Sam Wells

Push for more grain & contrast. -Sam

Well they haven't got Nikon or Canon to sign on to DNG. Altho they have Leica (M8 at least), some Hasselblad -- not sure abot Leaf/Aptus just googled this they have Pentax and - interestingly the new 60 fps Casio.... Interesting idea though. But how to accommodate RED with (so far) all it's RAW data compressed with proprietary Redcode or SI and Cineform ? -Sam

In NYC there's Noelle Penraat who I've used and is very good -- are JG Films still in the DuArt bldg ? There's another one there too. I think Noelle Penraat has moved downtown --- Are you using DuArt ? (does NYU still have a deal with DuArt ?) Or Postworks/The Lab ? -Sam

In my one experience with the Arri S latch not being fully closed (100' spool fwiw) the first few frames were sharp then it went out and stayed out - a bit more subtle than this and it didn't breath as I recall. I think the last frame or two got a bit sharper. This looks like the pressure plate was hardly or not even touching the film. Is it possible that whoever loaded actually secured the latch w/ the spools and not with the mag load(s) ? -Sam

Here's a person to talk to about optical sound if you want to go for prints on B&W stock Fran is a guru http://www.fullhouseny.com/trackwise_aboutus.html

I was a bit limited in where I could show it. A kind of road show thing. Cool but I'm not sure I'd repeat it. This was how DTS was doing it for a few 16m prods - normally it's a dedicated track (not unusual to ship 35mm prints with DD, DTS and SDDS (I'm not sure how much SDDS is being used now, I haven't kept up) as well as analog. I suspect DTS would be hesitant about printing (letting you print) generic TC on a 35mm optical track; I don't know if they would have a master - because - in regular 35mm usage the TC - which is fairly simple itself SMPTE but 15bits IIRC - contains Reel ID & show ID (the latter preventing things like showing "Juno" with the "Superbad" soundtrack...... -Sam

Well that's what DTS is. I did a 16mm B&W feature with DTS timecode printed on the optical track (of course it had no analog track) I don't know how DTS does it with a dedicated track on 35mm B&W prints, I assume they can do it. -Sam

Those are great images Fran ! Your restoration initiative rather negates the "versus" premise of this thread ----- -Sam

That was "IF" Rob, IF............ IF I could see the future I have a Toyachta Catamarany.... Mark, I don't regard "film is dead" posts as speaking from authority.... (I don't buy your analogy at all but whatever....) -Sam (doesn't live in Towota)

In the world of DI I'm not at all sure digital motion imaging (NOT "video' not television's legacy) are so far removed and I suspect that's a gap that will narrow rather quickly. Any time you've seen something that wet through a DI you saw a digital representation of 'reality' - the reality happened to have been a film capture. Who is realizing what here, you speak as if with some supreme authority. I'll accept a passionate defense of all-photochemical 'workflow' if you like but that must include the viewing experience too. "Digital" is still in relative infancy and I'd be very reluctant to make long term predictions - if I could do that with a high degree of accuracy I wouldn't be posting this - I'd be online trading trading stocks.... ...from my yacht... -Sam

I agree in that I suspect this will depend on the comfort factor of a RAW workflow. (FINE with me !) It seems for now Sony et al are betting on matrixed output - EX-1, EX-3. etc. Although _some_ time down the road a RAW option of some kind will appear on the camcorders I'm sure. -Sam

I'm think you're right about this. -Sam

That's what I was thinking ! Did anyone also notice the resemblance to the camera in the opening scenes of Oshii's "Avalon" ?? -Sam (hey I was kinda hoping it would have a lens turret :lol:)

Contrary opinion: I'd get the fullest response of color I could and work with that in post. If you do that - especially for daylight - you can go into the RGB color channels, work with them individually - for gamma, gain, lift, -- if you *really* want to get tricky you can swap channels -- I'm using Shake 4.1 and Apple Color for my own work which have some formidable tools.. As per Michael Nash you wan the best camera you can get - and have your post strategy lined up, you don't want to just walk in anywhere off the street -- The problem with just a desat is that hue contrast values are largely irrelevant, it's luminosity contrast values that you want ---- -Sam

Sounds like a good idea. Your pyro guys monitor should be wher he needs to be (and I suspect that's not going to be his focus of attention..) 20-30 minutes is actually pretty fast to re rig for this sort of thing. I burnt Joan of Arc at the stake with one take & I did it better than Luc Besson. BE SAFE ! -Sam

http://provideocoalition.com/index.php/aad...ir_filter_test/ -Sam

Are you (they - ZGC) talking about breathing in a focus pull or about some kind of creeping in a fixed focus position ? I'm puzzled by what you quote. -Sam

What you sometimes get in these cases (with non-telecentricity) are off-axis rays traveling through the dichroic filters at too steep an angle. -Sam

I've seen it on other relay lenses use with 3 chip (and 3 tube) cameras and could not be fixed by shading adjustment but typically at the edges - so I'll concede I may have spoken too soon & it can be fixed but with the error changing with stop on a zoom I'm not so sure the fix would hold........ -Sam

If the zooms are that inherently non-telecentric shading is a vain effort I'm afraid. -Sam

Hi Mike Can't speak of other cameras but from all reports - I haven't tried to get "IR pics" - my D3 is quite insensitive to near IR -- iow users wanting to do IR photography would be frustrated using this camera (unless getting the IR cut filter removed I suppose) I haven't tried any ND on this yet (I've got an ND 1.5 here I could tape on !) maybe I will... I wonder where in the spectrum one (might) need to be worried about... -Sam

Maybe this ? http://www.dcviews.com/press/Samsung-NV24.htm -Sam

Hi Bob, I've been too busy with mine to attempt any specific measurement. I had one page bookmarked which seemed credible (and comprehensible to me which not all are !), suggesting 10 stops, but can't find it. But in any case, I'm concerned with what I'd call a working dynamic range i.e "what can I do and what can't I do when actually shooting things in the real world." I could say as guesstimation 8 stops but this must be qualified..... first, I'm still nervous about exposing far to the right; yes I know that (with a RAW file especially) one can 'optimize' s/n etc, but - for instance unlike film, rather bright areas will not have any distribution to both the straight-line and some of the shoulder meaning that you can get a digital exposure that is technically "ok" but does not look ok, well to me - so here you either accept the "dayglo on velvet digital look" (I don't) or you assemble your post manipulation ducks-in-a-row strategy... On the other end, the ability to dig and recover clean shadow detail from the D3 (even from jpeg) is remarkable. I don't think a conservative estimate of 5 stops under mid-grey is overly optimistic. I know I've gone further, but here it's a question of visually acceptable noise floor and I say that's hopelessly subjective -- in the sense of working practice. I also find myself asking "Will I want to black crush slightly ?" in a low light situation - therefore killing the darkest detail but offsetting any low level funkiness with the fool-the-eye smoothness a good "black" reference gives. Anyway, this is from the POV of really working with it -- if I wanted to compete in the internet DR Olympics I'm sure I could find a way to make competitive claims equalling or exceeding most or all digital cinema cameras, but I'm more concerned with with, you know, getting the pictures.. Still exploring what I can do with this weird cool alien machine :) -Sam -Sam

It can easily be repurposed as a producer, then B) (But what it really wants to do is direct......) -Sam

In mot cases, downrating the film stock's Exposure Index 2/3 stop works quite well, then your metering can be set for an 'assumed' 172 - 180 degree shutter or 1/50 sec. So you set your metering for EI 64 with an EI 100 stock etc. (Where this breaks down is for long exposures or time exposures where the shutter angle is not really an issue...) -Sam