John Jaquish
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Posts posted by John Jaquish
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Although the simplicity of a film-based workflow may be up for debate, I don't see how an argument could be made for its relative lack of expense. A work print is at least double the cost of a telecine, isn't it? Plus the cost of conforming the negative. Then you have the option of scanning the conformed negative or getting an answer print (not to mention intermediate prints if you go that route), but the latter is at least multiples of the price of the former from my understanding. I understand the quality of a print vs. DCP and would love to be able to project a film print over a digital image, but then it comes down to an issue of practicality of distribution, and there I'm afraid I'd have to follow the market.
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Thanks, Rob. I was planning on getting in touch with Cinelab. I've been getting black-and-white processing and telecine work done at Alpha Cine with excellent results but shipping killed me (I'm in Pittsburgh), and they don't have a scanner.
What are some examples of scanners with color cameras (to know what to avoid in this case)?
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I have a feature project I'm working on that I'll be shooting on black-and-white 35mm, and I'll be sending out samples soon to different post houses for data scans. I was wondering if there should be any special considerations to make in scanning monochrome (now that I'm asking, I'm not even sure what...maybe consideration of grain structure, or certain types of scanners that for some reason may be better at handling monochrome?).
Otherwise, does anyone have experience having black-and-white scans performed, or any post houses to recommend?
Thank you much in advance.
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I'm seeing the rest of these posts just now. Thank you all for the comments, especially yours, David. I've since shot the film and completed editing from a 1080P transfer. Although, I'm considering testing different post houses for 2K samples.
Nevertheless, with more research, and developing events since I first posted this a year ago, I'm wondering about the practicality/ultimate use of even getting a film print. I'm now preparing a feature that I'll be shooting on 35mm again, and I'm wondering if there would even be a place for a 35mm print (that is, not even accounting for the cost, but just the practicality of distribution these days with a digital master vs. a print). Would it be more advantageous for me to focus instead on a DCP workflow?
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Looking for original Arriflex flat base, to which you can attach motor.
Please PM if you have one available.
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Hello,
I have a IIC and am trying to come up with an option for using a matte box with the small Arriflex Standard Mount lenses. What I have now is this:
http://dafilmschool.files.wordpress.com/2012/05/picture1.jpg (except without the matte front)
But I get vignetting at anything under 32mm or so in focal length. Being that I use the pistol-grip motor for handheld work, and not having an option for baseplate and rods, I'm looking for a way to use a matte box and ability for filtration with wider lenses.
I did find this version:
http://www.visualproducts.com/storeProductDetail02.asp?productID=25&Cat=3&Cat2=49
But I'm not sure if this would vignette as well with wider lenses.
Any suggestions would be greatly appreciated.
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Hello all,
I was hoping to get some feedback on this short film we shot recently on ORWO's UN54 & N74 stock and on Kodak's Double-X.
We used an Arriflex BL3 and IIC with some Arri standard Zeiss and Schneider lenses.
These were non-professional actors, so the production was kept a little loose -- requiring a bit more handheld work than I'd prefer.
Thanks!
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Anyone have any experience with this Arriflex standard lens? I'm considering filling a gap between a Zeiss 16mm and 24mm Standard Speeds with this lens. I don't suppose it compares to the Zeiss lenses, but was wondering if anyone had used it before.
Thanks.
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Hello,
If anyone has a spare ground glass in this aspect ratio, I'd be interested in purchasing it.
Thanks!
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Looking to fill a set of these standard speeds and this is one that I'm missing.
Would prefer to deal in the U.S.
Please send a PM if you have one to sell.
Thank you.
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If the camera has a PL mount with '1' and '2' printed on it switching between Super and Standard is easy, the 6 mount screws just need to be undone, the mount rotated 180 degrees and then re-secured. When the '2' is at top right the mount is centered for Super. (The PL locating pin also needs to be shifted back to its original position, the baseplate adjusted, and maybe the video tap re-centered, all easy to do.) It's a good idea to check the camera flange focal depth afterwards, even though most of the time it stays the same.
Converting between 4-perf and 3-perf is a much bigger job, definitely not something that could be done on set. The whole movement needs to be replaced, plus modifications done to the sprocket drive timing and footage counter. I'd hazard a guess that most BL4Ss would stay permanently converted, unlike Arricams which can be converted in-house in about half a day. I'd also guess that the standard option for BL4Ss was originally 4-perf.
Just the information I was looking for. Thank you.
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Honestly in today's environment, unless you know a great film cutter, I would do option 2 with a slight change.
I would have your film telecined at low-res, cut with that then go back and do a good 2K at a supervised session with a colorist on only the parts you need. Then do that film out. This assuming that you mean like 5-10 minutes when you say short film. You will need to talk to someone for a while about how to prep your film for the film out, don't just send a quicktime file and hope for the best.
Check out these guys when you're ready. They were completely unknown to me until last month and have done great work for a very reasonable price, They can do film outs for less money that I've ever seen.
Cool, thanks for the tip. I'll check them out. Is there a logging system used for the keycode on the film when doing the low-res edit to match when doing the 2K scan, or is it just a matter of scrolling through the correct roll to the take you need?
Thanks again.
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Hello,
I'm looking into using the BL4S for a project and wanted to clarify something (or rather have something be clarified for me). From what I understand, the BL4S has the ability to switch between Super 35 and Normal 35. Additionally, it has the option of shooting with 3-perf negative pulldown. Is the latter option standard, or are there BL4Ss that shoot only 4-perf? Finally, is it designed to be easily modified from 4-perf to 3-perf, say, on set? Or is it a permanent conversion to be made in house?
Thank you very much for any information.
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I would pick option number two
Seems reasonable.
To simplify things (slightly), what is the usual practice for a low budget 2K DI? Would I have a telecine of the camera negative, edit, get an EDL, conform and cut the negative and have the cut negative scanned? Or would I get an IP and have that scanned? Alternately, does anyone ever get select takes scanned, as they would print certain takes when editing film, and then edit the DI?
Thanks again.
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Hello,
I'm planning on shooting a short film on 35mm (spherical, 1.85) and wanted to check on a few things, keeping in mind changing costs of film, telecine, DIs and release formats.
I've shot a lot on Super 16 before, and have always gotten an HD telecine and was happy with that (have never had a blow up to 35 done). I have shot a few segments on 35mm for a project that was shot predominantly on S16 and had it HD-telecined with the rest of the footage. So, I've never shot a whole project on 35 before. This will be somewhat of a test of the workflow before tackling a larger project and I'd like to consider all options. That said, this will be a project that will stand alone and that I'd like to submit to film festivals.
Being that there's no distribution in place, I'd like to test the waters but be realistic about release options. I suppose the simplest choice would be to get an HD telecine on the footage, edit that, and have that be my final format.
Although, if I did want this to be screened in the theater, I'd like to consider larger release formats (especially if I want to see this through post-production looking ahead to a larger project). From my understanding, my options would be as follows:
1. Figure on releasing in HD. Shoot 35, have it processed and telecined and that's it. (In this case, would it make more sense to shoot 3-perf? Also, would I be sacrificing the whole point of shooting a larger format in this case? I suppose grain, rather than resolution, would be more of a consideration here.)
2. Shoot for a (2K) digital intermediate, with option for a film-out to a 35mm print. (Again, I suppose it would make more sense to shoot 3-perf here. Now, what I am a little unsure about is, what would make the most sense as a format for the edit? Would I get an SD or HD telecine? My understanding is that the price for an HD telecine is not that drastically more expensive than SD. And after having an EDL, the keycode would be matched and the negative cut and that would be scanned as a DI? Or, is it possible to start with a DI to edit? I don't suppose getting the whole camera negative would make much sense as far as cost. But is it ever common practice to scan certain takes like they would print certain takes for a work print? Finally, what would I submit to festivals, say if I had a 2K edit, but not yet a film-out? Are most festivals accepting only either HD (1080) or film prints? So, I would downconvert to HD anyway, making the 2K DI meaningless, being only an option as a possible film-out later on?)
3. Shoot with a film print in mind directly from the camera negative. (Now, in this case, it would make more sense to shoot 4-perf, since I'd be making a contact print, is that right? So I would have the negative telecined, edit that, have the negative cut, make dupe prints and then a release print from that?)
I guess it's difficult to make recommendations on any path with a project like this without knowing the available budget/detailed release plans, but I'd like to sort of get a survey and confirm possible options. If I were to shoot a larger project, I'm trying to decide whether to plan on shooting 3-perf and keep it digital in post, or to shoot 4-perf with plans to get a print.
The main point I'm confused about is on the DI (say, 2K), if this is typically done on the whole camera negative, if it can be done on certain takes, or if it's usually done on a cut negative. And the typical costs for a 2K scan vs. an HD telecine. And what most festivals are projecting (HD? 2K? 4K?)
Finally, if I want to shoot on black and white, are there any other considerations to make (I know B&W prints are considerably more expensive than color, but are there any considerations to make as far as a scan/telecine of B&W?)
I know I have many questions here, and if any one would be able to provide some insight, I would be greatly appreciative.
- John
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Please see listing for additional information:
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Please see listing for additional information:
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Wide-angle adapter made by Zeiss to fit the 16mm film format 9.5mm and 12mm prime lenses. It converts the 9.5 to 5.6mm and the 12mm to 6.6mm.
It is in very good condition. There is a minor scratch (I would say a few millimeters long) on the front element (you can see it in the second picture; unfortunately, I don't have a macro lens to get a closer shot of it). However, I've used it on multiple shoots and have never seen it to affect the image quality. Although, you may notice it if you have a lens flare.
Comes with front and real metal lens caps.
Please let me know if you have any additional questions.
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Sounds reasonable enough. Thank you.
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I apologize if this has been covered, which I'm sure it has, but I'm planning on working on a short film soon with some daylight exteriors. Since most of the film is night interiors, we're shooting all tungsten film. My question is, is there an advantage in proper color rendition for using an 85 filter in the day exteriors, or can this be properly corrected in the HD transfer with no filter? Thank you in advance.
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It's pretty simple.
Ringing the hex key socket is a lock nut. The 'special wrench' needed to undo it is basically a two pronged screwdriver - you can make your own by filing or grinding out the centre of the tip of an appropriately sized normal slotted driver. The lock nut needs to be undone half a turn, then the hex key socket can be 'undone'. But rather than screwing out, the hex socket acts against the lock nut and via a worm gear unscrews the ring locking the viewfinder J-bar. Once that ring is loosened (maybe 10 or 15 turns of the hex socket), the lock nut can be fully unscrewed, the hex socket worm gear removed, and the J-bar lock ring undone by hand. The J-bar can then be removed and replaced with the T-bar, and the unlocking process reversed to lock it back up again.
The hex socket worm gear allows minute adjustment of the viewfinder lock ring tightness, which controls how easily you can rotate the viewfinder.
Sounds simple enough. Thank you.
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I'd like to replace the J-Bar viewfinder on an SRII with a T-Bar (with videotap). The SRII manual states that the bushing needs to be loosened with a "special wrench" before the worm can be loosened with a hex socket screw driver. Any idea on what this "special wrench" is and where I could find one? Also, before I get started, is removing the viewfinder very tough? Thanks in advance.
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I'm looking for a good black and white lab on the east coast to handle 16mm black and white. I'm in Pittsburgh, so I'd be looking at New York/New England most likely. Someone mentioned Colorlab; are there any other recommendations for eastern labs? I'm also a student, so I'd be looking for a lab that's student friendly.
Thanks in advance.
John
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Arriflex 12V On-Board Battery Charger and Batteries. Charger just tested and gives proper voltage, batteries need recelled:
Zeiss 16mm and Schneider 20mm in Arri ST - Excellent
in Cine Marketplace
Posted
Here are a couple of gorgeous Arriflex Standard mount lenses, both in excellent condition:
Zeiss Standard Speed 16mm f/2 (T/2.4):
http://www.ebay.com/itm/Zeiss-16mm-Distagon-Arriflex-Standard-f-2-Arri-Red-Alexa-/331063559849
Schneider 20mm f/2:
http://www.ebay.com/itm/Schneider-20mm-Arriflex-Standard-f-2-Arri-Red-Alexa-/331063568187
Some nice vintage glass. I have recent footage of both these lenses that I can provide anyone who's interested (granted, it's in black-and-white 35mm, but you can get an idea of angle of view and relative sharpness).
Please let me know if you have any questions!