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Drew Bienemann

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Everything posted by Drew Bienemann

  1. I’d definitely take a magazine if you’d be willing to sell one.
  2. 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
  3. 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
  4. 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!
  5. 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.
  6. 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.
  7. 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!
  8. For sure! I'll be happy with a far more degraded image than roger deakins would. But my question remains.
  9. The densitometer readings came back pretty far off. The blue channel is more than 3x over the amount the lab considers to be useable.
  10. 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?
  11. 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.
  12. 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
  13. man, that's great, everyone! thank you!
  14. Hey, I found someone with a bunch of old replacement and repair parts for SR3's. i just bought mine, so it's currently in top shape, but I was wondering what some common issue were after a bunch of use. if possible I'd love to buy some parts now to have on standby before they disappear forever. I know that the SR2's used to have circuit issues, but im not sure if that's a common SR3 issue. Motor? Registration pin?
  15. Ive mounted the lightweight Aluras on an SR3. Worked out perfectly.
  16. If you're in LA hit up Mark Van Horn at Fotokem. I just spooled 7x 1000' loads of 35mm down to 400' loads for free because I did it myself. Easy Peasy.
  17. Hey guys, So I havent solved the mystery of the first test, but I spoke with Guy at Panavision hollywood and he gave me some insight and pointers: He said that in his experience any unsteadiness on an SR could just as easily be a magazine issue as it could be a camera issue. He suggest I try all 3 mags and see if any mags seemed to be troublesome. he also said that the way they do test over there is the following: Shoot the chart at 24, shoot it again at whatever the highest frame rate you'll be using is, then shift your chart and reshoot it all at 12 fps. he said that this 12fps pass solved a lot of issues for them. So that what I did, and I got a pretty good results from all of my mags. Im guess the issue on the first one was just a fluke. Who knows. Thanks!
  18. Hey, So i recently did a registration test on an SR3, and I got back some curious results. For the test I shot 25' @ 24fps 25' @ 48fps 25' @ 75fps then rewound and did the same thing again with the chart moved a bit. I was expecting the 24fps to be rock solid, and the 48 and 75fps to have a little play, but it was the opposite. 75 was super solid, and 48 was a hair more wobbly, and 24 was loose. is that normal? and secondly, and i know this is hard to describe over text, but how steady should i be expecting a super 16mm to be? maybe it's a totally acceptable amount of wobble at 24fps and i am just expecting it to be better than it should be.
  19. I suppose my next question would be where do I get a charger for these things?
  20. I just found these! http://www.bbmbattery.com/broadcast-professional-video-batteries/2272-broadcast--professional-video-batteriesarriflex-sr3-battery-nicad.html
  21. Hey, I just bought an SRIII but it only came with one battery. Anyone know where I could pick up a couple more? Or, does anyone know someone who could make a small onboard that could plug into the 4-pin xlr? Looking for new, used, aftermarket, 3rd party, whatever. Cheers!
  22. Not sure about the LT but i've used the penelope 2-perf from abel cine in LA a couple of times and loved it both times. Really wonderful.
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