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i'm soon going to be finishing up a supervised transfer from 35 to hdcam sr at postworks for a short (18 minutes). we will be doing our conform there as well, but i have no idea how long to schedule for this process. can someone fill me in a little bit as to what actually needs to happen in the session (i.e. does the computer just assemble our cut by itself based on timecode?). we have titles and 2 or 3 simple digital effects to take care of as well. we also edited at 30 and need to go through and check our cuts for accuracy. any insight would be very helpful. a

I just noticed them as well. I'm intrigued but it seems to good to be true...

I couldn't get a hold of Noelle Penraat, and according to a few phone calls I made, JG is going out of business. Not 100% on that though, might have been misinformed. We plan on working with Stan Sztaba (pending his schedule). I think the company name he works under is called World Cinevision Services Inc. He seems to have done a lot of good work and was really friendly to our project. We aren't totally sure about post just yet. We are most likely going to let Duart handle most of it, but we have a single ten-second splitscreen effects shot, which we will probably scan/conform/laser out at Postworks. I know there are some deals that I've gotten there, but I'm not sure if they are just student discounts or NYU exclusive...

one last question. are there different types of lens alignments for an anamorphic setup? do i need to make sure it is centered a certain way to allow us to contact print, leaving room for a soundtrack to be put on? a

i believe you're right bruce. we are just figuring out the costs of getting a print after having our negative cut. is it just a matter of making 2 or 3 contact prints until we are happy with the color? then we're good to go? too bad they don't teach much about analog post these days, or i'd be having a much easier time figuring this out...

i'm really intent on getting a print made for my senior thesis film which i'm shooting in a month and a half. we are most likely shooting anamorphic, which would mean a negative cut. i've put in quotes at a few places, but haven't heard much back at all yet. could somone fill me in as to the total cost of negative cutting? just something to give me a ballpark idea. i realize this is based on the number of cuts, but my film is 20 minutes long. its not an action film and im not bela tarr so you can assume a fairly average number of cuts (if that exists). also, where could i get an idea of print shipping costs? that's something else i'd have to worry about on a student budget... i'm really just trying to figure out the practicality of making a print for a student film. just about everyone at NYU has tried to dissuade me, but i think a print would do this film (and the format) so much justice... PS sorry to cross post, but i thought it might be geared better for here, and i couldn't figure out how to remove the other...

i'm really intent on getting a print made for my senior thesis film which i'm shooting in a month and a half. we are most likely shooting anamorphic, which would mean a negative cut. i've put in quotes at a few places, but haven't heard much back at all. could somone fill me in as to the total cost of negative cutting? just something to give me a ballpark idea. i realize this is based on the number of cuts, but my film is 20 minutes long. its not an action film and im not bela tarr so you can assume a fairly average number of cuts (if that exists). also, where could i get an idea of print shipping costs? that's something else i'd have to worry about... i'm trying to figure out the practicality of making a print for a student film. just about everyone at NYU has tried to dissuade me, but i think a print would do this film so much justice...

i've got a canon scoopic MS sound barney sitting around in my closet. it was made by CUP: http://www.customupholsteryproducts.com i'll give you a good deal if you're interested andrew

Inside on the plastic insert there is "16S-1" written towards the top, and "Bendix" written in the center. There are also letters above each pin, like you might see on an HMI cord connector. I googled these together and found a bunch of surplus parts stores, but they have no pictures or information about the cord that applies to this particular outlet. Maybe I'll give digikey and a few of them a call...

Here's a photo of what I'm working with.

Thanks for all the responses guys. I'm not a very electronics saavy guy, so could someone point me in the direction of a place where I might find this 7-pin cable (other than AGE)? Even just what it might be called? Also, once I've got that, how do I wire it up to a battery, and is there a certain kind of battery I have to use?

I just picked up a Milliken DBM-55 off of ebay. i know nothing about its past, but it was $50 and seemed worth the risk to pick up... anyways, i've got a few questions about getting this guy running again: 1) i've heard running some sort of battery power to the camera isnt too complicated. however, does anyone know where to find the cord to connect to the 7-pin jack on the camera? any other instructions on wiring this sort of battery together? 2) do normal daylight spools work, or do i need certain spools? 3) anything else i should take care of before i start running it/shooting tests? thanks andrew

anyone know of any floating around new york?

I think I've got that part figured out now after a little research... What about the photochemical grading? How does that work exactly? Is it similar to any other supervised session? I've found plenty of information on the process, but nothing about actually doing it (where its done, working with a colorist, etc.) Thanks

Thanks David, that makes sense. I also forgot to ask about what Scott brought up. Will splitscreening with a locked down camera be an issue in anamorphic because of its distortion and artifacts? I would imagine that regardless of the distortion, if the camera is locked the splitscreen will work, but I'm not so sure about the artifacts.

the majority of my experience has been with digital finishing, so i'm not very knowledgeable on finishing photochemically. i understand the actual technical process (i'm a photographer at heart), but i've never gone through this post workflow. could someone step me through it? my guess is... 1) make a vfx edl (which is now actually just one shot of about 8 seconds) -grade and composite -print to interneg 2) then give edl and vfx shot to the negative matcher (how does the vfx fit into the edl cutting instructions i give the negative matcher?) negative is matched, and then....

Does anyone know of any house/person who rents any high speed 16mm equipment (milliken, photosonic, etc) in the New York area, or even just the East Coast?

That was originally my first preference (obviously with anamorphic 35!!). However, we do have a few shots with effects (nothing crazy, just some splitscreen stuff), so we'd have to D.I a couple shots to cut in. I've also never finished photochemically, so I'd definately want to research up on that. It isn't ruled out yet, but cost is a little more favorable to HD at the moment...

I wrote that a little hastily--by "to tape" I just meant finishing for the screen on an HD tape as opposed to making a print from it. Basically what I'm trying to figure out is, if we don't have the money to finish on a print, is it worth us going 2K? Once we edit and reconnect and end up with an uncompressed 2K file of the project, where do we go from there? I'm also wondering, how does anamorphic 2k material fit into NLE software? Where does the unsqueeze happen? Sorry if this is basic, but I'm a little behind with my 2K and, although it seems to be within reach, I'm trying to see if we should just stick with HD.

I'm shooting a short on anamorphic 35 (on a student budget), and am trying to weed through the jungle of post options. We plan to master on HDCAM SR. I was originally thinking of just offlining on DVCAM, scanning/conforming selects to HDCAM SR and color correcting that. A friend, however, recommended just getting a 2k, downconverting and cutting, and then reconnecting and exporting an uncompressed 2k to record to tape. Just wanted to get some reactions to see which seems more sound/viable/cost efficient for about 3 hours of footage. I realize there are a multitude of options/deals/price differences, so if you could just think completely hypothetically that would be good...

Any recommendations for finding anamorphics on the east coast (NYC/Philadelphia area preferrably) besides JDC?

Mitch, Thanks, I actually just spoke with you very briefly on the phone today about it (sorry I was just bumping into someone). Andreas, How does monitoring work? I'm not familiar with accuscene. Are there any lenses that work particularly well with this adaptor? What glass did you shoot with? Best, Andrew

Anyone know of any features off the top of their head shot on a Cinealta with the Canon adaptor for 2.35? Thanks

I've got a Canon Scoopic sound barney, built by Custom Upholstery Products (http://customupholsteryproducts.com/html/sound_barneys.html). It was only really used once for half a day, and has since been sitting in my closet. Price is $125 plus shipping. Anyone interested please send an email to ajs473@yahoo.com. Andrew

Enough already, jesus christ. Arguing digital over film might as well be an unending philosophical argument. And for those of you who are anti-RED, all you are doing is PERPETUATING THE HYPE. I'm tired of seeing a list of RED posts every time I come on.