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John OBrien

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About John OBrien

  • Birthday 01/30/1978

Profile Information

  • Occupation
    Student
  • Location
    San Diego
  1. I'm going up to Los Angeles in July to do a telecine of my original negatives for my short and am wondering what are my best options for keeping the negative safe. Are there reasonably cheap vaulting locations in LA? Can I just put the negative in my closet? What are the easiest/cheapest solutions?
  2. I'm a student filmmaker and just recently wrapped my first production. I plan on "sitting in" on the telecine process but have never done so and was wondering if there is etiquette about anything I should know about. I want to streamline the process as much as possible to save money and want to be able to communicate clearly and efficiently with the colorist. Is there any do's and don'ts, things to know, phrases, terminology, the time to talk, the time to shut up and let him do his job, any prep I can do before I go in, anything that you wish you knew prior to going into your first telecine, an article about the process from start to finish, etc... I know this is a broad question, but anything would be helpful. Thanks.
  3. I'm shooting a student film and will be editing via my Adobe Production Studio at home (with Premiere 2.0). A problem I forsee is syncing the sound of my project. My school has a Fostex DAT recorder that records at only 24fps or 29.97fps. I'm shooting on film and will have the option to telecine out to a 24fps frame rate, but on Adobe Premiere I only have presets for 23.976. I'm worried that if I import my true 24fps files into any of these presets, Adobe Premiere will conform them to 23.976. Are there true 24fps presets out there? Is there an easier solution to be able to sync the sound from my schools 24fps DAT? I don't want to have to go out and rent a DAT that can record at 23.976, and even if I did would I have to set the frame rate of the camera to 23.976 as well and have the telecine frame rated out to match? Any help would be appreciated. John OBrien
  4. I noticed that on the site, they say that models after 60220 were only capable for conversion. So I've been asking for S/N's on each camera. I also went to your site, I appreciate all the info when buying on ebay.
  5. I have a similar inquiry to this man. I see SR1's going for relativly inexpensive, and am weighing the options of saving up for an already converted P+S Technik Evolved S16 SR2 (high speed) for around $22,000, or upgrading an SR myself. I went to the P+S Technik site, and they say nothing about prices. I went to Cinema Technic's site and they list prices that are nearing 3 years old. http://cinematechnic.com/super_16mm/16sr_e...ion_prices.html Does anyone have a link to a more updated price list? Or an established P+S Technik provider? Going by the Cinema Technic's prices (the 3 year old ones) it seems that a full blown P+S Tech SR Evolution will cost upwards of 30,000, not including the original price of the camera. That doesn't seem to make sense if I've seen fully evolved versions for much cheaper: http://www.duallcamera.com/store/index.shtml Can anyone show me the way?
  6. I talked to my professor about turning in a print for S16. He seems convinced that he can get projector that he can adjust to S16 print. We'll see about that considering what you said earlier about their rarity. I'm guessing the reason he wants us to turn in a print is because he wants us to learn the full scope of the workflow from negative to print, not necessarily as something we can showcase at festivals. Also setting time aside to make the transfer would force us to make deadlines during the semester. Something I think most professors are very keen on. I don't have many delusions of grandeur about my first (shot on) film, I'm sure it will be more of an opportunity to learn the format, then to showcase my storytelling ablilities. In either case, should it turn out to be something I would like to showcase, it's nice to know that there all tons of options out there. I think ultimatly though, it depends on how I feel about the final project. In which case I may open another thread, and we can further discuss the options "pros/cons" of the different methods of blowing it up to 35. I do think I've weighed the two cameras, and it sounds like it's more of an opportunity to shoot with the Aaton (without paying rental fees), so I should take advantage. And for now I feel the best workflow is the one you recomended of: Super 16 through telecine to DVD. Thanks for all the help on this everyone, I'll be sure and post anymore questions I have during the shoot, should any arise.
  7. Wow, that is really cool. I'll be sure and share that with my classmates and professor, I think this puts the Arri S into contention for the project.
  8. Wow, I had no idea that it would be such a pain to make into a print. That alone may change my decision for the project as the teacher requires a print to be submitted at years end. I'm wondering if he even knows of the situation with the Super 16? If he does know, then I'm guessing he's expecting us to blow it up to 35. But at what cost? I know I can afford a telecine, but do I need a digital intermediate to blow it up to 35? How much grander a cost will a 35 print be as opposed to a 16? I'm guessing at least twice as much, considering I will need at least twice as much print. If anyone has any info on the blowup rate, maybe some links, I could present some 411 to my professor.
  9. I here you as it being a pain to load, I am getting use to it. My other option is an Arriflex S, the downsides of which that there are the limited lens options my school can provide for the camera, it shoots on 16mm and not Super which is a format I want for the project, and it's ancient. It does however have the huge upside of having 400 mag capability to the Aaton's 200. I'm considering simply renting some extra mags, and preloading them before the shoot. Is this advisable? I know it would cut down some of the time and I could load them in a safe enviornment. But what would be the proper way to store them while not in use?
  10. I'm a film student and our college provides access to the Aaton A-minima (2.32 software) with a Nikkon mount (and lenses). This will be the first time I will work with film and am excited. I've read over the manual a couple times and have practiced loading the camera, but has anyone had any issues with it in the field? I only ask because I would hate to form a crew of folk to help make my first student film and to have some type of technical difficulties with no solution in sight. Any info on the camera would be appreciated as well. I want to be fully engrossed in all details of the camera so I can maximize the potential of my film.
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