewers of his later "films" use this to remove jarrbar-binks? ("they removes-um me from da film massah?") if used on gangster films do guys in suits show up to the software developers cubicle farm with ak47's ?? the possibilities are endless... -Rob-

Just about any lab will do this for you for a small fee, esp. if you are going to do process and print ot transfer with them. -Rob-

You just need a camera which can be run with a long shutter duration, I have an eyemo with the revolution animation motor and i can program the motor to hold the shutter open i.e. 1 sec duration shutter2 sec interval or run at 1, 2 ,3 fps should get the streak you want. Depends on the speed of the motion, etc. -Rob-

This thing looks great is it reloadable? -Rob-

Furthermore, most still lab equipment I have seen in incapable of processing mp film because the still machines are not continuous like a MP processor, i.e. the have cards to attach a roll of 24-36 exposures too, and to do a push the machine stops and leaves the film souped for longer. I went to a few still labs recently to see if any of them had a used E6 machine we could adapt and found that the only similarity to our MP operations were the twin checks. Most any lab that runs ECN2 will run E6 in the machine for a cross process, this includes labs that do Super-8 ECN. -Rob-

Here is a great NY Times article about the real costs of film production: http://www.nytimes.com/2007/11/12/business...a/12strike.html They could shoot everything on DV for cost cutting and it would not make a dent in this monster. -Rob-

Was it a new 235 ? he is just helping to keep Arri in business... I actually liked that film I am sure it had nothing to do with the lead actress.... -Rob-

I have heard of people dumping mags of exposed film in the trash because the take was known bad...I have not heard of nor seen any used unexposed film sold as short ends, and I have to agree that this would be a hit or miss to catch in a clip test at the lab, you might just get blank loaded film in that foot.. A real bummer but I guess you have to trust the production co that sold the film as recans or short ends did not shoot it, these guys might have had 3 blank rolls come back from the lab when they shot and had a time wondering what happened to their takes... -Rob-

I was 1 :blink: I did see that NHK system at CineGear in NYC back in the day, it was some 16mm xfered to analog HD I thought it looked great. Did not know (other than vaguely) about the 1948 7551 system.... -Rob0

All proper telecine suites are capable of transfering film at just about any frame rate from 1fps to 40 fps and 30fps is no problem, actually it would be 29.97 run speed on the film to 29.97 run on the G5 or Deck so 1:1 is possible and easy to do. To make it 24fps you can then do a speed change in FCP. Rob "tireless answerer of questions and occasionally technically ignorant" Houllahan

I have asked around on the TIG and it seems I am wrong, :o and that doing a 3:2 removal does leave you with 24PsF frames like a F900 I believe..but doing the pulldown removal in post using cinema tools is the best way as I and others have run into issues with using the realtime on card inverse telecine as it does not always get the cadence right and leaves interlace artifacts sometimes.... -Rob-

On the first part I don't think DOF has much to do with the reasons, if anything shooting with Spherical lenses instead of anamorphic lenses for 2.40 can yield a potential for shallower DOF due to wider lens openings and less lighting requirements. The use of 3-perf Super35 for a "panavision" 2.40 wide aspect has to do with the use of less light, longer run times on mags, and usually the DI post workflow instead of photochemical/print workflow (You probably have to do a proper 4K DI to match the photochemical in many terms) I think many films opt for this hybrid Film/Digital workflow for any number of reasons these days... On the second, Yes! well more precisely all 16mm photography (std or super) is shot with spherical lenses (there may be a few experimenters out there with Anamorphic lenses for 16mm but it's rare) the basic answer to your question is the difference between Spherical and Anamorphic photgraphy, google Anamorphic and Panavision I am sure there are plenty of good wikki pages on the subject. -Rob-

My B+W film is a short, not that I would not want to produce a B+W feature, and I have a MV I am shooting coming up which will be all B+W with some nasty dirtied up reversal and some 5231 hand cranked in my eyemo.... Clooney just got away with a all B+W feature didn't he? and the opening to the newest Bond feature was "real" B+W so..... -Rob-

I believe that just removing the 3:2 pulldown does not make the result truly progressive but does make it 24fps, you can step through a fcp timeline setup for 24fps pulldown removed video without seeing the telltale 3:2 cadence but it's still interlaced. I think , I could be wrong it's happened once or twice before.... :rolleyes: -Rob-

I agree I have been seeing allot of 16 and 35 shows on a nice HD set when I am in NY shooting and they all look really good, I think the grain in them is a great and important part of the picture. -Rob-

Wow, that's interesting I bet. It does seem like a scarier time to be involved in labs I have to say. I just witnessed my favorite NY lab, Lab Link, close shop. it is not a business for the faint of heart, but then neither is making films.... Interesting, I gather that's film students doing their first assignments. I assume the crash tests are no longer coming in... It is a whole bunch of stuff certainly not limited to student. Awesome. I wish I could shoot a feature in B&W 35mm, I actually am trying to plan my next one in a way where I get a lot of B&W done. I was a bit unhappy that it cost me more to develop Double X and HP5 at Duart than Lab Link, which had a flat rate for everything. I am negative cutting a 16mm B+W film (with sound) right now maybe I'll show it in Dec or so, I started this short back almost 10yrs ago when I was starting out in this film stuff.... it's 7222 and 7231 with one 700fps shot in it and a scrap of hicon for a title. i think it is really important to see b+w continue as a living part of the film medium. I wonder if HD films are going to get laser recorded to 3 strip, lol. If I had the money I'd certainly do it! I think just about all studio pictures will get a archival separation master... I totally agree about real B&W. I'm so sick of seeing the desaturated color negative look. I think it's more often all about "We really aught to shoot it in color JUST IN CASE" and "I don't remember I haven't shot it in so long, I'd rather just stick to what I'm familiar with and play with it in post" digititus and ease of post symptoms and hedging too many bets lack of clarity in intent.... -Rob-

I am sure it's a A1 gig just being in a big football stadium at game time is pretty pisser much less having free reign like nfl films does.. Amen to the shot the filmwork they do is just amazing.. _Rob-

HA! I loaded 2 100' rolls but ended up shooting a sunrise timelapse on 250D for someone yesterday so I have not had a chance to load the eyemo with it yet. My Aaton is in princeton, nj so no S16 which I think will be more interesting... I have a 400' 16mm test reel and i am going to NY/NJ to shoot on Wed and I will bring it and do some low light stuff with my superspeed set to check it out... -Rob-

Hey Chris, I think sometimes NFL films shoots something like 250K ft (or more) of 16mm a weekend and the cameras on the field are supplemented with S-16mm cameras with those huge canon stabilized lenses and a XTR or SR3 with a 800' mag for slow-mo on tripods in the stands.... NFl films in NJ is quite the enterprise and I believe a non-profit division of the NFL, probably one of the better funded non profits out there ;) -Rob-