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Tyler Purcell

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Everything posted by Tyler Purcell

  1. Yea, I mean you can do all sorts of wanky things. I was more thinking of doing it "proper". I don't know how to do wanky things like that, I just don't see the purpose of doing all that when cameras like the A Minima exist. It's designed specifically for this sorta work.
  2. I've owned and shot with all of these cameras and still have a Bolex EBM and of course Aaton XTR today. Here are my thoughts on this subject. First and foremost, if you're doing fashion stuff, you'll want to put the camera in odd places to get unique angles most likely. One thing that nobody really talks about is the lack of a movable viewfinder on the Bolex or S/M. This means your face has to be at the back of the camera to check the shot. No video tap, no monitor to check framing, nothing. This is a HUGE inconvenience and it can be very costly because time is money and sometimes, that magic moment happens and if you're not able to get it because you need to put the camera somewhere where you can't be behind it and look straight down the viewfinder, you're in trouble. Second, lens mount is a big deal. I would say the Bolex C mount is the most versatile mount on the market. You can convert it to PL, Nikon, Arri B and many others, with adaptors that aren't too much money. Third, The Bolex also has a few features like being able to rewind for effects and hand crank if need be. The SBM and EBM can also run 400ft magazines, which is super nice to have and batteries are readily available. The Bolex cameras are NOT mirrored reflex, so the image is pretty dark compared to the newer cameras, which adds to the annoyance of having to look through the viewfinder from the back. Fourth, where I do like the S/M, I do think it's days are numbered. Mechanically, they are great cameras. However, they are a bit heavy and the motor and battery system is less than elegant. I got one for free (without glass) and wound up selling it because I knew I'd never use it. I shot with an Arri M once and it was a cool experience, but the Arri BL was a better camera because it was quiet and had a rotating viewfinder, which means you can put the camera on your shoulder vs holding it in front of your face. Where it's true, Arri (and Bolex) do have shoulder mount adaptors, they are hard to find these days. I would NEVER spend money on converting a camera to Super 16, you're literally throwing money out the window. The Bolex and early Arri cameras, do need quite a bit of work to convert to Super 16, it's not an easy process. So it's expensive AND because they were made for standard 16, all of the roller's, sprockets and even the gate, have surfaces that touch the image where it's not suppose to. With the Bolex, you can swap nearly all of them out, but not with the S/M. So there is a higher likelihood you'll get scratches in that area. The Aaton LTR is a first generation camera. I would steer clear myself having owned one. Where it's super lightweight, the cameras are getting super old and things like the drive belts for the magazines are no longer being made. So it becomes a huge problem over a short period of time if you aren't careful. Plus, LTR parts specifically are nearly impossible to find. They didn't make as many LTR's as XTR's, so where the XTR part supply does exist, getting LTR parts is more about finding a dead camera and yanking parts off it. From experience, they are very fragile compared to the Arri's, so screws come loose very easily and things bend/break much easier. I do think the LTR creates a more stable image than the Arri counterparts and I love the design (I'm a die hard Aaton guy), but I wouldn't recommend one to a newbie. I think they're good for experienced people who aren't going to use them very much. I struggle to keep my last generation XTR Prod in one piece. I personally wouldn't get near a multi-thousand dollar Arri S/M or Bolex. I've spent around $500 on BOTH of my Bolex and S/M. I think for that price it's worth the "investment", but for the pricing you're posting, no way. If you're doing hand held fun stuff, a very basic standard REX-5 H16 Reflex Bolex will do you fine. You can get them for peanuts, find a decent C mount lens and you're in business. They're wind-up, but they're cheap, easy to use and create great images if in good shape. Once you graduate from the Bolex, you can step up to an Aaton XTR Plus or Prod, for $8k lol 😛 (the prices are crazy these days) and learn what it's like to work a real camera. But lenses will kill you. Mod's will kill you. I mean everything kills you on the more expensive cameras. So you either go super cheap like the Rex-5 Bolex, or you throw everything at it and buy a modern real sync sound camera.
  3. Sounds like you maybe new to film cameras. First big thing about a film camera on a gimbal or steadicam is that you would need a way to see the shot and sadly, that means some sort of video camera that would attach to the viewfinder. I know there were a few adaptors made for Bolex's, which are super rare to begin with, but also even if you could make one, getting a decent image out of the viewfinder is hard. Remember, when you stop the camera down, the viewfinder will get darker, so it can get super dark depending on how fast your stock is and how much light there is. Without being able to see the image, you can't do a steady shot. You can't just guess and assume you'll get it, doesn't work that way. Also with the K3, it's a wind up camera so how would you remotely start and stop it on a gimbal? It's kind of not the right camera for that work. My K3's viewfinder is bright enough, not as bright as my XTR Prod, but it's not dark.
  4. 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.
  5. Looks good to me. I kinda like that more classic film look personally, with strong colors and such.
  6. 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.
  7. 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.
  8. I hope they do make a print or two for exhibition with actual black and white stock. That would be pretty darn cool!
  9. Usually the flutter is a shutter being slightly out of calibration.
  10. 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.
  11. 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
  12. 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
  13. 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.
  14. With a good DP like you? HA of course they matched. You could probably match an iPhone to Alexa. 🙂
  15. 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.
  16. 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.
  17. The camera can record to external media built in. So... maybe that's good enough for most people who buy a $2500 camera? I think they had a choice to make, either record excellent codec's internally, or output excellent HDMI. You can only fit so much tech into a small body. The other companies focused on HDMI output because they didn't want to license the good codec's, so now you've got a group of people walking around with external recorders because of this. Blackmagic doesn't think that way, they think about recording internally and don't want you to have gobs of accessories.
  18. Here is the problem.. people who are buying a $7k camera, generally don't have the money to buy fancy accessories, that's why they're buying a $7k camera in the first place. The best investment would be to spend another $7k and buy a complete used Red Dragon setup, which is a true 6k cinema camera and will last quite a long time. Match it with some PL mount Sigma glass, which is pretty inexpensive and you're in business. You're not really in business with a 1080p camera in 2019. It's hard to get significant jobs with a 1080p camera, that's the issue. Ya may get little shoots here and there, but to get the jobs that you really get paid on, where it makes the entire package worth it, people want 4k these days. Well yea, there is always a huge generational shift. Right now we're starting the 8k wars, but in my opinion that's not the new tech we should be caring about. The newer imagers with double and triple preamp sections, that to me is the next big leap. I think right now, any camera over 4k (5k - 8k) is "safe" for a while. There is a significant difference between 1080p and 4k. There is not a significant difference between 6k and 8k. So if you currently own a 6k camera like the Red Dragon or Blackmagic Pocket, then I think you're safe for a long ass time. Now obviously, if you got into the Red Dragon years ago when it first came out, holy crap, you've already amortized your initial investment anyway, so bravo. It's the people who are buying now which will struggle to find a happy balance. I just feel clients are becoming more and more savvy and they know what cameras they want more than ever before.
  19. And the Red and Alexa mini aren't the form factor of a still camera? They're nearly identical in size to a medium format camera. If you read this statement: "It has one 1/8" stereo audio input (line/mic) and timecode." You'll see the word "timecode" at the tail end of it. It uses the 1/8" audio jack's 3rd positive pin (which is reserved for a mic on the 1/8" headphone standard) as timecode. They advertise the heck out of it on their website as well. You can use ANY generator you want, just need the cable. They sell one called "tentacle sync" which apparently comes with the proper cable. I mean what do you really need in an EVF anyway? The ENG cameras I used as a kid, they didn't have anything special. Just some controls for the brightness/contrast and such. So I don't see why any ol' EVF would do the trick. 1080p is also totally fine, nobody needs a higher resolution EVF. Yea I'm totally unfamiliar with the low-end SDI monitors. If I'm doing a professional shoot, I rent monitors. I have a whole bunch of analog monitors for my film camera, but I would never own a fancy monitor for video village, they get damaged too easily. Seeing as you've never owned or worked with one of these cameras before. (I've shot with the A7SMKII and GH5/GH5S quite a lot) I don't think you understand how good these cameras are. Yes they have limitations, but so does film and we used that for over 100 years before switching to digital. So why not embrace the limitations, save all that money and aggravation of buying, maintaining and operating an expensive big/heavy "cinema" camera made specifically for people with money. I say people with money because Sony doesn't care about taking everything from your wallet, so they make sure to use the most expensive media formats only, they make sure that 3rd party cards and readers have issues. They use a proprietary codec, metadata and file structure that is horrible to work with outside of people with super high-end systems, with assistant editors and full staff. So yea, go buy a blackmagic pocket 6k cinema camera, some decent Sigma EF mount glass and in your time off, have some fun. Download DaVinci Resolve, grade the footage and learn the entire workflow. I think very quickly it would change your mind because I've been at this "low budget" thing for over 20 years and this new 6k camera is a game changer.
  20. DaVinci Resolve is slowly becoming the defacto colorist standard and their cameras, all be it, not the quality of a $10k + camera, are pretty decent if you don't mind the limitations of a sub $10k camera. Blackmagic has a double battery holder that goes on the bottom of the camera. No need to have an external or aftermarket battery solution. Honestly, it makes perfect sense to me because the camera records the best codec's internally, so why would you ever WANT or need to record externally? It defeats the whole purpose of having a small camera. There is a cost difference between 1080p and UHD on the HDMI and it's usually a cost of battery life. This is is part of the reason why MOST of the cameras that have an HDMI port, only output 8 bit because that chipset saves on battery life. Blackmagic don't do that, they have a 10 bit 4:2:2 60p output. Evidently you can also do 120fps through the output as well, but I haven't tested it.
  21. Ok, so clearly you don't know what a still camera is. A still camera is one that is setup specifically for stills. The outside adjustment points, function as still adjustment points for still lenses and still settings like shutter speed (vs shutter angle), preset color balance vs infinitely variable (kelvin), F stop settings not T stop settings, electronic controls vs manual controls. Imager's best output can only be used for still capture. Menu's that are specifically designed for still people and require lots of digging to find video-only settings. The Blackmagic Pocket 4k/6k is not a still camera. It may have a similar form factor, but it's a real cinema camera that when you use it, the settings and functions are more similar to a Red then a Canon DSLR. It has one mini xlr It as one Lomo 2 pin power connector It has one 1/8" Stereo output It has one full size HDMI It has one USB C connector It has one 1/8" stereo audio input (line/mic) and timecode. Last time I checked, Red's and Alexa's didn't come with EVF's. They were a very expensive add-on. So it's an unfair comparison. The camera does have a beautiful display that yes, isn't great for outdoor work. It is really the only "problem" with the camera. SDI devices are very expensive. You're liable to spend $40k for a decent SDI grading/set monitor, but $3k for a decent HDMI grading/set monitor. So it's smart to have HDMI and not SDI, especially with some of the new L connectors these days that allow locking. It's not suppose to be! Why does everyone just think every camera NEEDS to be a Pro level camera. You do know the professional market makes up less than a half a percent of the "video" industry right? So what about a camera for the rest of us who can't afford a "professional" camera but don't want a camera that is so limited in it's functions. It's not suppose to be a pro level camera, so why are you comparing it to a pro level camera?
  22. In simple terms, no it's not a good investment to buy a $5 - $7k 1080p camera in 2019. Here is why 1) If you're buying a "professional" camera to impress people, the only people who can afford it, are people who will be asking why their video isn't 4k. 2) Arri's accessories are expensive and so is the Sony media they use. This includes the PL mount lenses they require. 3) Any Arri Alexa Classic is going to be beat to shit by the rental houses. So you're buying a camera that on the surface, may seem ok hour wise, but to my 2nd point, may fail in a few months or a year and then you're dealing with the most expensive service to deal with. Remember, imagers do wear out, eventually the heat cycles will start generating dead pixels and the dead pixel mapping software won't be able to clean up the problem. So you will notice dead pixels and that sucks to spend so much money and have that happen. 4) Alexa classic's don't even have a viable audio feature, so you're really screwed for low-end production. Those are just a few things but you can extrapolate a few others from these that would be an issue. With that said, even the Alexa XT Plus is dropping in price like a rock. It again, is not a 4k camera, but it's close enough. They still have all the same problems, but at least you can claim it's 4k. Honestly, with the way things are going, there are going to be a lot of very cool cameras hitting the market which are in that same price bracket as a used Alexa, but are 4 - 8k! The new Pocket from Blackmagic is a great example of the near future. So honestly, I would wait!
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