NICK BRAMPTON

Good news. As mentioned above, it is difficult to sell Super 16 gear so, when our local boys in blue executed a search warrant at a home suspected of being a repository for stolen goods, the Arri and all the accessories were there :)

I bought an Arri SRII Super16, a Cooke lens, and a fluid head and tripod from Visual Products in 2008 for a short film project that I shot in the UK in 2009. The equipment was delivered to Vancouver B.C. (where I was living at the time) on time and in excellent shape. I have been very satisfied with the service I received from Visual (especially Jim Budzilek) and would definitely recommend them. Incidentally, if you are in the market for an Arri, I selling mine. (I've started a demanding new job - in real life I am an in-house technology lawyer - and won't have any spare time for filming for at least the next couple of years). I have pretty well everything that you would need to get started, including matte box, changing tent, camera tools, customised pelican case etc. I will be sad to see the camera go, but I would rather someone be getting some good use out of it.

Alain; Many thanks for your post. I enquired with Steenbeck Holland some months ago, but its prices (even on the refurbished machines) are quite a bit out of my league, as I am an amateur film-maker. Nick B.

Still looking !! I have tried a number of the UK film schools to see if they have a surplus 1201 or 1601 but have had no luck so far.

The Grinch arrived early this year and stole my Arri SR2 Super 16 and Cooke lens from my car in Vancouver, Canada. It was in a black Pelican #1620 case with a red custom-fitted baize lining (picture attached). Here's what he got: Arriflex SRII S16 Movie Camera Serial # 63036 Cooke Zoom 9-50mm T2.5 Lens Serial # 788064 Arri SR2 Variable Speed Control 2 @ 400' Film Magazines S16 Right Handgrip 2 @ Onboard Batteries Onboard Battery Charger Zoomsticks (3) Set ofMini Support Rods Chrosziel 4X4 2 Stage Matte Box Tiffen 4X4 Filter-Polarizer Tiffen 4X4 Filter ND6 Tiffen 4X4 Filter ND3 If you see this camera or lens, please contact me at +1.604.800.0432 or by e-mail: nickbrampton@btconnect.com. REWARD OFFERED.

Thanks for the excellent suggestion. I've just e-mailed a dozen or so film schools in the UK. I'll see what response I get.

Thanks John, I saw that one too, but the 1900's are a bit too ancient (pre-1980) for me. I'm after a 01 model (1201 or 1601) as I will be using it for film only (no sound) and don't need a 6 reel machine.

I'm looking for a used ST 1201 or 1601 in good condition in the UK.

After my post earlier today, I exchanged e-mails with the helpful folks at Sound Devices, who gave me a link to one of their articles on topic. While it may be pretty basic stuff for you much more experienced types, if anyone less experienced is reading this post, the article may be helpful. One can find it at: http://www.sounddevices.com/notes/general/...ormat-overview/

Thanks to everyone for all of their super helpful (and prompt) suggestions. Much appreciated I tried the 99.9% fix and it worked perfectly. As the sound was recorded on a Sound Devices 702 (D. Goulder must be clairvoyant !!), which lets me set a sample rate of 48.048k but which stamps the file as 48k, I will use this setting on my next recording and hopefully avoid having to fix the sound in post. I will also drop a line to the folks at Sound Devices to suggest that they include a bit more detail about Sample Rates in their manual so that other neophytes don't experience the same problems.

Hi Kent, Thanks for the suggestion, but I'd prefer not to fiddle with the sound, as it is fine as it is. I am guessing that what is happening is that FCP is doing something to the video (such as adding an extra frame every certain interval), which is causing the sound and video to go out of step. Anyone have any other suggestions ?

I am trying to synchronize an Apple ProRes 422 (HQ), 1920 x 1080 24 fps video only file with the mono sound from a .WAV file. I have timed the spike on the wave form from the WAV file in FCP 6 so that it matches the clapboard closing on the video file. But 5 minutes into the clip (which is seamless - no edits), the sound and video are out of sync (the video is lagging). Any suggestions?

Adrian; Many, many thanks for the really helpful response: I am now up and running :} For my comparison test of the Kodak Vision3 250D and the Fuji Eterna 250D, I bracketed the reading on my Sekonic by a full stop, so am able to review the test film with your "over-expose by one stop" advice in mind. Thanks again.

I was really disappointed by the graininess of the output and am not sure if this is because so far I have only viewed the raw file in QuickTime. As Vincent noted, many of us are heavily constrained by budget, and some of us by technical understanding - we don't do this full time and the Final Cut manual is not very helpful. I am having a tough time figuring out the optimal path here. From what I can determine (by doing an Apple Command + I on the file), the file is a 1920 x 1080 uncompressed 10 bit 4:2:2 Integer (Little Endian). It was produced by a Spirit Pogal and I am checking with Ascent to make sure that they did incorporate the 24 frames per second shooting rate of my ARRI SR2 in their scanning parameters. Whether the Spirit is the ideal machine to give me a non-grainy file at this point is moot (although suggestions as to what I should be asking for on the next job are most welcome). What I have been trying to figure out is how to input the data on my G-Drive into Final Cut on my Mac Pro to obtain the highest quality results for the deliverable at the end of the process: DVDs (ideally in HD) that I can create on the Mac and send to my friends. If someone could explain the steps of their preferred workflow, that would be great.