Philip Reinhold

True… but beeing a DP is not just having knowledge of camera & film techniqe but also 24/7 about a really good self promotion, heavy networking and maintaining contacts, good physical health, ability to travel everywhere, neglecting your family (which is the toughest part) and mostly a really strong menthal health… You´ll hear more „no´s“ than „yes’s“ in your career no matter how good you think you are. This is particularly bad in advertising. You´ll have good and you´ll have bad years… nomatter if you´re a A List or just midrange DP. I wondered about the well known DP´s who worked in film schools and told their students that maybe 5% or even less will survive in this business… after 15 years in the pot I know ... it's a hell of a hard job and not healthy at all. So there is a reason for that Fees, and without them im sure more people´ll give up at some point. However im still loving it…

Let me add also something in addition, on big features and succesful movies the dp can certainly be involbed in the profit/exploitation rights… https://www.independent.co.uk/arts-entertainment/films/das-boot-cameraman-wins-540000-in-lawsuit-35-years-later-a7071566.html

500$ a week?… is less as you get as gardener… I´ve earned 1200-1500$ a week as 1st AC back in the days… 800-1000$ as a Loader… can´t imagine earning that low as D.P. somewhere on earth… In europe the norm is around 3000$ per 5 day working week on a usual TV Movie production. And even more on bigger shows… https://www.crew-united.com/downloads/2018_DE_Tarifvertrag_Gagentabelle.pdf 2500-3000$ is a usual shooting-day rate for a normal TVC/Commercial Job… + 1/2-Full for prep/recce/travel days. But as more popular and wanted you are as higher it gets… Again… you´ve to pay Taxes, Health care…pension safe… and enough feed for all the slack periods and weeks where you hanging around here…

Checklist of detailed looking 16mm Film vs muddy looking 16mm Film! - Filmstock : 7203 50iso is still ways cleaner and less grainy as 7219 500T. So only go for fast Stock if needed or wanted! - Expsoure : Filmstock does like more light. It likes to get 1/2 - 1 Stop more as measured. You still can bring it down in the Di. - Lenses : As sharper as better, also related to their sweet spot avoid older Lenses wide open, they will appear pretty soft compared to new ones like ultra16. - Post (Scan/Blowup) : a good scan can be a huge difference to a simple telecine. Especially with new Scanners/wetgate & co. - Screening/Compression : related to grain a bad compression will appear soft. h264 with 10mb/s can already be a problem when a lot of grain is used. Youtube isn´t the perfect screening platform for 16mm… prefer vimeo and higher compressions for web. On a good DCP in a Cinema you won´t see a huge difference to 35 screening or Alexa… I´ve seen Theeb in Cinema 3 Years ago nd thought it was shoot on 35 anamorphic… but it´s 16mm with a Hawk 1.3x anamorph… https://vimeo.com/137044587

If you want real Sodium feel, with the limited color spectrum i would use a real sodium… some plant growth shops (especially weed shops) have HPS (high pressure sodium) compact kits 150w-2000w with ballast in their shelves Edit - just +1 on Kurtis note… Philips Hue… Use Philips HUE and find a warm yellow color with spectrum peaks between 550-700nm . Spectrometer could help.

If you want to enforce them you can use a Clear-Filter and a Mattebox on Rods where you can adjust the distance of the Filters to the Lens. On some Commercials i used a Clearfilter on a micro-clamp and a nogaarm mounted flexible controllable in front of the Lens to get some Light reflections.

Nowadays you usualy get a FTP Link with HD Telecine Dailies the next Day - some Post/Labs make them H264 Files for easier download some use a own Dailies App/Browser for this as well. Most Di Workflows are Telecine for Dailyies/Rushes and a High Quality Scan from the final EDL after for Grading.

Sure, the better and more popular you become, the fewer jobs there are for you. It's a bit of a paradox, but there are far fewer productions in high-end productions than in the lower market. The same applies to commercials. Also it becomes more difficult to find jobs out there which fits your creativity and level and for the most standard jobs they do not need a superhero. For many people DP Fees sounds high… but even the most popular won´t work everyday, have to take care of your retirement and safe for slack periods.

Yes i just got my Super16 Arriflex SR2 upgraded with his new HD Video Tap. It works pretty well! Almost Flickerfree at 24fps and Flickerfree at 25fps.

true!…so only Robert can answer which one! :-)

Kodak Plus-X is a 125 iso Negative Film. So rating it at 25 Iso is exposed around +2 1/4 Stops. Cheers!

Bernhard you should get this book: https://www.amazon.de/gp/product/B001U89JXU/ref=ppx_yo_dt_b_d_asin_title_o06?ie=UTF8&psc=1 Also you´ll find many other Infos for your "cineassist" Project in there. ? There is also a german one by my friend m.uhlig: https://www.amazon.de/Manual-für-Clapperloader-Matthias-Uhlig/dp/3980753301

exactly when you use a daylight spool on the take-up side its protected by the spool and lightsafe when packed back in the black plastic box. And as Mark said - without the daylight spool its not light protected enough and you should use a lightproofbag & filmcan. So go for daylight to daylight spool.

Ahh yes right! Missread it.

find below. source "arriflex 16 sr book by John Fauer"

Yes

I don´t think that you´ll have any issue with that if the core is clean. But if you´ve a filmcan with bag and a plastic 2" filmcore/bobby you can use the collapsidle core and put the core in the middle later after unloading. I would prefer to use a empty daylight spool and put it back in the 100ft box. Much better handling for the lab. I never had dust issues that way, as long as your gate is clean and you have a clean mag… And i used it in really rough terrain…

No you can use them directly! did that many many times and the SR1/2 & 3 mags are wide enough and designed to fit them as well! Just need to put out the cores. Yes it will be maybe a bit louder and you can´t use the Meter/Feet scala on the back of the Mags, but they don´t destroy or scratch anything in the Mags so don´t worry. Cheers!

Update: 900€ And it comes with Invoice!

Hey, for Sale is a CinemaProducts Ultra T 16mm F1.1 / T1.25 Lens in Arri B Mount. (Possible to adapt to PL). Lens does Cover Super 16. Great sharp Lens in great Condition! No scratches, No fungus no Dust! 1200€ (1300USD)

but this is evanglism from your side btw. however… i do care on the choice of formats and i do respect the choices of others. But i don´t like when people do "anti" film propaganda… cause this ends in dump discussions with producers… just to remember, thats what i wrote: "not saying that this trailer does look terrible but i got distracted by the look. And i loved wide-angled shots chivo does on the prior mallick movies." just means that i got distracted by the look -. thats what the look does to me however what it was shot on. I do personally like all mediums digital & film and i use mainly the alexa for tvc/advertising work. But i still see many reason for both formats film & digital nowadays 2019. And I can´t understand why people propaganda digital as be as same as film…or saying that there isn´ßt any difference (what you clearly said above) there is still a differnce and i can tell you from many many telecine & grading sessions. Also a reason why many cinemato and photographers still use film. And no i am not a Film Fanboy… But saying there is no difference isn´t the truth. And yes its a CInematographers Forum we still should discuss about that! But enough for now… sorry for getting this out of Topic.

Yes cool! So however… i do care and in my opinion the look of the trailer is distracting me from the story.

Uff… there is no "best" living DP. (That was my quote for your " even top DP,s can't tell.. " ) thats really Fanboy talk… however… even if i like some of rogers work im sure he would agree with me that film is an art form… and our tools are the Artists choice and there is guranteed a visible differnce between analog & digital - and thats also a personal taste not a rule. As you can see in this discussion already.

What´t that for an Answer? Roger is one of many? he just gives his opinion and his opinion isn´t everyones.

I wouldn´t agree with that! However digital is good these days, but im sure even the best DP´s can tell the difference… and it can totaly distract the audiance when a period- movie looked like that… not saying that this trailer does look terrible but i got distracted by the look. And i loved wide-angled shots chivo does on the prior mallick movies.