adam berk

Very true! the Millenium is a top notch Telecine though....

 

-Rob-

Someone please do correct me if I'm wrong, but I do believe that, in theory, a crt based machine can actually capture more true resolution from the film because of the nature of the crt versus the fixed res of a line-ccd. A crt can change the size of it's spot thus allowing one to capture a true 2k, 4k, etc, from something like 3perf or super16. Depending on how pan/scan, zooming, etc is accomplished on each machine, a crt again could have the advantage in being able to scan full res from only a portion of the film frame. The only way a line array ccd based machine could compete in this situation would be if zooming, etc was accomplished optically, and I do not believe that this is the case with Spirit.

I know that I probably sound completely, technically ignorant to Rob, but I'm hoping that he may chime in here again to help me better understand.

Thanks,

Adam

thanks again everyone

From my personal experiences with camera cases, plus observing other owner/operators and all our rental customers, I can tell you that it is vastly preferable to have a few medium sized cases than one big one, even if it on wheels. The thing just becomes a beached whale that you'll want to ditch right away.

 

Think of it this way, when shooting, you'll basically empty out the camera case. Build the camera with a mag and handgrip, maybe stash the second mag in a run bag. From the lens case you extract the charger and station itby an outlet somewhere, leaving a battery or two in the case along with your glass. This is the perfect case to have next to you by the tripod all day long.

 

Before I sold my Aaton, I really had it all worked out case-wise. One case held the body & two mags. Another heldall my primes. Another held batteries, charger, the zoom and a third mag. Still others held all the accessories (mattebox, handgrips, etc.) and the filters. At the beginning of the day I built the camera with one mag and kept the other two in the camera case. This became the storage spot for mags for the day, still light and small enough to run around with. The accessory case was completely emptied and assembled onto the camera and then stowed. The prime case would always be by my side with the zoom case and filter case sitting on the cart ready if I needed them. It was a very efficient way to work and no case weighed more than about 30 pounds, much less the airline limit of 50. Have you ever lugged 50 pounds of dead weight? Trust me, it sucks. If I must do it I prefer to have roughly half in each arm via two cases to balance the load.

 

Invest in a good A&J-type case instead of a Pelican. APelican bows in the middle if someone stands on it, and trust me they will. A good sized lens/accessory casemake theperfect seat next to the tripod and you'll always have room to expand your kit or add items you rent for the day.

This is definitely a very convincing argument. Do you by any chance have any design serial numbers for A&J that correspond with something you'd recommend as a lens/accessory case?

thanks to everyone for your comments,

adam

Good guys. I have cases that have flown hundreds of times.

 

ATA flight cases get heavy quickly. Mitch is right. Think about two smaller cases for easier carry, and airline weight limits.

Hybrid Cases

Yeah you're right about the airline weight limit. That 50lbs can fill up quick for US flights. It would kinda suck to plan to pay $25 extra at the curb every time I fly. Perhaps I should look back at the Pelicans again. A&J can do custom foam for those things too. I wonder if it would be possible get everything I want in one case that fits the weight requirements with a Pelican. I'll give Janet a call again tomorrow.

adam

I actually just got off the phone with Janet at A&J Cases. We discussed some modifications to the standard Abel #119 case that would allow for a bigger, more padded accessory compartment, two padded slots for batteries, wheels and a retractable suitcase style handle. I'm looking forward to getting the drawings back from the designers. Janet has been extremely helpful and willing.

I'm currently looking to upgrade to a new and better case for my aaton LTR. My current case is beat, and isn't really cut out for shipping or checking into airplane baggage. Abel recommended me over to A&J Cases. The cases there seem really nice, and I'll probably end up with one, but none of the designs they've showed me look to have ample space for storing the two batteries, rods, and wooden grip I'd like to keep in the same case as the camera.

Anyone have any tips?

thanks,

adam

It's time.

do you have a link?

Why does anyone who makes video with this camera for anything but a film out need to transcode HDV? There is not a person on this board that can tell the difference from 4:2:2 color sampling from 4:1:1 by eye on a monitor.

I can spot 4:1:1 color sampling any time of any day with a little saturated red in the picture. Take a frame from a dvx-100 and an hvx-200 both shooting a car from behind with the brake lights on. Notice the brake lights turning into a few huge blocks of digital puke in the dvx-100 frame? I do!

Hello everyone,

 

I am, hopefully, receiving my brand new K-3 in the mail tomorrow, if UPS doesn't mess it up once again, and picking up a few reels of 50D stock.

 

My problem is, of course, getting the shot reels telecined. The local telecine facilities here in Vancouver BC (Northwest FX, Technicolor and Rainmaker) require a minimum of 1 hour lab time, which is of course far more than I need to get 2 reels of 16mm scanned.

 

The other option I'm looking into is sending it off to Frame Discreet in Toronto who will do an uncompressed transfer straight onto an HDD, for around $25 CDN per reel.

 

Would you guys recommend anyone in particular for this kind of job, or should I just beg really hard to do this as a one-light test at midnight at one of the major players?

 

Thanks!

I've found that quite a few TK places will make exceptions on their minimum suite time for camera tests.

http://www.nebtek.com/

thanks simon,

so this would be mounted to the arm, then I would have a tech make me a cable to tap power from one of the two amphenol-9 ports on the camera body?

-adam

I just bought an Aaton LTR super16 with a b+w video tap. Can anyone recommend a small LCD that can be mounted on an articulating arm, attached to the top handle, for an on-camera display? It could be cool for the tons of frantic handheld stuff I always find myself doing.

thanks in advance,

adam

Who did the telecine? My gut is telling me that this is the problem.

Does anybody know any lenses that give vignetting?

 

Last time i found a zoom lens 25mm-250mm cooke varotal(10:1) T3.7, whcih gives very nice vignetting. but wuold really like to find a few more to compare their look.

 

cheers

Which camera are you using?

Hello Adam!

I had the very same problem with a Nikon R-10.

I rubbed the contacts inside the handle-grip with sandpaper , the contacts of the batterie-box too, and the problem was solved.

Kind regards

Henry

Thanks Henry... I'll try this. Where you having an issue with the whole camera not working when you pull the triger? Or just the meter?

thanks,

adam

I'm trying to find either an LTR-7, NPR, or ACL package. I have the money available right now, and would like to make my purchase this coming week.

Please PM me if you've got a camera system you'd like to sell.

thanks everyone,

adam berk

So, is this a modification that you are planning to sell?

Nick

 

I take it that a gif is the moving image (yes I am a complete computer idiot).

 

No right click on the mouse here, as it is an Apple.

 

Thanks anyways.

 

Chuck

Hey Chuck, just so you know....ctrl + click = right click on a one-button apple mouse ;)

I don't have an answer but this raises a question for the rest of us to learn from. Does the intermittent issue you are experiencing affect the automatic exposure AND manual exposure mode, or is it just the automatic exposure mode that is affected?

 

If I recall correctly, the Nikon R8 and R10 have no "official" on/off switch, perhaps it's simply shutting down due to inactivity?

Manual exposure works perfectly, its the meter that's having problems. You activate the meter by half-pressing the trigger.

How about sharpness? The tests I saw in CML looked like they were shot in the seventies, the lack of sharpness was really noticeable.

This is what I was mostly concerned with when I asked this question. Uncompressed HD color correction is my day job, so a one-light, low-con scan is exactly what I look for in an HD xfer. What worries me is what I saw at CML. I've since sent a question or two to Bono, and both times was responded to with offensive attitude. I think I'll take my business elsewhere.

Anyone with an r8 or r10 ever had any issues with the lightmeter acting crazy? Sometimes, it just won't work....the needle just sits all the way at the bottom. If I get lucky, I can re-seat the cart a few times and it will work again for a few minutes. Sometimes it just works no problem.... very strange.

thanks,

adam

Hi;

 

Sorry, been away having babies and stuff!

 

Yes to the firewire question, I had this transfered to mini dv. 10 bit digibeta or uncompressed was out of the budget level. I will be making a short this summer on the same stock and am having this transfered to digibeta so that will be v interesting.

 

regards

 

Olly

Congrats on the babies!! Do you have any clips you could post up somewhere? I'd really like to see that stuff in motion. This place is similar to YouTube but has MUCH better quality video Stage6

g-d bless you and your family john

shalom aleichem

Has anyone used Bono lately for an HD xfer? I've seen the tests over at CML, but really hate to base a decision just on one person's single experience.

When side by side like that...wow. There is DEFINITELY detail in the upper image's highlights that's just not there in the other.

A draft trailer for a film I shot (part of) using the andromeda modification for the DVX100a. Its a great system for color correction. The only drawback is the DVX lens which is nice, but you sort of run out of options pretty quickly during a feature shoot.

The website is reel-stream.com

http://www.stickypod.com/videos/uploads/27...4_2000_fast.mov

It really seems that the andromeda does provide a higher "definition" image than the dvx on its own. Can't say, from just this web clip, that the highlight handling is any better though.

thanks for posting it!