Benjamin Kasulke

Hello, I'm gearing up for a feature and am new to the Firestore procedure. Due to multiple restrictions we are shooting in 720/24PN mode on the HVX200 in NTSC, my understanding is that previous incarnations of the 100G Firestore could not accomodate native recording formats. However, the 3.0 upgrade of the Firestore firmware is supposed to address and facilitate native format recording direct to the firestore. Has anyone had any experience with the 3.0 Firware, in particular the recording of 720/24PN directly to the firestore from the camera? The feature is bound for an NTSC Final Cut Pro system with the standard festival entry-fingers crossed for DI/film out hopes and dreams.... Any warnings, tips, potential pitfalls, and firestore/camera/Final Cut menu setting suggestions would be extremely helpful. Many Thanks, Ben

I have been crossing internet references to 'film emulation' settings contained within SD cards for use with the HVX200.... Are these emulation cards an actual product? If so, do they provide any settings one could not set themself with a calibrated monitor and a few solid tests? Many Thanks For Your Time, Ben

Wing, You Crazy. I'll ask around. Ben

Starting a feature next month with an Arri 16SR 3. As this is a new camera for me I wanted to ask anyone out there for any technical pitfalls to look out for. I have 35mm and 16mm experience but any potential hazards to look out for with this particular model would be most helpful... Many Thanks, Ben

Hello, I'm in preproduction on a feature combining s16mm and consumer beta and wanted to see if anyone out there has ever attempted to match the aesthetic of mid 90's one chip 30fps NTSC consumer beta with the internal settings on a DVX-100A. I would much rather use the DVX to circumnavigate issues of timecode, audio capture, and sync when we prepare for our upres/frame rate conversion/Online/DI in post production. I realize this is unorthodox but any insight is greatly appreciated.... Many Thanks, Ben

I am starting a 35mm feature in a few weeks, we are low budget and are shooting with what we are given, in this case EXR 200T 5293. I have not shot too much of this stock and am looking for any impressions or red flags from people more versed in the tendancies of the 5293. We have a fair amount of indoor nighttime scenes, indoor daytime scenes, as well as a night and day exteriors. Any dos and don'ts would be most appreciated regarding the possible pitfalls and visual perks of this stock. Many Thanks, Ben

I am entering preproduction and am gathering information for a digital feature and wanted to get some guidelines and suggestions about a best possible scenario production/postproduction workflow. Does anyone have suggestions on: PAL vs NTSC (resolution and practicality, the production is based in the USA) HD vs PAL Digital Media pros and cons If PAL is used how does one rectify timecode to match sound Hardware pros and cons Initial requests from the director have been moving us towards Ellen Kuras' work on Personal Velocity, which seems to break down into: PAL production with the Sony PD-150 Transfer of masters to a SMPTE compatible medium (Digibeta?) for synching PAL Offline Edit/Score/Mix Upres to HD Tape To Tape Color Correct DI Film Print I am just trying to get a sense of what questions I need to ask up front and what to expect of a rather lengthy postproduction process from a DP standpoint. I have never brought a digital feature through to a film release and any advice is most welcome. Thank you. Ben

Many Thanks to You Roland

I am looking for some filters to fit the lens of a Bauer C107XL does anyone know the thread size? I don't have the camera at my disposal and my collaborator is not available to furnish the information... Thank You, Ben

I am looking into a feature film situation wherein we are generating on Super 8mm (TRI-X) reversal and looking to scan to HD. I realize this is a very non-standard procedure but I am looking for some advice on the way a "traditional" super 8mm post production workflow would look for two separate scenarios: A:) originate on super 8mm - scan to HD - project the final color corrected online B:) originate on super 8mm - scan to HD - generation of DI - project 35mm release print I realize this is a very dense question but I am trying to gather as much information as possible in regards to: Giving the lab what they need from the DP... Exposing the best possible negative for the scanning, the medium of HD, the limits of a DI, aspect ratios ect, projectable mediums, ect... Thanks for your time and expertise, Ben

I am looking into a feature film situation wherein we are generating on Super 8mm (TRI-X) reversal and looking to scan to HD. I realize this is a very non-standard procedure but I am looking for some advice on the way a "traditional" super 8mm post production workflow would look for two separate scenarios: A:) originate on super 8mm - scan to HD - project the final color corrected online B:) originate on super 8mm - scan to HD - generation of DI - project 35mm release print I realize this is a very dense question but I am trying to gather as much information as possible in regards to: Giving the lab what they need from the DP... Exposing the best possible negative for the scanning, the medium of HD, the limits of a DI, aspect ratios ect, projectable mediums, ect... Thanks for your time and expertise, Ben

Karl, Thanks for the quick reply... I am gearing up for a Super 8 feature and have not shot any Tri-X since 1997... It is mostly for a refresher. I thought I remembered the 3 stops of latitude (one under, one over) but I just wanted to get some feedback from people who have been shooting Tri-X more consistently... I am hoping for a lot of contrast and grain the size of golf balls.... Thanks again, Ben

What exposure latitude can one expect from Tri-X when processing normally... I know it is fairly unforgiving but I would like to see some numbers....many thanks....