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.

Thanks for your suggestions Chris. The telecine was done by Ascent 142 in London using a Spirit Pogal. The scan looks very grainy, but then I don't have any experience by which to judge whether the scan is good or bad (other then to compare with the scans that I get when I put my Velvia ASA50 slides through my Nikon scanner - the slides are far superior). From chatting to the helpful folks at 142, it sounds like once I compress the file, one of the side-benefits will be less grain. Following your advice, if I go to the Audio/Video settings and then to the Sequence Preset drop-down, there are 5 different Apple ProRes 442 (SQ) 1920 x 1080 settings to choose from: 24p 48 kHz; 25p 48 kHz; 30p 48 kHz; 50i 48 kHz; and 60i 48kHz. Which one do I use? For Capture Preset, do I use "Generic Capture Template"? And for Device Control Preset, I assume that I should use " Non-Controllable Device" as the file will be coming from my G-Drive. (I apologise for the basic level of these questions. It's not for want of reading the Final Cut manual, which IMHO is poorly written - it is mind-numbingly complicated with partial explanations that necessitate cross-referencing to other sections (and volumes), and duplication of material. And precious little on film to hard drive workflow.

After reviewing the interesting and informative posts, I opted to go direct from telecine to hard drive. (I am strictly an amateur film-maker and, for the limited number of short projects I will be doing, it did not make economic sense to include the HDCAM SR tape middle step - this would have doubled the cost of getting the data to my Mac Pro. And I don't need the tape as an archival media as I have the film). So, I now have a 1920 x 1080 uncompressed 10-bit 4:2:2, Integer (Little Endian), Timecode 94.66 GB file on a 500 GB G-Drive Q. My next step is to transfer the data from the G-Drive to Final Cut Pro 6 on my Mac Pro which has a 4 TB RAID 5. As I will be using the same workflow for all of the Super 16 film that I bring into Final Cut, I thought it would make sense to establish an Audio/Video Preset for the Capture function. But when I go into Easy Setup and select “Uncompressed 10 bit 4:2:2” it gives me two frame rate possibilities: 25 fps or 29.97 fps, not 24 fps which is what my Arriflex SR II shoots at. I want to preserve as much of the image quality as possible and my projects are typically less than 20 minutes long (so not memory intensive). Any suggestions?

Many thanks for the responses. Unfortunately, because I can't afford to have the film (which is of a wedding) lost by a courier (as unlikey as that may be), sending the film to the USA is not an option. I need somewhere in the UK (preferably London or the SW) where I can personally drop off and pick up the film.

I would like to transfer S16 film to my Mac Pro so that I can edit it in Final Cut. My Mac has a 4TB RAID 5, most of which is available for file storage. Soho Film Labs have told me that they can provide telecine data on miniDV or digibeta (or presumably HDCAM SR) tape, but can't provide the data on a hard drive. This is problematic, as I do not own a miniDV, digibeta or HDCAM SR player. I live midway between Exeter and Plymouth. Can anyone recommend a lab that can record the telecine data on a hard drive or a DVD that I can read and save from? (I don't mind going up to London for this.) Alternatively, can anyone recommend a location in Exeter or Plymouth where I can rent the necessary equipment to play back the data so that I can firewire it to my Mac? Or thirdly, can anyone recommend a basic miniDV, digibeta or HDCAM SR player that is not going to cost me an arm and a leg?

Hi Adrian; Thanks for your comments. I have spoken to the very helpful folks at Visual Products and they have a Sony XC-999 lipstick camera kit that will hook into the Deniz tap already installed in the SRII. Now I need something lightweight and inexpensive (preferably not a video camera) that can record and playback the signal from the Sony lipstick camera. Any suggestions anyone ?

I have a very nice used Arri SRII to which I would like to add a video assist, so that I can review each shot before actually running film through the camera. I would like something highly portable, ideally that I can attach to the camera. The camera already has a VDO (a video tap?) installed. Can anyone suggest what else I need to get up and running?