Robert Houllahan

The only reason for this is that DV is not subject to a gradual performance falloff as mechanical components wear; it either works or it doesn't.

Unless it half works because of deck to deck (to camera to camera) slight tolerance issues which is all too common with DV and almost never happens with BetaSP. Dvcam and Dvcpro are of course entirely different.

-Rob-

The client went on to shoot something else...

 

But on a personal note, I was actually just about to give you guys a call. I'm going to roll some S8 during my wedding in a few months and intercut it with some S16 and HDCAM.

 

My Fiancee is bemused. I'm more concerned with how the wedding is lit than with who sits where and what they're fed...

 

C'est la vie.

That is funny, I was at abel yesterday picking up parts for my LTR. feel free to give me a call or PM me about whatever you need.

-Rob-

Check us out:

www.cinelab.com I feel we have top quality S-8 processing for both B+W and ColorNeg (No color reversal unless you want cross process) plus we have good Rank-Cintel transfer at a reasonable price. Or go to technicolor for HD, we have processed S-8 color neg for that route in the past.

We also have a NYC drop at the standby program:

www.standby.org

-Rob-

Robert Houllahan

Filmmaker

VP Cinelab Inc.

www.cinelab.com

Hi All,

If you ar looking for another alternative we have started selling Kodak S-8 bundles with process and transfer:

Color Neg or Ektachrome (Cross Processed) stock, process and Cintel444 transfer for 43.00/per (4 roll minimum) Tape stock and shipping extra. B+W reversal 35.00/per.

We transfer direct to disk too.

-Rob-

Robert Houllahan

Filmmaker

VP Cinelab Inc.

www.cinelab.com

Wll I gues I will respond to this...

I'm having issues with my lab, however. Turns out they run a lot less 35mm than they claimed in their sales pitch to me. They batch process their 35mm when they have enough volume to "justify" a run. That means I am waiting weeks for my film to get done and can't see my dailies in any reasonable amount of time.

Perhaps there was no sales pitch, nor any "claims" about volume of film run and 150' of 35mm negative does not exactly constitute "dailies" but more like a camera test. Perhaps also September is a slower month and your lab might be working hard at doing maintenence and upgrades like Hepa filters to their machines. And maybe they have a very dedicated and meticulous man who has been running film for 30 years as head of their color negative department. Maybe he has a zero defect policy for ecn-2 and maybe this lab does actually run millions of feet of film every year and they run every current process except E-6 with no defects. This does not excuse the timeframe issue but if you want a lab to work with you as this lab does with all of their customers a bit of understanding could go far, esp. if you are an individual shooting primarily with a 2C.

They also outsource their telecine work and offer very few options... just SD miniDV and DVCAM. No HD.

Perhaps they do not "outsource" their TK and have 2 444 cintel suites with keylinks in house and they are in a smaller market which already has a Spirit and a Shadow in it so this lab naturally works with these post houses.

They claim they are getting set up for 2K and 4K scanning capabilities, but they have been saying that since last year. Right now they got zilch.

Maybe this lab had a Baselight4 and a Scratch system in house for the month when you were there and are weighing these machines and others, and their considerable costs, very carefully as part of a 5 year plan.

I know I ain't Steven Spielberg or James Cameron, but can anyone recommend a full service lab that knows what it is doing and is willing to make a deal on pricing with a guy like me to encourage independent or personal filmmaking?

I know of a lab which has 7 feature length projects in both Super-16 and 35 in house right now and that bends over backwards to help people make their films on a budget when they have a real plan and idea for their workflow.

What I would like to do is telecine to HD since I can cut a "film" in it natively that I can then video out to HD broadcast or DVD... but I want to be able to do a quality DI and be able to print to 35mm to distribute the film theatrically. I would prefer to do this all with the same lab and organization.

The DuArt Courier is at Boston Camera, I think that MI Post is great we are working with them on a feature I am Dp on with 250 16mm rolls planned. a good DI is going to be 200K and a HD "DI" will be 90 or 100k or more.

Am I smoking crack? Can anyone help me?

If the labs are not willing to work to keep film alive then we're all going to end up doing wedding videos... I am having a hard time finding PAs who know how to work an exposure meter.

I have always found that the small dedicated film community is usually there to help and encourage the independent person who wants to make a film but it is a job and when there are suddenly 7 studio pictures shooting in a small market a good AC might not want to take his day off to work for $100.00.

My 0.02

Robert Houllahan

Filmmaker

Producer/DP "The Illustrator" a 100min feature

Director "happy" a short

Co-Owner Cinelab Inc.

www.cinelab.com

HI

I just got the fromt of my Eyemo back from the machine shop today with a nice fresh new Nikon mount on it! Bitchin' technology! I recently shot part of the feature I am working on in a Russian Submarine with my LTR54 and the Eyemo with a 25mm B+H eyemax lens, mostly hand cranked, we processed the film and it went on the Spirit at MIpost in nyc looked great with the older lens, cannot wait to use my nikkors.

Check out www.intervalometer.com he has a programmable timelapse motor and a upgraded version which will run sync speeds. I plan to get the timelapse motor from him when I have an extra kilobuck.

The Eyemo is a great camera.

-Rob-

Robert Houllahan

Filmmaker

VP Cinelab inc.

www.cinelab.com

I junked the autoload on mine, you can do it by just breaking the 2 plastic formers off. I eventually took it apart and removed all of the autoload system, it helped and you just form the loop by hand. Not as steady as my LTR54, or my B&H 240 either. I think build quality it highly variable on this camera.

-Rob-

Robert Houllahan

Filmmaker

VP Cinelab inc.

www.cinelab.com

We process ECN-2 and Ektachrome 2-3 times a week no extra charge for X-Process

We also process B+W Reversal every day and can X-Process it to negative.

Cintel444 transfer to Ntsc and Pal on tape or direct to disk available too.

-Rob-

Robert Houllahan

Filmmaker

Vp Cinelab inc.

www.cinelab.com