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Tyler Purcell

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About Tyler Purcell

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  • Birthday 07/28/1978

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  • Location
    Los Angeles
  • My Gear
    Arricam ST, 3 perf, 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. My scanner can do tiff capture, so you could batch process them? But remember, motion picture scanners have very different operating ranges. Still film scanners don't have this problem at all, which is why you can easily extract more information from a still image. Can't do that with motion picture images.
  2. Tyler Purcell


    They don't make the sound stripe film anymore, my point is you would have to custom make it.
  3. I've seen them go for as little as $20k, but that doesn't mean they're complete. They're kind of complex and it's very expensive to maintain/operate if something goes wrong. They also use a lower resolution imager which takes multiple pictures of each frame, then recompile's them in hardware before exporting the DPX files to disc. So it's kind of a very odd machine. However, it does deliver outstanding images. I have experimented a bit with the HDR mode on the Scan Station, ArriScan and Blackmagic Cintel II. They all do different things. the HDR mode on the Arriscan does help quite a bit
  4. The arriscan is a very good machine, but it's getting old now and a lot of people have moved away from it because it's pretty slow. With the 6.5k Scan Station, you can easily achieve a full 444 RGB 16 bit HDR image for much faster scanning speeds. Where I agree, the Arriscan's pin registered gate is amazing, it's not a requirement for a good image. Real time stabilization based on perf is possible these days by analyzing the image as its being put to disc. So there really isn't any benefit for the arriscan anymore.
  5. Yea that's a great example of how to do things isn't it? A lesson in perfect filmmaking in my view. Thanks for the reply, good to know.
  6. There are a lot of DP's who resort to this technique due to their directors. Based on your vast experience working on these bigger shows, how much do you see this? I actually use a similar technique on some of my stuff, where I will light a scene so the camera can move all over the place, but then bring in flags and some smaller sources to augment.
  7. Here in Hollywood, it's not nefarious at all. Many productions just don't want to bother with IMDB. Maybe because they're too embarrassed to show they've done some short films? Maybe because they don't want the publicity? Maybe it's a brand or model who doesn't want any recognition? I will never understand that mentality. Nobody knows who the DP or Editor is on a music video or commercial, so why not give them credit on IMDB? This way at least they get SOMETHING for all the hard work outside of a paycheck. I've spent upwards of a month working on a single commercial before, with the shoot, cli
  8. Yea, thats absolutely not the case here. None of the teams that worked on their products got credited at all. We're talking dozens of people. They credit the chef's newborn, but they don't credit the people who prep the shows and engineer the workflows. Well yes, it's a 3rd party company. Example.. in Christopher Nolan films, he credits the guys at Fotokem. But on Quentin Tarantino's movies, they only credit the lab manager and the sales manager. The projectionist who does dailies? No credit. The guy who did all of the film-out's? No credit. The guy who did the color matching from fil
  9. Tell me about it. When you work as an engineer, the only people who get credit are the post house executives, they never credit the technical people. Worst part is working in restoration, when you're literally doing a full restorations of films, doing new color, new audio mix, record out, etc. ZERO credits. I was yelled at for posting an instagram picture of the color bay over at technicolor where we were doing the work. It really sucks when you spend months doing something and get zero credit for it. I'm sure most people who work in Hollywood have faced the same issues I've faced w
  10. Yea I had one for a bit, they were complete garbage. They use a stylus just like records do. That whole thing gets dirty and you get noise in the image like pops and clicks on records. It's a very poor format, I'm still shocked it lasted as long as it did. VHD was a far better format, but sadly it, like Video 2000 was only available in Europe. I think had they pushed it state side, it may have done better than Laserdisc due to its lower cost machines and disc manufacturing process. I got into LD in 1993 and kept using it until around 2006. It was in my home theater rack until I got out o
  11. I mean don't get me wrong, the stuff I'm talking about has nothing to do with indy/low budget production. The sub $1M productions, are rushed in production and in post, no doubt about it. I'm referring to the higher end production the 50M+ movies, where they'll spend 45 days on set and over 100 days in post. This is pretty typical from not only the shows I've worked as post supervisor and lead editor, but also the shows I've worked on in the technical fields. Again, because the tools exist, the ease of using them, they want to screw with everything to fix what they couldn't get right on set. I
  12. Film Photography Project is also another one, they're based in New York I believe.
  13. Tyler Purcell


    It requires a very special film to do VD. Standard Tri-X reversal will not work. So you'd also need to have someone cut strips from 16mm or 35mm optical sound film, which would be a very low ISO and of course not a positive. So no projecting. I think the OP is referring to a plug and play solution. Most people do not want to re-invent the wheel. For lack of inventing a new system, super 8 sound is dead. It would be WAY easier to pay someone to stripe new film and design a new sound cartridge. That's more of a possibility than what is suggested above.
  14. Tyler Purcell


    They haven't made sound film since the early 90's. Ektachrome 160 is not processed using the standard E-6 process. So there isn't a machine process available for this older film. Thus, it must be processed by hand, which can take weeks or months to have someone like the Film Photography Project process it by hand, it's also very expensive. You can also process it to a negative but I haven't gotten any image out of the rolls I tested. Wasted around $150 so far trying to make old Ektachrome film work. Many cameras are sound film, including Braun, Elmo, GAF, Kodak, Beaulieu, etc. The proble
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