Robert Houllahan

I do not see how there would be problems with going from D-Beta to dvd it is a almost uncompressed 10 bit video format and provides a very high quality original for the Mpeg compressor to "chew on" and usually it is ingested into an editor over SDi uncompressed. DvcPro50 is a much higher quality format than DV and can be edited easily on a laptop, I do allot of my own stuff in DV50 on a 12" G4 laptop with the internal drive, but it is more compressed than D-beta and is a 8bit video format not 10bit like D-Beta. Both are higher quality SD video formats which would make good DVD originals especially from a high quality source like a DSX. -Rob-

I had this happen after buying a piece of computer equipment (never again on ebay) and the guy in San Fran never sent the thing and I had to go through paypal to try to recover the loot (I got back something like 500 of the 800 bucks) and then after many emails, calls, etc I left him negative feedback which he shot back at me I think he said I was "Impatient" and I thought about getting in the Jag and taking a trip to San Fran with my Mossberg but gas being what it is it would be too much money for the satisfaction and then the jail time would really cut into my film making and lab running...... :blink: -Rob-

We have good luck with Fedex and I know that they have special stickers for photo sensitive packages, overnight is best. -Rob-

I had a complete set for a arri m that I sold to get my ltr54 I thought the cookes were great glass. I would be interested in seeing what your mount looks like if you were to make a few more..... -Rob-

No I was just trying to be funny and it's and art and a craft and well one should be serious about it one should not take it so seriously. There are lots of different frames you can compose for i.e. 2:35 in miniDV if thats yer happanstance every job will be priced differently. I am sure you could find a condition where a piece would cost $30m in 2:35 miniDV and one where $100k in imax however both are a stretch. -Rob-

Digital Fusion is really a FX and Compositing package and of course includes a color corrector but a dedicated color package like a Lustre, Scratch, DaVinci, etc. will have more sophisticated tools for color finishing and a more streamlined interface but you will not buy one of these for a personal color station as they are very expensive. -rob-

ECN-2 Developer is 106F or 41C so if it melts at 38C you may be out of luck. -Rob-

I am pretty sure you can get a complete set of rebuild parts directly from O'Connor and yes it will hold all that on the right sticks (i have one) -Rob-

I know Jeff Kreines at Kinetta is building a 35mm film recorder based on a LCD panel I think a proper camera/panel alignment is essential and then you get into colorimetry issues and calibrating the panel to the film stock. For quick stuff I am sure it would work but any LCD is a 8bit device. -Rob-

I would say that DF is a really good software package with render farm ability and a good Color Corrector which works in hi precision color space. If you can deal with the use of a compositor as a color corrector and you have a calibrated monitor why not? -Rob-

This is where you have seriously made a mistake David, now that Sol Inc. has been taken over by an intergalactic conglomerate they are raising the rates on photons at an alarming clip. Clearly the use of more photons would drastically increase the costs of this frame you are shooting. Rob "Injecting more ridiculousness" Houllahan :rolleyes:

I think that you generally get what you pay for, hi end HD solutions get more sophisto because they actually do the things they claim, prosumer and especially consumer cameras have a fairly wide range of marketing (i.e. Bulls**t) attached. I was at a friends the other day helping setup a 4-core mac for editing DvcProHD and HDV and I was looking at a bunch of sony hdv footage and it did not really look much different than most DV I have seen, sorry ;) . It is widely known that a small sensor (1/4" or even smaller in many consumer cameras!) cannot resolve anything near the chip's photosite resolution because of the MTF of the optical system (lens and prism block) will not resolve it, this is basic physics and optics. So there is a optical "filter" limiting resolution at the very front end of the system, all additional resolution is sort of "made up" in the ccd sampling and electronics. People buy "HD" consumer cam's because it's a new thing and consumer electronics and computer manufacturers need to sell people on "new-better" to move boxes out the door and that's about it. -Rob-

I would look for a 50D and a set of peter lisand sticks they were a popular set together and the 50 is good for a camera in the weight range you a using, I have a 50 and a 100 which is too big for a smallish hd cam like the jvc. -Rob-

I am prepping 2 of my cameras for 3 days of shooting and I just put my Peleng 8mm and Kinoptik 5.7mm on my Super16 LTR54, as a refresher, I usually use the Peleng 8mm on my eyemo. These lenses are fairly similar in FOV for S16 and I do not think you would be mad at the Nice Peleng 8mm. Ups is that it has better sharpness edge to edge than the kinoptik, is readily available, and you can use it on a 35mm camera as well (where it is a full 180 FOV) the downs are that it's slower at 3.5 vs 2 and it does have a bit less of that Warped Bendy look as I see the thread has gone to 3.5mm and 1.9mm lenses since I last looked, sign me up! I would like to see that 3.5mm on some S16. -Rob-

Any Rank with a metaspeed will be able to run at 9fps, we routinely transfer at 5fps for one client and the machine is capable of transfer of film at any speed between 1fps and 40fps with no real issues. Other Telecine's like the Spirit can do the same. I just shot a 10min little super8 film on 500t and shot much of it undercranked, anywhere from firing off single frames by hand to setting my Bauer's intervalometer and ramping fastest speed was 18fps, and then transfered at 18fps to disk. I speed changed the video to between 40% and 60% of it's original video speed. I have some really nice looking flash frame looking stop motion out of this one. I would suggest a slow speed transfer and some combo of that and post manipulation for this look. -Rob-

Of course David has said it well, DI does have intermediate in it, furthermore I think it's important to understand that the idea behind this type of work is to represent most or all of the information in the original negative digitally and this means working in hi dynamic range rgb color and not the limited dynamic range and colorspace of all types of video, hd included except maybe Hdcam-SR. Also 2K seems to be the "standard" these days and it represents a bit more resolution than 1080p but much more range and color. -Rob-

Any real modern telecine (SD, HD) and certainly 2K 4K etc scanners have no problem running reversal it is no easier or harder than negative. -Rob-

I personally would not want that big chunky thing on the top of my LTR looks to me like it makes a mess out of the nice ergo of the camera and if you can get a side/internal tap so much the better. I am fitting a B+W PAL tap to mine on the side. -Rob-

Cineon is 10bit logarithmic not linear like 10bit video, the log nature of the file allows for it to represent the same info as 16bit linear with less data. All DI systems/DI's do not necessarily use cineon DPX files, in several flavors, are popular too. There are 16bit 32bit, etc. files used and remember cineon, dpx, etc. are RGB formats and each color is represented by the bit depth i.e. 16bits each for Red, Green,Blue. -Rob-

I would suggest a digital flash recorder of some type, M-Audio has a nice cheap compact solid state recorder and there are other options too like the marantz, etc. I think Minidisc is kinda dying out and may be hard to find media, etc. If you have a flash recorder you can dump all the sound onto a laptop. -Rob-

I think that would be more like a complete package with a recorder and lenses, I would imagine the body would probably list around $100k and then be discounted before you buy "accessories" like a viewfinder? I don't know what are considered extras from the basic camera head but that's probably in the ballpark. -Rob-

Everything I have heard about AlphaCine/Forde labs has been good. Furthermore we have seen a bit of their Super8 Color negative and it has been consistently as clean and well processed as ours so they must be doing something right. ;) -Rob-

Well I guess this myth is busted :rolleyes: But it is something very many people seem to believe, I did and I work at a lab, but then again there is always more to learn... -Rob-

The ratio for the HD telecine will mostly depend on how many flats of film you have and how randomly distributed the shots are. Also a highly organized edl list and an idea of where the shots are on each flat plus a list for each flat will aid tremendously in moving through the film. I do not think anybody could give you an exact ratio until the organization of the original negative is understood. I have found that the most film you can get through in a hour is 44 minutes with roll changes and basic timing this would be 1600' of 16mm or 4000' of 35mm. Figure that you have 1600' in 2 800' flats and you have 6 shots on these flats that have a total run time of 15minutes I would think that between scanning through, finding the shot, timing it and laying it down you could probably go through the full 1600' in 45 minutes maybe less maybe more.I can guarantee that the selects scan will be less than a scene to scene on all the footage. -Rob-

A scan made on a pin registered scanner is (or should be) a full dynamic range representation of the original negative at the chosen resolution (2k, 4k, 8k, etc.), and these are made in RGB color space not YUV like hd the scans are usually individual .DPX files for each frame and the color fidelity and dynamic range of the file is much higher than a HD transfer. The issue is that the scans are not color timed and if you just looked at them direct you might think they looked washed out and somewhat flat. The typical workflow would be to put these scans into a color finishing system like a Lustre or baselight, etc. and do all of your color timing and film assembly in a calibrated system with a calibrated projector to match what the finished film will look like on a 35mm print at 70' wide. This is a typical feature film DI workflow a transfer to a HD video format is just that a video format not data. -Rob-