aapo lettinen

blackmagic design has very shitty quality control on their products. for example in a movie I am working on there has been three Ursa Mini G2's and only one of them has worked correctly so far. the second one has errors and freezing multiple times a day, especially when shooting in sub zero temperatures. One of them was broken literally right out of the box, it did not turn on at all and had to be returned immediately. the third one is working correctly so far. I have never seen a movie camera being broken right out of the box. Every manufacturer in the World at least checks that their pr

That reference image presents digital optical tracks which can only be made in the lab, not in camera. The variable area track can be made in camera using a small slit and a rotating mirror altered by magnetic field generated by the audio signal. Most in camera optical tracks are variable density which is the simplest one to create

35mm always has more picture information. It is exactly the same film stock than 16mm but cut wider

35mm is generally easier to scan because you have higher quality original so it may need a little less tweaking in scanning. Less grain and better stability to begin with. 16mm would be more cost effective if the raw stock and developing are normally priced. All the scanning places here are charging per minute of material so the price per minute for scanning is the same for 16 and 35

It is not possible to combine multiple hard sources to one beam without having serious drawbacks like multiple shadows. I would suggest having the par ungelled if it is barely bright enough. Or you can try to replace it with a 2k tungsten source. Personally I like to use 1.2k hmi par for this type of stuff if the spotlight does not need very sharp edges. If the very sharp edges are needed, then you will need a leko. It is possible to create the spotlight with one source and then light the subject from the sides with other sources which are flagged off of the stage surface to hide th

You mean the original motors? They are pretty rare. There may be some on eBay and some of the forum members may have spare ones. If you need a crystal sync one, the most practical way would be to adapt a regular brushed or brushless motor to work mechanically with the camera and then let me or az spectrum to make crystal sync electronics to the motor to enable crystal speeds. It would be practical to make maybe 4 or 5 of these motors and to keep one, then sell the rest to cover the costs. You would need to take care of all the financial risks of course

You still have to worry about the 2/3 compensation if wanting the same shadow detail. And you will lose a little bit of highlight detail because the blue is always overexposed when shooting without the filter. The point was that it may be more practical to shoot without needing to worry about the correction filters and the colors can be corrected to look very similar if grading digitally. They are not exactly the same but will totally work for the audience

The vari temp led light have half of the leds daylight balanced and half of them tungsten balanced. When changing the temperature one changes the dimming of the daylight ones vs tungsten ones. On tungsten setting the daylight ones are completely off and on daylight setting the tungsten balanced leds are off. This means that you can only get about half of the maximum output unless using the intermediate temperature where both of the leds are fully on. That is somewhere around 4300K. This is why I preferer daylight balanced led lights: they have about double the light output compared to a s

Variable temperature leds have the highest output when adjusted to intermediate temperatures around 4300K. If adjusted to either end the theoretical maximum output is much lower. So if going for a cold look with vari temp leds it would make sense to use the tungsten stock so that you dont need to have too high color temp on the led and can thus get higher output from it. If using a fixed temp daylight led then it would not matter that much. But most people go for the varitemp ones so it does make a difference if wanting to have as high output as possible

sad to hear that the original electronics died. But if the camera is mechanically functioning correctly and the original motor itself is intact, I can try to build new electronics for it in July or August after first modifying my own camera in the Summer.

Further info about the CP16R modification I am working on: - Availability: August or September 2021. - 12 Crystal Speeds built in and the possibility to use external speed box as a reference too. This is to save space on the back panel of the camera. - basic internal footage counter with end of the film warning (similarly working than the original counter, just much more modern and reliable) - accessory port which enables using a external speed box which allows selecting any speed from 10 to 40fps in 1/1000th fps increments and has a display which shows basic information l

it is available in eBay too though the price is a little higher due to eBay costs: https://www.ebay.com/itm/50Hz-60Hz-Crystal-Oscillator-Module/254889709824?hash=item3b589c5100:g:hPkAAOSwraBgQSxw

I made a batch of 50Hz / 60Hz Crystal Frequency Modules if someone needs a stable frequency reference for pilot tone applications or other uses. It is a pretty neat and reliable design with accuracy of about 40ppm (parts per million) and designed for continuous use. The output frequency is selected with a jumper before startup. If anyone is interested, these are for sale for 50usd a piece + shipping. I can make more if needed. Designed and assembled by me with each board individually tested. 1 year warranty. DM me if interested :)

lum vs sat curve was what I was using as well in Resolve

a quickly made test example: the original shot with just the basic LUT and some saturation added: