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Tyler Purcell

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Tyler Purcell last won the day on September 8

Tyler Purcell had the most liked content!

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About Tyler Purcell

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  • Birthday 07/28/1978

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  • Occupation
  • Location
    Los Angeles
  • My Gear
    Aaton XTR Prod +, Aaton 35III 3 perf, Bolex EBM, K3, Blackmagic Pocket Camera
  • Specialties
    Cinematography (digital cinema and 16/35mm) and post production (DaVinci/Avid/Final Cut Pro)

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  1. I saved some of the sentimental tapes, TV recordings, pre-recorded movies that mean something, but very few. I was never into video tape as a medium for watching movies or capturing TV. The money from my very first job went towards a laserdisc player and I've used disc's ever since. I have nearly all of my childhood recordings however. My main formats were Betamax, VHS and Hi-8. The latter of which, I have boxes and boxes of tapes, as the TV station I worked at used it for acquisition prior to switching to digital. So of course, I have gobs of tapes from my days at the station AND close to 300 DVCAM tapes from later in life. For a while, I kept a tape machine for all the formats, but funny enough, BOTH of my VHS machines failed on me. One had a bad power supply that fried the main power regulator on first plugin after sitting for a few years. The other one, had cracked mechanic gears and since it wasn't a great machine, I tossed it too. So I have Betamax, Hi-8 and DVCAM machines, all of them work perfect because they're commercial machines. It's getting a pesky VHS machine that works, which has been the most difficult issue. I should have kept one of the commercial machines I use to own. It's just, I have so many S-VHS tapes, I need that format as well. In terms of running a VHS machine, I would buy a commercial unit like the Sony SVO-5800, those things were pretty damn solid. You can just keep the top off and buy some shammy's and clean the heads between tapes. Tho, unless the tapes were stored improperly, they're probably ok.
  2. Looks good to me. I kinda like that more classic film look personally, with strong colors and such.
  3. Making yet another .h264 file, isn't going to solve anything. Handbreak is a good encoder, but Resolve is a WAY BETTER encoder. The trick is to send Vimeo the highest bitrate possible. Also, the largest frame size as well. This was scanned at 3k, up-resed to 4k in Resolve and put on Vimeo as a Pro Res LT 4k file. It was like 13gb, but with dropbox link these days, you can have it upload overnight on your dropbox then in the morning, link it to your vimeo account and then it uploads nearly instantly to Vimeo. Notice how it's pretty noiseless, the 4k master on my grading monitor has a noticeable grain, if I play the Vimeo file back on a 4k monitor it does as well. I think giving them a 4k file helps a lot, even if your project isn't 4k.
  4. I've not had a single problem with Vimeo playback. You have to upload a master file to Vimeo, either DNX or Pro Res works fine. If you upload a .h264/.h265 file, you will be sad by the results. If you wish to retain grain, master file is the only way you can do it. I've had zero problems retaining grain with Vimeo. Another issue could be you're not playing back at full resolution.
  5. I hope they do make a print or two for exhibition with actual black and white stock. That would be pretty darn cool!
  6. Usually the flutter is a shutter being slightly out of calibration.
  7. Yea it's the same problem with all of the 400ft load cameras. You can't rewind the film in camera. It's only the speciality cameras like the Bolex that can do the rewind in camera. What I would do for double exposure on 16mm is shoot a 100ft daylight spool, rather than a 400ft load. Then simply rewind the film back onto the daylight spool.
  8. I mean there are lots of benefits shooting in 4k. - Crisper Image - Future proofing content - HIgher bitrate video (in most cases) - Ability to crop into the video without losing too much resolution - Ability to remove bayer pattern and not lose much resolution
  9. Would you have interest in selling the longer extension viewfinder separately? I've been looking for one and I'd love to make an offer! thanks
  10. The problem with a 24 track mixer is that you must have someone listening and managing the levels. If just one of the mic's is distorted or has an issue it ruins everything you've done. So I never recommend doing a "mixdown" from set recording, it never works right and it always causes complications up the road. Just imagine if there was some RF interference in one mic mid way through, but you needed to keep the dialog just incase? I mean I personally wouldn't risk it, if the content is important and can't be duplicated easily.
  11. With a good DP like you? HA of course they matched. You could probably match an iPhone to Alexa. 🙂
  12. Well, there are plenty of solutions, but they would all need to be rented of course due to cost. For wireless transmitters, almost all of the higher end ones have enough frequency selection for 20 channels. Then you'd simply rent a few 8 channel recorders/mixers on the market from zoom to sound devices. You'd probably just use three 8 channel ones and record lavs and then a few booms to the recorders with timecode sync. It's a lot of work for one audio guy, I would for sure have a few guys doing it and not 100% rely on the lav's.
  13. Ohh yea, there are GOBS of productions shot on the Alexa mini, but it's SO CLOSE to 4k, people just ignore the slight inconvenience of upscaling in post. Most of the time when I edit Alexa footage, I just throw it in a 4k timeline and it auto scales, so it's not a big deal. It's just a $48k camera used. It's gotta be on A LOT of shoots to justify purchasing one. Dragon is so much cheaper, all be it, far more fragile and with Red's software update bullshit, I'm surprised anyone owns one anymore.
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