Dan Goulder

I really wish I could find something I like better than my set of K35s, because I'm looking for some excuse to sell them. Unfortunately, I've had no luck finding that excuse and, believe me, I've tried. A-B'd 'em with everything out there. I may be stuck with them. Too bad, because I could use the money.

Have any of you run comparisons between tungsten halogen bulbs of different manufacturers? Have you found any variations in color temp between different brand names for FRK (650W), FKW (300W), or any other bulb types and wattages? Have you observed any significant difference in longevity? Thank you.

Hey Bruce, Is "Reel Good Film" 100% reliable? (with emphasis on 100%) Thanks.

Yes, the BL-3 mags can be used on any BL.

Hey Phil (or anyone), What is the actual name of the stabilization software depicted in the video? Thanks.

It generally doesn't hurt to pull the film one extra perf past the mag notch, just to help ensure you've got enough to form two good loops.

I knew you were going to post this.

When film is telecined to a video format, the speed of the film is slowed down by .1%. The above advice given by Tom should put you back in sync. For future reference, you need to either use an audio recorder that allows for "pull-down", or one that records at 48.048 Khz while time-stamping the file at 48Khz (such as Sound Devices), if you're going to do your own audio syncing. If you have the post house sync up your dailies, then you can record dialogue at straight 48Khz, and let them insert the pull down compensation.

I need to encode a steaming trailer for the web, and was wondering which codec, compression, and data rate I should shoot for. I'm currently using a Mac, which I haven't used before for this purpose. Will Quicktime files play on most computers, or should I also encode a separate Windows file? I know there are different data rates, frame sizes, and levels of quality. I'm aiming for the highest quality that is still playable on most typical computers and monitors. The source material is super 35. Any advice would be appreciated. Thank you.

If you have enough light to work with, the combination of 250D with an FLD filter works quite well.

Are you certain that this camera has a "4 or 2 perf switch"? Being switchable from 4-perf to 2-perf typically doesn't imply simply flipping a switch. There was a 2-perf movement and gate available for the XR35. Unless these parts are included with the package, you'll have to locate them. You also need a 2-perf ground glass. Either way, they'll need to be installed by an experienced camera technician.

Bruce... I know you rent 2-perf gear. Have you found any treatments or techniques to minimize 'hairs in the gate'? (I recall having asked this question some time back, and don't recall if there was ever a response. If there was one that I missed, I apologize for asking it again.) I've found this to be one of the biggest drawbacks to an otherwise excellent format. Thanks.

Ah... yes... It's the mystery mount/adaptor/whatnot. I've got one also. Nobody has any idea what this piece is used for... not the guy I got it from, or the lens technicians I've shown it to. Does anyone out there have any idea what this thing is, and what it's made for? (No guesses, please, as I've heard them all.)

One problem with using these standard-to-BNCR adaptors is that it is physically difficult to access the focus ring on the lenses. You typically need to remove the focusing 'wings'. Stephen, have you by any chance come up with any workaround solutions for this? Thanks.

I believe they typically use "Turkey in the Straw", which is in the public domain. (As this usually plays on an endless loop, the driver must want to shoot himself by the end of the shift.)