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Tyler Purcell

Sustaining Member
  • Posts

    6136
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About Tyler Purcell

  • Birthday 07/28/1978

Profile Information

  • Occupation
    Other
  • 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)

Contact Methods

  • Website URL
    http://www.tpproductionfilms.com
  • Skype
    tye1138

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  1. Demand is super high, but honestly, rentals have been down. Everyone I know who has a rental camera, has been dead in the water. I wonder if its owners who are shooting or bigger productions? Seems odd that 16mm is so dead.
  2. I think my comment from 3 years ago, was misinterpreted to mean PL lenses can't have their mounts changed. That's not what I was inferring. You can't make an adaptor that will allow the PL mount lens AND Aaton mount camera to remain unchanged, but simply add a piece of hardware "adaptor" to work. That is something you can't do. What you CAN do is swap the mount on the lens OR camera.
  3. Oh and the fact it's a porn tape, really kinda makes me feel nobody cared about it. So there is that aspect as well.
  4. Those issues are baked into the tape most likely. Looks like a betacam to VHS transfer gone wrong. The color shift is indicative of low signal on the tape, it can't retain enough frequency to have the color carrier in tact. Very common issues with dupes.
  5. It’s a very basic CRT recorder for still film. I guess one could put an motion picture movement on it, but the software only runs on an old system from the 90s. Not very useful today.
  6. Ok so I now know a bit more about this issue. The motor brushes get ceased over time and cause the motor to not run. The clue was the tone when you start it. It means the motor is not spinning and usually if the electronics are running, then it’s the motor and carbon build up on the brushes. Not difficult to fix, but needs to be done by a pro.
  7. Yes, because you will need to add effects to it up the road and you'll be stuck to using render cache, which is annoying. For realtime playback, you'll need something a bit more than what you got, even for 1080p. Also, who is doing to do the online?
  8. I'm sorry to say, but you will need to invest in a new computer no matter what. Transcoding your entire show and using a proxy file to edit is smart, but renting the facility doesn't seem worth it. Apple is going to be releasing a new M1X Mac mini in November, which will be pretty kickass and burn through those .R3D (red code) like it's nothing. You don't need the "pro" version, it doesn't offer anything important until you're ready to do finishing and need noise reduction and DCI 4k resolution. Otherwise, just cut it in 1080p and when you're ready to export the final, up the resolution to 4k for the final output and you should be good to go. But yes, you will need a better computer no matter what. Resolve will not run well enough with that system you currently have. I struggle on my MUCH newer system with a real GPU.
  9. Correct, if the belt has failed, the motor will not be attached to the moment, thus the movement will not spin via the motor. The camera electronics would know this right away and absolutely sound an alarm. It could be anything really, but the simplest answer, generally is a good place to start investigating. Not suggesting taking the camera apart, getting to that belt is a pain and you will need the proper tools/expertise, but it's the first place I'd look. If it's a bad motor, you'll need to get to the same place anyway. Where it's true, the cost to replace a motor is greater than a belt, the labor (the expensive part) is not much different. You will need to send this camera to a Arri specialist with access to parts.
  10. Yea you gotta cut it with something to get it apart. I took a little saw and sliced off the bottom. It worked ok, but it never really glued back together again very well. I wound up just buying new ones from Du-All camera.
  11. Yea Skyfall did look really great, but for sure not like the other films. It's also one of the best Bond films over-all story/direction wise. I wonder if they made 35mm prints of it, I for sure haven't seen it on film. I bet it looks pretty good on 35mm, bet ya can't tell it was shot digitally. But digital acquisition to digital presentation, yea you can tell it was shot digitally and some scenes are kinda flat. Its unfortunate Spectre was such a dog, very unfortunate. No Time to Die was wrapped before the pandemic, so they may have been one of the last big movies to shoot on film pre-pandemic. I know the reason why the new Mission Impossible was not shot on film was due to the pandemic. I'm not sure what big productions are shooting film right now, but I'm sure there are a few. The world of Indy films, is very busy shooting film actually.
  12. That's fine, there is a belt in the camera between the motor and the mechanics and its probably failed. If the mechanics and the shutter spin with the inching knob, it's just a bad belt. Not a difficult job.
  13. This is probably the best one to buy today. https://www.adorama.com/skl858du.html?gclid=Cj0KCQjwm9yJBhDTARIsABKIcGbutkn4vqaUP4k0yWiaeXQ2bUnJbKmymUQJEvuxZwLH-Y0z1ncfA1kaAkUmEALw_wcB&gclid=Cj0KCQjwm9yJBhDTARIsABKIcGbutkn4vqaUP4k0yWiaeXQ2bUnJbKmymUQJEvuxZwLH-Y0z1ncfA1kaAkUmEALw_wcB&utm_source=adl-gbase-p
  14. Well, you can't really get the plastic housings apart without destroying them. Which is why people generally just buy re-celled batteries which have new plastic housings.
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