Drew Bienemann
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Still selling?
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Arri 416 Package Possibly For Sale
Drew Bienemann replied to Dennis Toeppen's topic in Cine Marketplace
I’d definitely take a magazine if you’d be willing to sell one. -
I've got a ton of dummy loads that are like 80-120' on core if anyone needs them in the future. Just email me drewbienemann (at) gmail.com
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Push Processing for overall texture
Drew Bienemann replied to Sanji Robinson's topic in Film Stocks & Processing
I shot some stuff on 5219 with a 2 stop push you should check out, but it was 2-perf. Check it out: http://www.cinematography.com/index.php?showtopic=72131 -
Just wanted to take a moment to talk about a recent experience with Gamma Ray Digital. After a less-than-ideal experience with another east coast business, I talked to Perry at GRD about scanning for a short I was shooting. He was polite and answered all of my questions clearly and quickly. their pricing was cheaper than every option I found in LA, and it was simple to budget for the scan since their scanning is done by the foot, NOT by the hour. I shot about 3900' of 5-8 year old 35mm color neg for this short. It was all processed and prepped for transfer by Fotokem in LA, and I overnighted the negative and a drive to Perry as soon as it was picked up. 4 days later the drive was on my doorstep with some great 2k DPX scans of all of the film. He ground shipped the negative back to me, and it arrived unharmed and well packed. That's all!
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Most of the Arri SR cameras have PL mounts, but check before you purchase. you can put and PL lens on any camera with a PL mount. As far as anamorphic goes, those lenses were designed to work on camera that have a 4:3 image area (like a standard 35mm camera). If you put a lens like that on a 16mm or super 16mm camera you will end up with an image that is wider than 2.40:1, but you can always crop the side off after.
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For those of you interested, here is the sheet I got back from Fotokem. The numbers on the far right are the differences between the target reading and the actual reading.
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Thanks for all of the replays! This is great. I spoke to a guy named Mark Woods who used to teach all of this at AFI and he said that while my reasoning was sound, he would probably opt to just overexpose and hope for the best, so that's what I'll do. I'll put up some scans when I get them. Thanks again!
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For sure! I'll be happy with a far more degraded image than roger deakins would. But my question remains.
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The densitometer readings came back pretty far off. The blue channel is more than 3x over the amount the lab considers to be useable.
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Hey, Ive got about 4000' of old fuji that I am planning on shooting a short on. Ive had it for about 6 years in my fridge. its half Eterna 250T 8553 and half Eterna 250D 8546. I just got the snip test back from fotokem and it looks like my layers are between .25 (red and green) and .70 (blue) off from what they should be. Im wondering if, for instance, I could add a yellow filter to my lens when I shoot to make the overall shift of my blue channel get back more in line with the other channels? Does it work that simply, or am I missing something. My thinking goes that if I add 1 stop of yellow to the overall image, then that would put my blue channel at roughly .20 over where it needs to be, and then if I over expose by a stop then that will help the overall quality of the image (though it will still be grainier than normal and a little funky in the colors. Is this reasoning sound?
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i dont remember exactly what we did during the transfer here, but we were moving really quickly in order to keep our cost down, so whatever it was it was very basic. we shot on an Aaton Penelope from AbelCine in Burbank. For my money it doesnt get any better than that if you're shooting handheld. Everything is light and tight and well balanced. It's like a 35mm version of a 416 or an Aaton 16mm camera.
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Just for educational purposes, here is some footage from a short I shot last year. We were stealing this, so we couldnt light anything. It's all available light. https://vimeo.com/174719862 We shot 5219 with a 2 stop push. I rated it at 1250, which gave me about a t/2 in some places, but often my meter said "E.U.", so I really wasnt sure how it would turn out. We I went in for the transfer i was very very impressed by how it held up, even with it only being 2-perf. I'm so used to thinking that you need to shoot digitally if you want to shoot available light at night, but this turned out exactly how I had hoped. We shot on super speeds at a t/1.4-2 split. The transfer was on a Spirit 2k at Fotokem in LA. We set basic looks as we went, and that's what this is, just a basic grade, right out of the scanner. If you want to download the 2.5gb 422HQ you can find it here: https://www.dropbox.com/s/n5qo2cm9au9wo7k/L9974909_CR_A15_A17.mov?dl=0 Here is the finished short: https://vimeo.com/130967218
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man, that's great, everyone! thank you!
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any interest in splitting this up?
