petersant

Hi, I am shooting a S16 project using an Arri SR2. I'm hoping some of the more experienced AC's out there can provide me with the correct step-by-step procedure to "Check" and "Clean" the gate on an Arri SR2.

Hi Phil, It's on all frames. But I see your point.

Any clues anyone?

Hi, I've recently got back into shooting on 16 and have a kind of flare that I see quite often on footage including a couple of shots from my last shoot. My question is is this just lens flare? is it simply a case of taking more care shading the lens or is it something more serious? I've noticed it happening mainly from practicals and blown out windows. I hope this pic illustrates the problem clearly. Thanks

Perfect. Makes sense. Thanks Robino

Thanks Dom

Hi All, I'm about to start a S16mm production shooting on Arri SR2 and done steady tests for each mag (x2). both have come back from the lab. The tests were shot double exposed, offsetting the steady test chart slightly between. Both tests have a slight weave where the steady test chart grid is stable in the frame, however, the entire frame and its contents are weaving slightly. My question is how do you differentiate between camera weave and telecine weave? Any help greatly appreciated.

Thanks for your advice. But just to complicate things a little further it will be mainly steadicam (the nikons fit the remote focus unit). I guess this won;t make a difference will it? Also, does shooting with the Nikons make it not 4K anymore?? I'm confused, or did i misunderstand you?

Hi All, I'm about to start shooting my first digital short. As always the budget is low. However, I have the chance to shoot on a Mysterium-X Red One. This alone will eat up half the budget. Also, I have the option of using a set of Nikon primes (for free) or spend extra on a set of Zeiss Superspeeds. My question is if I use both the RED and the Zeiss lenses I will have nothing left over for post. Forgive me for my ignorance but is it possible for me to do all the post at home on my stock standard MacBook Pro? I know the RED shoots proxy files that I can edit easily in FCP but can I conform using the RAW files with what I've got or am I dreaming? If I save by using the Nikons that will leave some money for post but will my image be much worse off? I know the Nikons breath a bit but it's not really an issue as the camera will most always be moving and there is no major focus pulls. So what do you suggest? Mysterium-X Red One with or without Nikons?????

Hi All, I have finished editing and sent of the neg to be cut with a cutting list fom FCP. However, the neg cutter wants an EDL not a Cutting list based on the Key numbers. This is where I'm stuck. Ok so here is what I've done so far. Shot 16mm @ 24fps Transfered at 25fps with FLEx files (camera rolls and timecode) plus burn-ins Inputed FLEx files into Cinema Tools and batch captured in FCP Conformed the footage to 24 in Cinema Tools Edited with sequence settings at DV PAL 48kHz - 24 So I managed to output a cutting list from FCP with the Keycode and checked it with the footage. 99% was ok but 1 frame out in 2 of the 140 shots. Now the Neg cutter wants a timecode EDL. How do I now output timecode EDL? Was I right to conform to 24 or shall I reconform to 25? Please, please help this is for my final work on my MA and can't afford to have it go wrong. Many thanks in advance,

Yes I will be cutting the neg form an EDL and a cut list from FCP. Also will making subclips from the batch capture disrupt anything?

O,k so I guess it's best I conform to 24fps in Cinema tools and Create an Easy set up in FCP at DV PAL 24@25. But I also have the Flexfiles which contain the key code (as well as burnt in keycode and timecode) will this cause any conflicts? I guess the keycode is a more solid method as it is embedded in the film. P.S sorry about this it is the first time I have finished on film and must get it right now to avoid any problems later down the line.

As far as I understand there is no need for a reverse telecine as it was tk'd at 25fps, i.e there is no drop frames, i.e not 29.??? Is this correct?

Hey all, I have just shot and tk'd a new film and have a few questions before I start editing. I am being careful as I will finish on 16mm film with optical sound.so here is what I've done so far. Shot on standard 16mm at 24 fps (no sync sound needed) telecined the footage to dvcam at 25fps telecine includes burnt in timecode and keycode telecine also with flexfile (camera roll only not slate/take) My first question is after I input the flexfiles to cinema tools and do a batch capture in fcp should I conform the footage in cinema tools to 24fps? Also since I have done a batch capture in fcp (camera rolls) for ease of editing should I divide each batch/camera roll into sub-clips in order to have easy access to each shot?

Hey all, I have just shot and tk'd a new film and have a few questions before I start editing. I am being careful as I will finish on 16mm film with optical sound.so here is what I've done so far. Shot on standard 16mm at 24 fps (no sync sound needed) telecined the footage to dvcam at 25fps telecine Inc. Burnt in timecode and keycode telecine also with flexfile (camera roll only not slate/take) My first question is after I input the flexfiles to cinema tools and do a batch capture in fcp should I conform the footage in cinema tools to 24fps? Also since I have done a batch capture in fcp (camera rolls) for ease of editing should I divide each batch/camera roll into sub-clips in order to have easy access to each shot?

In final cut studio, is 4:4:4 an Apple ProRes codec? I am trying to find it in the Audio/Video settings of version 6.06.

Yes I have final cut studio, is the choice between 25p and 24p an aesthetical decision? Bearing in mind there is no dialogue in this film, and it is shot at 25fps what would happen if I transfered at 24p?

Hey all, I have I have just finished shooting a film on standard 16mm at 25fps framed for 16:9 and looking to finish on HDcamSR. I am hoping to do this the cheapest and best way possible. Here is what I thought I'd do. If anyone has any alternative suggestions or comments that would be great. Direct to disk transfer to Apple ProRes 4:2:2(HQ) 1920x1080 25p Edit/Colour grade in Final Cut Pro Output Sequence as Apple ProRes 4:2:2(HQ) 1920x1080 25p Transfer file to HDCam SR P.S I am usually quite happy with the grade on the rushes transfer so little correction would be necessary Any suggestions/comments?????

London

Thanks Leo, Do you think this is something I could do myself (I am by no means a camera technician). Also any idea where I could go about find out how? Cheers

Hi, I have an Arriflex BL16 with a standard "Angenieux-Zoom 12-120mm T2.5" lens and blimp. Does anyone know if this will fit onto a Arriflex SR1?? Many thanks,

Hi all, Ok so I am getting my 16mm neg transfered this week. It will be transfered direct to disk. The TK house just asked me what format I would like it in. I told them I will be going to FCP and an Apple ProRes 422 will be fine. But would it be better to go to 'ProRes 422 HQ'? p.s not that it should make a difference but the neg is cut with 20 frame handles so I will be eliminating them once the file is in FCP. thanks in advance.

Hi All, I have recently shot a film on 16mm at 25fps. I've had it transfered to DVcam with burnt in keycode and imported the footage straight to FCP. I need to provide a keycode list to the telecine house in order to get a batch transfer. how do I do this? I can see the keycodes, so I guess I could do it manualy but there's disolves etc. I'm sure there is a way I could do this through FCP automaticaly but don't know how. Please help

Hi All, Let me start from the begining. I have shot a 14min film on standard 16mm colour and had it transfered onto DVCAM at 16:9 with burnt in keycode. I have edited the footage on FCP. My intention from here was to do a neg cut ( according to the keycode of course) with 20 frame handles on each edit point. From here I was hoping to get a final grade done and receive the footage back as a digital file where I can eliminate the handles and add the sound. I am just about to cut the neg and decided to call the Telecine guy's to arrange a booking. However, my process seemed to puzzle him. He said he is unable to give me a digital file unless he puts it through FCP himself which would pump up the price beyond my budjet. Alternatively, I can get it tranferred to HD cam and put it in FCP myself. This will just be the small HD cam tapes as thats the only type of deck I have access to. My questions are....Will the HD cam still allow me have a full HD image (1920x1080) or is there a better option? Or else does anyone know a place here in London that could give me a digital file output from Telecine. many thanks