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David Fitch

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  1. Just curious if anyone has ever used Filmworkers in Dallas for processing and transfer, and if so, how was your experience, and would you recommend them? I haven't been able to find much information on them here in the forum, so I thought I'd ask. Thanks!
  2. Thanks for the reply, Dan. You've answered many of my questions and provided some excellent information for a DPX newbie like me :) I do have a couple of follow-up questions. If I receive a DPX sequence, I'm assuming it will be a collection of many individual .dpx files...one for each frame of film. How do I go about importing this into Premiere in preparation for generating a 2K ProRes4444 file? I'm assuming (incorrectly, perhaps) that I'll have to drag the frames onto the timeline, but perhaps there's another method of doing this. I didn't realize that DaVinci Resolve is availa
  3. As I prepare for an upcoming S16 transfer, I have the option of getting an HD telecine or a UHD film scan. In the end, I'd want a ProRes file for editing in Premiere Pro, but if I go the scan route, I'd also have the DPX sequence along with a ProRes file rendered from the individual DPX frames. As I'm familiar with the concept of individual DPX frames from film scans, I'm not well versed when it comes to working with them, so hopefully someone can help with some of my questions. I don't have an exceptionally high powered editing system (I'm editing on a MacBook Pro with Premiere Pro CS6)
  4. Haha...I wish this project was that ambitious! To answer your question, David, at the moment I'm just running some camera / lens / film tests. An HD telecine should be more then sufficient for a project like this, but at the same time I'd like to do some experimenting with telecine vs. scanning. Ultimately, anything I shoot and edit down the road would be strictly for Blu-ray. Unfortunately, I don't think my Mac is powerful enough to edit with raw DPX files, so that's why I would want to have the DPX sequence "dumbed down" to a ProRes file. Just to clarify my understanding (or lac
  5. I'm planning on shooting some super 16 sometime early next year, and I'm trying to weigh my options in terms of HD transfer. I've been getting some quotes from Fotokem, and right now I think I've narrowed the transfer down to either a 1080p telecine transfer or a 2K scan. Am I correct in assuming that, generally speaking, a 2K scan will look better than a 1080p telecine? While it would seem that the resolution of the two options are fairly similar, are there inherent advantages to the scanning process vs. the telecine process? In the event that I did opt for a 2K scan, I'd likely hav
  6. Hi everyone. I've been looking into a few Arri SR3 packages, some of which include camera bodies and/or mags that have been professionally repainted by various camera houses. However, after reading some accounts here and elsewhere about personal experiences with repainted cameras, I've become a little leery of repainted equipment and thought I'd see if anyone could share thoughts or information on the topic. A friend of mine once had an SR3 magazine repainted by a reputable camera house in the US, only to find that the new coat of paint was quite delicate and started flaking off even
  7. Hi everyone. I've been in the market for a PL mount zoom lens to go with my new (to me) SR3. I have a number of decent offers and options, so I thought I'd offer the question up to all of the experts here and ask which you would choose, given the following options... Zeiss 11-110 for $2300 (mechanically and optically in good shape, cosmetically in decent-fair condition) Canon 11.5 - 138 for $2500 (mechanically, optically, and cosmetically in good shape) Canon 11 - 165 for $3000 (mechanically, optically, and cosmetically in good shape) Angenieux 11.5 - 138 for $2600 (mechanically and opti
  8. I may be working on a project in the future in which I'll be shooting handheld in a run-and-gun, one-man band situation. While not a necessity, I'd like to try recording some sync sound of ambient noise, passersby, and so on using a stereo mic and recorder either nearby or attached to my rig. In a perfect world, I'd have a timecode enabled audio recorder synced to a Denecke TC slate and just catch a flash of the slate at the beginning or end of each shot, but I'm just not going to have those kinds of resources. That said, does anyone have suggestions for a simple, effective sound synchroniz
  9. Thanks for all of the replies so far. As for whether or not the camera in question is actually a Panavision ex-rental, I'm pretty sure it's legit, and judging from the seller's reputation, I have no reason to believe that they would intentionally lead me astray. In the photos I've seen, the camera body actually has a small Panavision logo and serial number neatly engraved on the camera body. This isn't just a rental sticker or barcode - it's an actual engraving. So, if it isn't legit, someone sure went to a lot of trouble! Can anyone verify that Panavision does, in fact, engrave their
  10. I've been in the market for a S16 camera package, and one of the options I'm seriously considering is a pre-owned Arri SR3 package. It's being sold by a reputable motion picture equipment service and resale company, and judging from photos it's cosmetically in excellent shape, however my only reservation is that it's an ex-rental. When I started looking into cameras, I was hoping to purchase from a private owner and was very leery of considering an ex-rental. Maybe it's an unfair perception, but I just envision some ex-rentals, after having passed through so many hands, as being in quest
  11. I've been checking out various PL mount zoom lenses to pair up with a S16 camera. A while back in another thread, someone posted this useful link which lists various zoom lenses as S16 safe, S16 convertable, and so on. Generally speaking, are lenses that were originally designed for S16 superior to those that have been converted to S16? Specifically, I've looked at both the Zeiss 11-110 (designed for S16) and Zeiss 12-120 (formerly a 10-100 R16 converted to S16). While I'm not sure how equivalent these two lenses are in terms of overall quality, would the 11-110 generally be considered
  12. When comparing the SR3, XTR, and LTR, which of these 16mm cameras is the quietest when running at 24 FPS? I think all of these cameras are generally regarded as running quietly, but I'm just curious if one model tends to run quieter than the others. Thanks!
  13. Just curious if anyone could recommend any reputable companies that deal in lens mount modifications and conversions (such as switching a lens to PL mount). I'd like to look into the possibility of switching some Canon broadcast lenses to PL mount, however I know there are many factors to take into consideration, so I was wanting to get in touch with someone who, simply put, knows their stuff on the matter. Thanks!
  14. Thanks for the reply, Dan. So, just to make sure I'm understanding this properly, while the FFD for a particular mount (52mm for PL mount, for example) remains fixed, the back focal length can and will vary from one lens to another. If this is correct, then am I correct to assume that the variation in back focal length is a function of the internal optics within the lens? In other words, I'm guessing that variations in internal optics are what allow back focal length to vary from one lens to another yet still manage to produce a properly focused image on the film plane.
  15. I'm trying to improve my knowledge on the finer points of lens mounts, and I have a couple of questions regarding FFD and how it applies specifically to PL mount lenses. First, I'll mention that I do understand the concept of FFD as the distance between the lens mounting flange on the camera and the film plane. I also understand that the FFD varies from one lens mount to another, and that the FFD for PL mount is 52mm. Here's where I'm curious. I've looked at a number of different PL mount lenses, both prime and zoom lenses, and it appears as though there's some variation on the dista
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