Tyler Purcell

I can't think of any reason why it would be a problem. The center of the glass (which is what the S16 camera would be using) is usually the crispest section. I have used my Rokinon Xeens on my XTR Prod without any issues. If anything, I'd say they worked very well, crisper than my standard Super 16 glass. It's just, these lower-cost primes and zooms, are generally not very crisp all the way open. So that's something to think about as well. The one thing about this lens that's tricky is 11mm being the widest. I have the 11-165 and it's not QUITE wide enough. I prefer something a bit wider, like an 8-64, that's the perfect lens for Super 16. You can find one used on eBay if you look hard enough.

I use to have an SR and an SR3. I also have an XTR Prod. The Arri's are very heavy, at least 4lb difference on the SR3 compared to XTR Prod. With lithium batteries and an HD tap, the XTR is very light. I've had Arri Classic builds that are WAY heavier.

Can't beat focus assist on a digital camera. Optical viewfinders, where they're really great, don't hold a candle to focus assist. Also with a digital cinema camera, you're seeing the final image, but with an optical viewfinder you may not see what you're getting thanks to something being out of calibration.

Did the lab put the rolls on one big transfer roll, or were they separate. Check the leader on the roll as well.

What camera?

Oh and one more thing, Kodak's expiration date is 6 months after manufacture. So it's pretty easy too know if the film is older than that, especially since Kodak changed the labeling a few years ago. Anything with the old label is guaranteed to be more than 2 years old.

It was largely forgotten because it was huge. Aaton and Arri solutions were way smaller and neither required threading on set. So changing magazines was way easier.

I personally don't like 2 perf for a few reasons. 1) You're pretty much stuck at 2.40:1 (yes I know it will go wider with a super 35mm gate). So if you want to shoot 1.85:1 or 2:1 which is my favorite aspect ratio, you're cropping a lot of the image out. 2) You have hard frame lines, which means if there is any dirt in the gate, you're basically screwed. 3) Cameras that shoot 2 perf, are usually sold for a premium and quiet ones for sync sound, are pretty rare. 4) Forget about the photochemical finish process, you're essentially doing an optical blow up to anamorphic 4 perf, which never looks good. Its extremely expensive to do this work and very few places in the world can do it with any quality. 5) It's harder to get the shallow depth of field super 35mm look with 2 perf. It's possible of course, but trickier. Gotta go with longer lenses in most cases. This is still a problem with 3 perf, but not as much. There is really is only one advantage to 2 perf, which is the lower cost of stock. One could argue, 2 perf camera's are quieter and less prone to static build up on the gate due to the slower speed, but those aren't the main advantage. It's primarily a cost savings and rightly so, you do save a considerable amount of money shooting 2 perf. For a feature film, the difference adds up and for lower budget productions, it maybe the only way to go. I personally prefer 3 perf because it's a native 1.78:1 image. This means I'm always cropping for 1.85:1 or 2.40:1 which gives me room to reframe in post AND crop out any hairs/dirt that could be on the frame line. Plus since you're pretty much always cropping, you can adjust the frame quite a bit. 3 perf also gives you the super 35mm width, which means if you're shooting for 2.40:1 aspect ratio, you actually get a larger negative to work with.

Most film scanners capture in an uncompressed single frame format like DPX in most cases. So if you want a pro res or some sort of i-Frame codec for editing, you'll most likely have to transcode that yourself. Premiere does take DPX and can transcode to a workable file. If your computer is fast enough, you maybe able to edit the DPX right on the spot, but coloring in premiere is horrible so getting it to look good maybe difficult. I use Resolve for everything these days and works great with the DPX workflow. Super 16 is native 1.66:1, so yes anyone who is scanning will give you an oddball resolution format which reflects that aspect ratio. You can get a 4k file no problem from Super 16, but be aware there is no resolution past 2.5 - 3k ish. So you're just wasting money on the higher resolution scan. I would call Cinelab in Boston or Color Lab in Maryland and just tell them what you want, they'll take care of everything from processing to transfer. Fotokem is the last high-end lab in the US, not the right place for a single roll of 100ft film.

Here is a good breakdown of the Bolex H16, which includes details on the variable shutter and how it works. https://helpwiki.evergreen.edu/wiki/index.php/APS_Bolex_16mm_Reflex_Operating_Guide Lenses are lenses, there are no special lenses that compensate. The beam splitter Bolex like the H16R, has a 1/80th "effective" shutter speed, that number includes the beam splitter light loss. It's around 1/3 to 1/2 a stop difference. No reason to filter unless you're using super sensitive stock, which would be the wrong stock for shooting outdoors anyway.

Sounds like Warner realizes there won't be another theatrical release window in the next 6 months and said "fuck it", so they can try to recoup their loss. It was a HUGE mistake to release this film in 2020, this is Nolan's first big mistake in years. I have a feeling once theaters re-open sometime in summer/fall 2021, there will be a re-release of Tenet on film.

I have a fully serviced CP-16R that I'm selling with glass for $1800 right now if you have interest. It's a great beginner camera. Quiet enough and not horribly difficult to work with. The only caveat is that the batteries are toast, but you can get some from Du-All camera in NY.

What is your budget for these items? I can probably come up with a few magazines, but they would be in the $600 - $800 range. Normal eyepiece or extended? Ground glass is impossible, I literally bought the last one in existence few months ago. To have one re-made would cost around $2500.

LTR 7 is a great camera because most are Super 16 and they're pretty small and reliable. SRII also works well, inexpensive but hard to find as super 16.

DuAll, AZ Spectrum and Visual Products, all use a very similar tap upgrade. They all take a long time to install sadly. 😞