Sam Wells

I mean image upright at all finder positions. 3 axis. -Sam

Me too, > $300k) Then again I saw S16 "Monsoon Wedding" on the same screen as SWAOTC, way better & sharper. *Optical*" blowup (mostly) but by.... Swiss Effects. I think we CAN agree Swiss Effects knows their craft ! -Sam

Actually Aaton was sued by Arri over their use of an orientable finder; in fact Beauviala had to sell the company to Panavision due to this (later he was able to buy t it back). I would tend to side with Aaton in this case, but Arri was/is a *much* bigger company & Aaton lacked the resources. And anyway, no orientable finders on Aatons until Arri's patent ran out. (I personally think Arri shot themselves in the foot here, by inhibiting Aaton they inhibited the growth of aspects of 16mm, really Super 16, in theatrical origination and so forth *at a time when Betacam in particular ran off with huge ammounts of what had been 16mm's domain*). -Sam

Summix is the one that uses Rodensack lenses. Well, a glance at the Rollex on my wrist says it's time to go.... -Sam

www.sumix.com

P.S. The Hou films I've seen in stunning 35mm prints by Atlab (Hi Dominc !) may cause you forget all about how many "K" a release print is equivalent to :D -Sam

Li Ping-bin is a great DP. I don't know what stock(s). "In The Mood for Love" is well worth it. He took over for Chis Doyle, it's pretty seamless. From a thread on another list, that was mostly 5279 (Li Ping-bin's stuff) and 5298. You should see his work for Hou Hsiao-hsien like "The Puppetmaster" "Good Men, Good Women" "Flowers of Shanghai" and so on. (Hou is one of my very favourite directors) -Sam

You can talk about this look of Kodachrome and that look of Kodachrome but you have to relate it to what you are either going to print it to or how you are going to transfer it. I would think in a transfer you could make "new Kodachrome" look like some idea of "old school Kodachrome" Did you see the PBS doc -- I think it was called "World War II in Color" ? (I could be wrong about the title) Lots of Old School Kodachrome in that show (and some Agfacolor as well) -Sam

I didn't need it or I would have bought it. Just wondering if I passed up something I could have traded etc for something I might need B) -Sam (altho if I buy a Canon DSLR... hmm....)

Shoot a couple hundred feet of 35mm as a test, have it timed, best lite AT LEAST but try for scene-to-scene. Project this daily print in a real theater or good screening room. Ask yourself, do I want a look like this ? Now you know what the gold standard is, proceed from there. -Sam

Are they any kind of a rare item, or worth anything ? Curious, saw one on my travels not long ago. -Sam

My point here was not whether film, transfered to HD as a video transfer looks as good as F900 / 24p origination, it was that we should compare what film can really do vs what Genisis can really do. -Sam

These rates are typical for this area, maybe you can do a little better with some negotiating & off hours in NY and quite likely in LA..... But budgeting at significantly-less-than-book rates is risky, no ? Anyway shouldn't the comparison here be with Spirit 4K,etc if not in fact real scanners ? Are there any 4K Spirits out there yet ? I just BET that'll be "slightly" more than $120/hr :o -Sam

Thanks, Dirk !!! (I don't know where I got the Hamnas name from, although I have a reference). Well this isn't an issue next week or next month, even, but maybe I'll begin checking airfares to Belgium ! -Sam

Why ? You can just stop an optical printer ! Actually, it's zero cuts on 16 > 16 contact printed material that pose the printing light problem because the light has to be cut so as to not print the overlap "handle" frames that you don not want to see. Most contact printers can't get the valves closed fast enough so you can see what is like a 1/3 frame fade - really a dissolve on zero cut A&B rolls as it's happening in and out both. I have zero cut 16mm and have seen this on a contact print. I'm told there are 16mm contact printers on which this will not happen but they are rare. -Sam

With the Hamnas (the name I know it by, but I want to make sure I'm talking about the same thing that Dirk is) I'm not sure this is true. I've seen (but not done) 16 > 35 blowups done without zero cuts, AFAIK done with this splicing block and they did not jump or breathe at the cut point. Interesting that Dirk DeJohnge suggests a pitch mismatch from OCN to black leader a contributing factor splice point jumping... -Sam

Re Hammann (Hamnas ?) splicer - Just to make sure I'm reading this correctly, you do not zero cut S16 blowups ? -Sam

I'd rather see 16 to HD SR. -Sam

I'm curious, you say you "pushed [7222] for the story line" and then reduced contrast in FCP. Did you push to get more grain ? Or because you wanted the stop match to 7218 ? Otherwise, why increase contrast in processing and then bring it down in post ? -Sam

Phil if you've read my posts elsewhere you'll know I question that wisdom also. For me, video camera EI is a function of the s/n ratio you (and your post chain) are willing to accept. I don't entirely like the concept of ASA or EI for video cameras, but it "sticks" -Sam

Huh ? in response to 3 CCD, Am I misreading something ? -Sam

:huh:

Well Super 16 IS a solution to this, has been for ~25 years, no wasted slivers, so what's perplexing ? -Sam

Boy that's a fast reaction to Sony ! Just imagine, all of us concerned about gate weave didn't know that in fact it's really wobulation and it's INCREASING resolution. :D -Sam

Sorry, but I think 16mm film performance = 2/3" CCD performance is a meaningless generalization. F900's are already competing with 16/S16 in some areas and have been for a few years. This is not news. -Sam