Philip Reinhold

I remember we had a rental in Berlin which owns Oberkochen S16 optics. I used them and mixed them a lot with Zeiss MK2/3 on student projects. I was told that there are Zeiss optics and only named Oberkochen for political reasons in the divided Germany in the early 80s.

Simple answer ... no one likes to discover his art / craft in places he did not want to or was paid for. Golden Rule! What you do not want to be done to you, do not add to any other…

ups… always make sure to hire clever interns! i had a Datawrangler who managed it to format 2 uncopied sxs cards & let nobody know… and a broken codex ssd… These poop happens everywhere. :-)

A friend just send me these on whatsapp… ? …have a wonderful day!

and you guys did a wonderful job there. The joker looked gorgeous. interesting to read that you prefer digital as AC. I can only speak for my bubble where many AC´s are happy if they shoot film. maybe because of the variety after many digital jobs or because they get the time to measure, use markings and so on…? Hmm, I personally still prefer film. but that's my personal thing. I just like that. The cameras, the workflow and somehow I can deal better with highkey / highlite scenarios. But sometimes i get torn, like when I saw Joker... ? I think nobody contradicts that we live in an exciting time where you have so many opportunities to make beautiful movies… If I look at all these good cameras, lenses and lamps that you can get for a bit of money these days... our creativity should actually be dancing all day ... P.S: It is also important! As Cinematographers and creative filmmakers, that we keep these "many" possibilities. It can happen so fast that the less creative side of our world turns a knit out of these discussions and says ... you know iphone XYZ looks like film and then we have a problem... cause thats not the true.

on ipad/iphone Lumenair works pretty well with a small wifi dongle. https://hmbtec.de/produkt/cc512-v4-%e3%80%88-isky-%e3%80%89wifi-%e2%86%92-dmx-dongle But i invested in a Spotlight GaffersControl a year ago and use it on almost every job. Its an amazing tool which saves a lot of time. Easy to learn for all my gaffers around the globe! https://www.gafferscontrol.com/ Works with lumenradio (receivers already included in many led fixtures…)

Most of the advertising projects I've done lately have been between 1 and 4 days of shooting. For example, Weleda is 1 day, Rejoice was filmed in 2 days, Coke was 3. Depending on Board & Locations the avg. productions often range between 150-650,000 USD. Yeah, that's just rough but i often even do not know that. But some producers like to call everything under 200k low budged and that they have close to no money at all if it's under 150. ?

It starts a rather boring and also unprofessional witch hunt, which throws no good light on the forum here. Clarify this on the phone or in a bar.

Hmm I think it can also be less complicated than Indiecam's Arricam Tap (I tried the prototype and it's a pretty pretty good tap that can clean the screen and so on...like the IVS). The AZ version is less spectacular, you can not squeeze / rotate the picture, no Frameline/Footagecounter/Title Generator. But it still does a pretty good job for around $ 2k! And better Image Quality as from the older SD IVS. I think with some 3D printing / custom milling it might be possible to create the AZ version for the 416 - maybe ask Andrew / AZ directly. But at a time where you can get a decent Super16 SRI/2/3 or XTR for around 5k + 2K for a super light HD tap, I would not spend the same amount on a HD tap for the 416? Maybe Rentals will, but when i asked Vantage recently about HD upgrades for their 416 they wasn´t sure if they need it. I do not know now if the revived popularity of 16m film will change that. Or if at the still reasonably low camera prices the owner operator status keeps this business. The AZ HD Integrated/Lightweight Tap for the SR & Aaton keeps the weight pretty close to the 416. I do not feel much difference, both cameras are pretty light depending on the lens and setup around them. However i really can recommend the AZ HD Tap for the SR and AZ Spectrums work. It works great and its worth it!

Not really. The one Andrew from AZ builded for my SR2 uses the Place/Space where the original Exposure Meter was. The Sensor use the prism for the Exposure meter and gots the power from the internal 12V. The SR Exposure meter unit is really easy to change. The 416 IVS uses a more complicated housing and a prism below the viewfinder, the replacement should be more complicated and far more expensive. Maybe so much more expensive that you ask yourself if it's worth it at all. However its pretty easy and inexpensive on a SR2 & easy on a SR3… not sure why you should go for a 416 then. I love mine. Works pretty well! The Teradek´s are a bit hungry on the SR2 NiCd.

You don´t need the Jacket, Vodka will just do fine!

this is so 2015… now you need all over Adidas, Nike, Astera LED´s and a Bolex.

ok lets put all these energy in shooting some good stuff out there! No matter what Format.

the digital boredom… maybe

im sure.

ah no sorry @Robin R Probyn i did not consider this a playground for trolls…

Because everybody owns a printer now. The Number is also not related to the produced Film Stock. And sure in 1996 every stupid Soap, Musicvideo and Highclass Porn was shot on Film… there was no other real option. Nowadays im sure nobody will care what porn or the daily latino housewife soap is shot on… but we´re talking about cinema & dream jobs here right?

I wonder how many people would jump out of an window if Mr. Deakins say so… However… for those who didn´t participate at the cameraimage these days… the opinion of some here to declare film as dead is obsolete ... the rising numbers the past 3 years actually are the opposite. Film is coming back big time. https://petapixel.com/2019/11/08/surprise-kodaks-film-business-grew-21-year-over-year/?fbclid=IwAR1zwBbOShSvgSz73j6v5FN_rPef-k6Qm2dY8fOatdeu7sNY11O5AD9-BXg Saying this the problems Mr. Deakins had at hail ceasar are also gone, over the last 3 years many labs re-open and you get every Kodak stock immediately when needed again in almost every country. (I myself had no problems with it recently in Europe, Thailand & China). So shooting on Film is not a Problem anymore like it was in 2015. Same with Filmcameras, many Rentals upgraded their cameras with HD Video assists recently. And i know 2 Series for a Major "4K" Streaming Platform who shoots on Film right now. I also would prefer Film. I don´t know any digital camera which can handle Highlites & Highkey as nice as Film does. All the Colorists i work with prefer Film… at Company3 & at the Mill… these Guys who handles Alexa, Sony & Red Colors on a daily basis. I shoot most daily Commercial Jobs digital, but if i have the Choice… Film… And b.t.w. i had more **(obscenity removed)**Ups & Issues with Alexas and Reds as with any Lab, Lightleak or Loader so far…

We learn from our mistakes. Try it with negative. Before that a few more times film-loading practice with old or exposed stock… If you are familiar with everything and everything works fine, the effort of reversal development is well worth it again ? If the problem is still there, you should bring it to technician. Unfortunately the Bealieu a very unpopular camera. Otherwise, invest again in a Krasanorsk or Bolex. Or just an Arriflex ST up with reg-pin.

Yep. Sure! The worst thing what can happen is that it can scratch the film a bit. But it should be polished to avoid this anyway. Well, the development looks pretty okay. ?

Well on your picture it looks like you have a moving and slightly overlapping expsore because of transport issues. Not sure about the shutter here as well, but can´t tell this from that far photographed. In general you should find a sharp line between each exposure. Also, the exposed image should always be between 2 perforations at 16mm. On your pictures the perfoation is next to and moving. I think a wrong loop can do that on a "non registered pin" film camera. When the loop is too tight for example it won´t run fluently thorugh the film plane -flap. But i never used a Beaulieu 16 only Bolex (no reg-pin) & arriflex (reg-pin) 16mm cams. So its just a guess from my side.

sure me and some directors ask for it most of the time. Sometimes it works out, but often the ad-agencies / clients like P&G, Unilever & co. have post-production deals with mpc/the mill/company3… which handles all their edits, onlines and the grading is then 1-2 weeks later at the other end of the world. I always give my notes and try to get a chat with the colorist. But its super rare that productions/clients wants to pay for the participating/supervising of the grading day these days, not even flights to london/ny… Most of the time is ... Job request 1-3 weeks before the gig - flight to location - recce - maybe another day of preparation - shooting and flight back home / next gig. that's the usual flow for many international gigs right now. I also know directors which fights & gets their own colorists. Some Postprod. are cool with that but some Postproduction Houses can be… who knows… But the advertising market is constantly changing. Right now there are popping up more and more small boutique productions run by the Filmmakers/Directors themselves and they get more creative- control again. However in the end I just want to have a nice result which makes me happy as well. This is not always easy with advertising. have a lovely day as well!

Your camera seems to have a problem with the film transport. The Bealieu has no registration pin, right? No one can tell if it's the camera or just loaded incorrectly, maybe the loop length was too short? Besides, you may have forgotten to push the film plane flap back? Did you load it like on the video below?

I hoped a bit that you answered! I have to mention that many Steadicam systems used 24 to 12 V output controls with converters. I'm not sure if the AntonBauer / Bebob external Li-Ion Blocks use them for their 12V Outputs internal, but when I used them, I did not "roast" my SR "so far!" But maybe someone can build a 4pin XLR to 4pin XLR to 12V converter / regulator? That should work with all Li-Ion Blocks/Belts or am I wrong? If I would need this accesoire too. Since 2006 the EU restricted the sales of Ni–Cd batteries & cells.

You should be able to use 12V Li-Ion Blocks without any problems. I used the 12V 4Pol XLR Output from the Bebob Cube with my SR2 and it still works after many hours. https://bebob.de/cube.html B.t.w. the Original NiCd batteries got around 14.8 Volts when fully charged. We also used Li-ion 14V batts with the BL4 back in the days quite often on Steadicams etc.