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Robert Houllahan

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Everything posted by Robert Houllahan

  1. Most telecine preped 16mm film will have more leader on it than when it's for projection due to the longer threading path for a telecine and also because there is no "Auto" thread on a Telecine or film scanner. When we get 16mm film that is either set on a reel for projection or a workprint we wind it down on the bench, leader it, and put it on a 2" core to run on the telecine. This is standard lab practice but I would say just call your lab first . If you prep the film for video you may save a fee. -Rob-
  2. I saw some optically printed s8 to 16mm recently it was really beautiful Original S8 was Kodachrome which went to Colorneg that we printed on 16mm in the wet gate. We also did a master positive print of this film for transfer which gives incredible transfer results (like neg but it's a positive) very nice. Rob
  3. Hi Will, I called and talkied to the Tk guy, look into uncompressed transfer to hdd! We do that and I just had the best engineer in the business in to do a tuneup on our 2 telecine suites, everything looks great! We do all 10 bit all SDi transfers to disk and tape for 8mm 16mm and 35mm Is that a new website? Makes me want to try you guys at CineLab... We have been in business since 1948 but I have been here for the last five years and put up our current site this year. -Rob-
  4. The Canon 1014 models (and maybe a few others that have the lap disolve feature) can double expose for a short period, like no more than 10 seconds, by rewinding the cart slack... it's a built in feature on the 1014's. Otherwise you may want to look at reg 8, or DS8 that use spools instead of carts. The Canon Scoopic 8 has unlimited rewind. I was assuming a complete rewind of the cartridge for double exposures I did not know about the lap dissolve feature, both of my s8 cameras don't have it (a 104xl and a nizo) there is always 16mm... -Rob-
  5. Hi, We run reversal daily for $0.16/foot and we have a $50.00 minimum for transfer of B+W (75.00 for color) either send a minidv or buy one from us for $10.00. -Rob-
  6. I would say the Eyemo, the Eyemo ;-) I happen to have a really nice one all restored like with a Nikon mount on it, does not get much smaller than that. Plus it casn be used in so many different ways. Spring wound, hand cranked or with an external motor.. -rob-
  7. Hi, I was just wondering whether theres a super 8 camera that has a backwind facility for rewinding the film. As far as I know no super8 camera has this ability, and I think you will find in near impossible to back wind a super8 cartridge without causing problems with it jamming. Maybe it could be done but I have not heard of it. -Rob-
  8. I've shot a lot of 16mm stock tests with the K3 and found these common problems usually dealing w/ the pressure plate: the pressure plate often gets jarred if the camera goes through sudden movements. Any general fix for this? is it due to the spring loaded little nub that pushes into the holder on the back of the pressure plate which allows for it to move up/down while film is running in the gate? -Rob-
  9. Hi Have you guys found there to be problems with image sharpness across the whole film plane with Super-Duper8? When I built the first generation of our skid plate for our Rank gate I had the machine shop make it so there was a cutout for full frame at the aperture. I did a few transfers for someone at that time which were 16x9 and I though there was a bit of softness at that end of the frame, perhaps that customers camera modification had a problem? I would love to know more about peoples thoughts about this as I am working on a 4th generation of the skid plate with spring loaded guides and had planned to address widescreen Super8 in this version. Thanks -Rob-
  10. Much of the hi-end eng style camera work done in NYC (nad around the US) is shot with D600 and equivalent betacam equipment, the format which will not die. I agree that the color is nicer than DV we mostly use decks for transfer from telecine and I have not ever had any bad problems with our 1800 but it is serviced regularly. We ship hundreds of DV tapes every month from our 2 telecine suites and I get maybe 1% yearly which have deck incompatibility problems, i.e. someone using a consumer camera to ingest which is probably not quite aligned right and the tape has dropout or timecode issues. This is frustrating in a anoying little way, maybe not a bad price to pay for a cheap quality format (could be Hi8!) I have known a few people who shot allot of XL or DVX footage and everyone I know who shoots allot of DV has run into a camera which made tapes only that camera could play back properly, it's happened to me..... DVCam or DVCpro do not seem to have these problems but allot of people on a budget do not even have the budget for a DSR11 so DV has to make do. -Rob-
  11. HI I first want to thank Chris for the kind words about us. We have been putting more serious effort into Super-8 over the last year with the addition of a gate for our Cintel Turbo-2 444 telecine suite. This suite makes a good picture and is full 10bit SDI from end to end, and has a 10bit framestore, metaspeed and full digital Copernicus color corrector with 16bit primary and secondary correction. We also go direct SDI into a G5 for disk recording, both of our telecine suites are all digital SDI with no analog conversion. Plus unlike a transfer only house we are a full service lab with 5 continuous film processors, we currently run every process that kodak makes for MP except E-6. We run color negative in 8mm, 16mm and 35mm we have 2 machines dedicated to this and a special machine we only run 8mm and 16mm ECN on which allows us to process 8mm film very well and very clean. Of course a Ektachrome x-process is a regular run here. We run B+W reversal every day in 16 and 8 plus we can cross process reversal as negative and negative as reversal, so if a B+W x-process to neg is interesting we can do it. We also do a large volume of 16mm printing and answer printing for a wide variety of clients. We have been a traditional motion picture lab since 1948. As to out 8mm bundles we are sticking to kodak original products right now with P+T built in at about our normal rates, I think we are only adding a dollar to the cartridge cost right now so I think it is a good deal as a complete bundle. Feel free to check us out and give us a call if interested, I think color turnaround time is about a week right now and B+W is about 3 days. Thanks -Rob-
  12. 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-
  13. 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-
  14. 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
  15. 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
  16. 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
  17. 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
  18. 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
  19. 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
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