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.)

Whatever they tell you (and they do excel at making threats), they're still not going to waste their time suing some guy over his personal demo reel. (Richard, are you really going to bug these guys just to settle a forum argument?) If your demo reel was for sale, that would be a different story. You can't use licensed music without agreement for any commercial purposes. However, as I mentioned before, there are even better reasons for not using copywritten music on a demo reel than fear of being sued.

Welcome to Cinematography.com! If you think this is bad, just try leaving a post about how the Red camera is superior to film, etc...

The band doesn't get sued, the bar owner does (and loses, too) unless they pay the annual licensing fees.

No one is going to file suit against you for using a copywritten soundtrack on your personal demo reel, and it is wrong to compare that with commercial use. However, such use may work against you in terms of how it's received by potential employers, many of whom tend to roll their eyes at reels cut to someone's favorite songs. You can purchase the rights to decent, usable, royalty-free music for low cost. The right choices will enhance your reel, and make a more professional impression.

On a parallel topc: What's the best (or close) method for software uprez from SD to HD? Can the results compare with hardware devices such as the Terranex, etc., or will they be noticeably inferior? (I believe the Terranex does line doubling, and don't know for sure if this can be suitably matched in software only.) Question #2: If one were to film the results off an HD lcd monitor, is there a typical color temperature coming off these monitors (and what would that be), or would it vary depending upon the material itself, which is a combination of daylight and nighttime footage? (just experimenting) Thanks.

The above example was framed and shot in 4:3, thus the original composition is maintained.

The folks at Visual Products are as decent and honorable as anybody you'll ever do business with. I haven't the least bit of doubt that whatever slight you may have perceived was unintentional.

Hey Bruce, Have you had any problems with "hair in the gate"? I know it's pretty critical in the 2-perf format, and wondered if you did anything to the gate in order to minimize this. Thanks.

Unless you were using a high-end RGB 4:4:4 broadcast monitor, you were probably viewing the transfers in 4:2:2. The differences would be more apparent when viewing a 35mm film out.

Something seems to be missing from your exchanges on this thread... mainly... What happened when you contacted Film Emporium about the discrepancy? Did you first give them the opportunity to correct the mistake, or did you just skip that step and instead start this thread about how you've been ripped off? Sorry if that sounds harsh, but having dealt with them numerous times without a problem, I find it difficult to believe that if they did in fact manage to screw up as you described, they wouldn't have been honorable enough to correct the situation. I apologize for leaving this post if you did contact them first, and if they did tell you something on the order of "too bad, tough luck, etc." Otherwise...