Brian Hatfield

Thank you all for your input. I am now thinking of putting the same file to 35mm, although I know that it would be expensive. I would have it recorded to and Inter-Negative, then from there, taking it through a print pipeline. I'll be researching this some more, ty.

Hello all, I am hoping that someone can answer my questions here. I am planning on shooting a 20 min. narrative short on a BMPCC 4K Cinema Camera. I will be using the BRAW 3:1 at 2.6K in a 16:9 aspect ratio, at 24 FPS. Once it is edited and color corrected and sound design is applied, I will take a digital file and send it to either CineLab in Massachusetts, or Colorlab in Rockville, MD for a filmout negative and a 16mm print. I am thinking that the lab will be able to make a 4:3 squeezed print from the 16:9 image. Is this even possible?

I have 3, 100ft. Kodak 500T rolls...Vision 3. They've been in my refrigerator for 3 years.

Thanks Jean-Louis for your advice. I did get a 24v lithium-ion charger and tried to start the camera...but it still won't power up. I don't know if I am doing the correct procedure (positive on the 4 and negative on the 1 for 4-pin male xlr). I just don't know about this camera. I got it off of ebay.

Hi, Does anyone know what 24v battery would power a GV-16? I got one off of ebay and my 12v battery pack is not doing the trick. Any and all help with this camera would be appreciated. It's the "Sports" model with the shoulder mount and a on/off trigger (It was used to film slow-motion football action).

I have been trying to load my DBM 3CM 16mm Milliken with dummy stock (White leader double-perf) and I am having a devil of a time trying to make the film go through the gate. I get the film through the first two loops, but when I try to push the film through the gate there is a locking pin (registration pin) that locks the perf while the pull-down claw is disingaged. But if I have the knob on the side directly lined up with the locking line...the gate lets me guide the film through and up to the pull-down claw. But, I still can't get the pull-down claw to hook the film without the registration pin coming into play again! If anyone knows how to load this camera, please let me know. (Maybe it has to do with the .300/.2994 pitch?)

Hello all, I just received a Milliken DCM 3CM 16mm double-perf high-speed camera off Ebay. I have been looking through the forums for answers to how to power this camera at 200 fps. I've included some pics below. Kristian, do you know what fps your camera is running at if you gang-chain four LiPO batteries to the 13-pin connection? Also, exactly HOW do you connect those LiPO batteries (i.e. which pin for the heater/drive?) Any info will be much appreciated.

I am currently in the process of getting ready to have my Bolex REX-5 16mm camera converted to Ultra 16mm. I am going to do it with Bernie at Super16 inc., but before that, I have been testing my Bolex out (without film) for operation with the Tobin TXM-26C crystal sync motor. I actually got the last one they had of these at Tobin Cinema Systems about 2 years ago. The TXM-26C is working OK at 24 fps when all hooked up, which included hooking it up via an adapter at the top with a modified cable to the MM torque motor for the 400ft. magazine. I found out what everyone else has been saying about the Bolex being a loud camera...it surely is! I don't know if I will ever use it for a sync-sound film. But I ran the motor (without film) at all the different speeds and the SYNC-ALARM on the TXM-26C lit up for about 5 seconds while the camera revved up to 48 fps (the highest speed on it). I don't know if this will be a problem when shooting on set, AND with a full 400ft. load of film. I've read in other posts that if you want to shoot high-speed you need to shoot with a 100ft. daylight spool, without the 400ft. magazine attached. On all the other speeds of the motor (7.5, 12, 15, 24, & 30 fps.) the camera synced up within a fraction of a second (with hardly any SYNC-ALARM light). I've also been looking into what I will do when I get my Ultra16 Bolex. Will Cinelicious be the only goto house in the USA for Ultra 16mm transfers to HD? Are there any other post houses that handle U16 film? Are there any other labs other than Alphacine that won't hurt the area in-between the perfs? How much money are we really talking about for a low-low-budget film (around 90 min. in length) if I transfer to HD and edit on a Power Mac G5 2.5 dual, then blow-up to film? (35mm or just project digital) Any help/info would be greatly appreciated.

I've heard Bono Film in Alexandria, VA is thinking of making a U16 workflow. Check out their U16 site at http://www.ultra16mm.com/ Also, I am planning on making my rex-5 bolex into a U16 camera. Has anyone heard of how this process would pan out on the bolex? -Brian