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Steve Zimmerman

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Everything posted by Steve Zimmerman

  1. Joe: Do yourself a favor and buy one of the versions of this book. It's got lots of useful technical information about film and film cameras. http://www.amazon.com/Camera-Assistants-Manual-Fifth/dp/0240810570/ref=sr_1_2?ie=UTF8&qid=1323658172&sr=8-2 Check out page 412
  2. True, true... Always mention how you want the film to be developed: "Process Normal, or Push One Stop, or Pull One Stop, etc". It was late... :P You can mark the film can "Exposed" as well. One would hope if the lab was unsure they would call the contact info before doing anything, but I'm sure there are horror stories...
  3. It's also best to call your lab and discuss personally what you have in mind when sending film to the lab the first time. These days it maybe more convenient (and have less compression), to skip tape and go straight to hard drive depending on the transfer house.
  4. Your name and/or production company Contact information (phone number or email) Title of film production Film emulsion number, say: "7213" List footage: "300feet" "Transfer to video" At minimum, put your name and phone number on your cans/rolls, and the emulsion number and the lab will have the basics to get started and can call you if they need more info. Good Luck, Steve
  5. Very interested in purchasing a used Digioptical or RED PL mt. 18-50mm zoom Please contact me at: gkrimus@yahoo.com Thanks! :) Steve Zimmerman Charleston, SC USA
  6. Are there any online video examples of this film? Extensive searching only came up with a 16mm, tiny video. :(
  7. You are correct. This was commonly done on video trasfers for TV and video before widescreen became commonplace. They are contractually obligated to show the title credits so you could read the names. After the credits, they would switch to "pan and scan", zooming in on the image, sometime drastically disturbing the intended visual compositions, usually 2.35:1.
  8. I understand how Super 35 is wider than academy. It's too bad there is no setting for academy width to get better scanning resolution. Our scans look fine, but it's too bad we would have to get a really expensive 4k scan to actually get full 2k pixel width, when a smaller format like S16mm can.
  9. Thanks for all the great information and tips, guys. They scan 16mm at 2k, don't they? They can't be using one setting and scanning that stuff at one quarter resolution? I am surprised there is no middle setting for 2K scanning 35mm 2-perf. Is this limitation the same for Arriscan and Spirit 2k? Thanks, Steve
  10. We need some more information. What type of machine was used to do the scans? Not sending DPX files initially sounds very suspicious. This sounds like a telecine job to HDCAM / SR which was then captured on a Mac with a Kona card to ProRes. It was an Arriscan Why? Was a grade part of the deal? Was the deal for DPX original scans plus a color-corrected ProRes output? As Phil pointed out, anyone who knows what they're doing will work from uncompressed files. What if you decided later on to grade on a system that didn't support ProRes? No, it was a free test scan. I just thought they had done some sort of best light on our footage. The highlights Very true. We are slowly learning the whole Final Cut to Color workflow business. I guess we need to use Gluetools even though we are doing an offline/online. I also just heard something called Clipfinder can be helpful too? Any help would be greatly appecited. B) Steve Zimmerman
  11. Thanks for the support, Phil! Would you recommend I use Gluetools? Do I start working with the files in Final Cut (with GlueTools) or Color? I also just heard about Clipfinder. I guess it works for any DPX file, RED or film, and it's cheaper!? Anybody use this for film DPX's with FC and Color? I also figured out they neglected to zoom into the full academy width of the 2-perf image, There was a black bar on the left side (the soundtrack area). That's why the resolution was lower, and we had to zoom into the image in the Color geometry room with the 2K 2.35 wireframe to fill the frame. We had them scan some full height 4-perf footage, so I guess it seems they used the same setting for both(?). Thanks, Steve Z.
  12. At first, our scanning facility mistakenly sent us Prores HQ 2K scans from our 35mm 2 perf film, when we asked for DPX. We sent the film back, and they sent us the DPX files. Comparing the two images, the compressed ProRes looks visibly better. There is stairsteping on some high contrast edges on the DPX, but rarely on the Prores, and we can see pores on ProRes faces where the DPX is smooth. Both files are from same lab, why wouldn't the uncompressed DPX look visibly superior? Problem with our prores files are, the have a basic baked-in correction. I originally wanted to go DPX because there is more latitude to play with in color to grade in case of blown out highlights. Is it possible to ask the lab to squeeze more highlight detail into the ProRes? I guess I'm fine working with ProRes instead of DPX's as long as we get the DPX too for safe keeping, and future use. Our output format is Blu Ray disc Thanks in advance, Steve Zimmerman Charleston, SC USA
  13. Hello, Does anyone have a spare or unused Konvas Full Aperture (Super35) gate? I heard through personal email with Rafael says he is out of them and has no idea when he might get some more made. Please respond to me here or private message if you are willing to sell one. Thanks in advance, Steve Zimmerman Charleston,SC USA
  14. Happy New Year to All! We are looking for a slightly cheaper way to get some quality telephoto lenses for our 35 Kinor. We are looking for an OCT-19 camera mount to Pentacon Six lens mount adapter. We need it for our Kinor 35H. Anyone know where we could find one of these? I also emailed the two Polish sellers of PL to Pentacon Six adapters on Ebay. Anyone have experience using these, good, bad? Will the focus marks on the lens still be accurate? Thanks so much, Steve Zimmerman Charleston, S.C.
  15. Looks like there was an earlier thread about this: http://www.cinematography.com/index.php?showtopic=42124 Reply #7 seems to be what you are asking. David Lynch uses that type of lightning flash as well. http://thecityofabsurdity.com/losthighway/intlhdeming2.html I think quickly turning off and on the film camera for a flash is a clever idea as well.
  16. Price Reduced! Great lens, we are trying to finance a zoom. B) Ebay Item#:330505464417 Thanks!!
  17. LOMO lens, 22mm, OKC3-22-1 #890043 OCT-19 mount. Excellent condition, clean inside & out, good coating, and solidly attached Kinor guage follow focus ring. Used on Kinor 35, should be fine on Konvas or RED as well. Looks great other than some dulling of the exterior. Comes with a 1.5" shade. Serviced routinely. $600 buy it now or best offer. Ebay Item#:330505464417 Thanks!!
  18. I was at a seminar by the film's gaffer and he said they used lighting balloons with sodium vapor lamps for the orange color. He also said that the film was shot on super 35 and was underexposed for the grainy look. The Strangers was not a zero budget film, it was $9 million.
  19. I helped on a 5D shoot once where they rented a Canon F 1.0 lens. They ended up using it for one shot. It was only capable of focusing with its internal motor. There was no way to pull focus manually, and it was hard to get it to focus on precicely the point they wanted using the auto focus.
  20. 11.4a. Installation of the viewfinder Normal or deanamorphic viewfinder is installed into the slot “B” (Picture 5) and secured by the bayonet nut (90). During using the eyepiece (138) (Picture 9), install the viewfinder (137) or (140) into the slot “B” (Picture 5) so that red mark of the slot “B” match the red mark of the viewfinder. During using the long eyepiece (139) (Picture 9), install the viewfinder (137) or (140) into the slot “B” (Picture 5) so that red mark of the slot “B” match the red mark of the viewfinder. The slot “B” can be turned for convenience in the following way: 1) Turn the friction ring (122) (Picture 6) counterclockwise. 2) Turn the slot “B”. 3) Secure the clot “B” by the friction ring (122).
  21. I bought a manual earlier today haven't gotten it yet, but I figured out how to set it right. The correct position is the opposite of what would appear to be correct. When looking at the turning prism and mirror inside, The mirror is at 10 o'clock and the reflected image is at 2 o'clock, or something like that.
  22. Setting up our Kinor 35H for the first time, without a manual yet, when adding on the extended viewfinder, the image we see is upside down. :o I see the prism can be turned, what should it be turned to? Say "4 o'clock" or what? Any ideas? is there a free manual online? Thanks So Much! :D Steve Zimmerman
  23. David Lynch called it "wacking", and used it a few times in Lost Highway and Mulholland Drive. You can see it here at 1:42. They were also using a net filter on the shot. http://www.thecityofabsurdity.com/quotecollection/whacking.html http://www.thecityofabsurdity.com/losthighway/intlhdeming.html (second page, middle of page)
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