steve waschka

UnfortUnately I don't think I have that many choices in quickTime Pro it's just a matter of selecting avi, compression Apple none, and maybe a slider for quality level. I don't remember that once you've chosen no compression in Virtual Dub that there are very many selections either. I understand what you're saying I just don't know how to manipulate the programs to accommodate. If It helps you help me. The answer Is I don't mInd what fIle I us.e to go back and forth. I just don't want to add any artIfacts through compressIon.

If I take a quIck tIme pro movIe on mac and export It as AVI, Avisynth can't read It but VIrtualDub can. When I take that file on pc and export it out of Virtual Dub or save it as an AVI, QuickTime Pro on the Mac cant read it and you cannot import it into Premier Pro. This is uncompressed. And I've tried excluding the Audio.

I appreciate the responses. I've been looking at both the snell & Wilcox and the teranex lines. Havent decided yet.

i currently use the d600. as well as 400's. when im worried about dropouts or shooting to a script i run a parallel deck and fresh tape in both. however i have read about dropout removal via desktop scripts. never tried them. never had a brand new bsp either. but ive had several carefully used ones. the blackline noise during playback in the viewfinder suggests there's a lot of compensation going on in all those boards inside. that sounds negative... ill add that a good bsp camera is a trustworthy companion. and ive dropped a couple from 3ft up. tanks!

Xantus?

no im not. but ive tried several. they all have a compromise so far that ive seen. my best results come from simply using built in avisynth code that includes a field order, separate the fields, and sometimes, to reduce the load, a select even or odd fields. but that leaves an up and down jitter that i cannot completely dial out with a shift plugin to virtualdub but its close. the dvdo machine is rock steady. but leaves some fragments of darks in the lights where the fields have been restitched. it would be beautiful to have it deinterlaced real-time during capture to the ssd deck. then im hoping a switch from pc to mac will allow no file conversion for the uncompressed .mov's. then im straight to shuffling clips. i guess i may have to give in to the reality that a deinterlaced clip is never really a clean progressive. but id like to get real close to cheating reality. at least some fraction closer than i am now.

im looking to improve my deinterlacing. ive got the dvdo hd+... mm601 i think is the model#. is there a broadcast machine that does a better job than these home theater machines? im deinterlacing broadcast camera sd video for web use. and the dvdo does better than the most all of my desktop scripts ive run. but... my desktop is old. and so are the scripts. any opinions? id prefer to stay with a standalone video processor as my workflow is off the tape decks thru the processor and onto a ssd. easier to screen test the footage before editing with that workflow. thanks in advance.

i have bolex super16 rollers. they have smaller shoulders. you could get the reg ones turned down and polished.

its over by a tiny bit. i imagine mostly just for gaurantee that the product is as advertised. not as built in leaders.

ok. So I would categorize myself in the scared to see film go away crowd. But i do have dslr's and older eng's in my kit. I'm torn between my next personal camera being a used cinealta or arri sr3 s16. So I'm relatively open minded. I've been watching "Side by side" and I think... the big difference has much to do with the discipline. If you just machine gun digital and don't light, or meter, or care about color pallet, you can turn out a crappy picture with imax. i guess digital's comparative tarnish comes from the fact that filming in imax, for example, tends to weed out the undisciplined due to sheer cost of production. I suppose reg 4perf 35mm achieves a similar result collecting disciplined cinematographers. But... and here's what kills me about ANY technology... I have a 14ft screen and didn't pull it down to watch this as i was just too lazy to do so. So its on an lcd. I was waiting for the disc but its dvd anyways, so I just streamed it. Now... netflix is jamming every 3 min to buffer for 30sec. Since the stream is constantly interrupted, I decided to take some baseline meterings to calibrate an eng rig I'm planning on using and i forgot to charge batteries. So I cant do that either. I cheer internally every time Pfister's turn comes up. "Get 'em Wally!" I'm going to drop the screen and watch "Looper" now. The fence post is starting to hurt my hind end.

i have no k3 experience. i have used russian film gear. some good some bad. i dont think its super consistent stuff. i do shoot bolexs. they are not a first choice for sound. you can get barnies made for them. but theyre more than the camera. you can wrap them in a thick hoodie. zoom lens out the sleeve. the quality is fine if the camera is in good shape. the newer the body the better the claw mechanism. but you can leave them windup style and toss it in a back pack with a changing bag. unless you like sprocket light bleeds on your "daylight" load reels. i have an arri bl16. thats a quiet camera. when i first got it i couldnt tell if it was running. i was so used to bolexs. you can convert either to "ultra 16" but any ratio conversion processes are very high dollar if done right. every thing the film touches has to be polished if its in the exposed area or it will leave scratches. thats every guide roller body part you name it. the bl35 would be my arri choice for a 35mm sync camera thats not super expensive. but a questionable one with no lenses will be near $5,000. i would recommend you shoot what you can get your hands on for free, rent, whatever. build a reputation based on the art. get paid. buy some good stuff when you can. if i could go back and do it again id get an arri sr3. prob $10,000 for an ok one with no glass. its a very common film camera. lots of parts out there, its super 16. or can be. im not sure if all 3's are. but 1's and 2's arent. you can do a real video assist system. which is the deal. you can get a good feel for sound and where to drop your film scans in before you even get stuff back from the lab. a real issue is getting caught up in the gear. from my experience, buying inexpensive gear to try to get noticed can lead you down the path of worshiping the gear. there is always the next level of lens, next level of filter, next anything that costs more than you are spending now. and it never ever ends. theres always a parabolic mic you think you need or a clamp you think will solve the problem. how about lighting!? dont forget that stuff. you cant go buy all that. you look at the rental price lists as a newbie and its not an answer either. the day rates on a camera are more than $500. i feel for you. if you believe robert rodriguez, he borrowed his arriflex to shoot his big break movie. wrapped it in a towel or a sweater or something. jumpin out of trucks. fallin off school buses. there used to be a video floating around the net somewhere about it. id go that route. some of my favorite pieces of gear are items ive concocted out of free or inexpensive items that solve a problem, solve it well, and im still using them even though i can afford the glitzy piece of gear now. i hope that helped. theres no way to cram all the years and dollars ive spent ramping up to what is still not industry standard for the times into a post. all i can say is its all about the end product. forgot about your freezing issue. good luck. cameras dont like cold. even my digital stuff. stay positive!

well i put myself in the the position that if i had a print floating around out there it would be concerning. so i guess the lack of available stock is good news. guess i better team up with my local cinema some way. he's the last film theater in my area i believe. theres something to seeing it on film. maybe its just knowing its special. ive already got an elite kuro (and thats not a big deal projector anymore)throwing a 14ft wide image in my home so digital exhibition just doesnt pull me into the big theaters. now seeing a film shot in film projected in film... thats cool stuff. i think a pile of us need to team up with our local houses that still have film machines and do some projects just for them. maybe ill do a local surf film. anybody want to sell a steenbeck cheap? or tell me how to do the real deal sync sound for the big machines?

looks like the online sales of 16mm has moved to ebay. what about renting or leasing films? any sources for that? i used to have a couple of links but cant remember the names and they dont seem to be easy to find. i think its called something else. but i cant remember the term for the process.

ive always wanted to start collecting prints. but it seems there is even less info about the topic on the web now than there used to be. or the web is just so cluttered now its impossible to find. ive got a good projection set-up for blu-ray. and i guess the home theater world is gonna go 6k now. i think thats a great time for me to go the other direction. anybody mind offering up any good links!?

that brings up another question. when they say specifically designed for the 10-100... is there something i dont see that keeps it from working with any b-mount? thanks for trying that. and yeah ive already used that camera without the blimp housing. considering the age of the rubber in those things.. i think using a rail system is required.

anyone know for sure if the mutar 2x converter will clear the mirror?

ive been lugging around the big sony recently. field decks. monitors. batts. chargers. you know the drill. pulled this jewel out of the backpack in the back of the closet... doesnt it just look so much easier... i gotta build a super 16 one with a bayo adapter plate.

i sold my primes. they produced pretty images but the folks online wanted them more than i did. i assume your noticing that about now while pricing them. i rebuild cameras. not for a living just to keep my stuff running and help others from time to time. occasionally that means going inside the lenses. fungus and bent iris leaves... you know... the simple stuff. the reason i sold my primes is because i have a pancinor 17-85 on there. i know... it shouldnt work and its been a while since i did this. but, in the older black models with the prism style dogleg viewfinder (removed i use the h8s finder)... the rear element is set in place with beveled packing washers. manipulating their direction and adjusting the retaining ring is similar to adjusting back focus on a betacam news rig. except a real pia to access. you gotta open and close the lens every adjustment. then i hand polished a stainless shim washer to the right depth and bingo. zoom lens on the h8. i used the thing for over a year and my primes just sat so i sold them. the process took hours and days of fiddling using a prismatic focusing aid on the gate to check the progress. and extreme care in handling the internals of a lens. i really wish kodak made vision stock in reg 8. you take 8mm and get it scanned nicely and its cool stuff. my h8 is newer (block base and the big viewfinder) but ive never had any weave or frame jumps. its depressing to think, but one day... and prob soon, that machine is gonna be a paper weight.

the right side pin on the input jack of the regulator is positive. the regulators purpose is to allow a single higher voltage input allowing for multiple film speeds on demand as controlled by the dial on the side of the regulator (turn the speed control on the camera body to max)while providing a different yet appropriate voltage to the mag take-up motor. the drive motor has or once had a decal on the side prescribing what current is closest to the film speed you wish if to run direct power to the motor only. however if the voltage is too high above the selected filming speed on the camera body the motors clutch works overtime.

actually i have a screen around 11ft diag that i originally purchased to review 16mm. i eventually bought a modest dlp projector to watch blurays. its amazing how many films contain more than one aspect. or more than one camera negative format. also i like to catch those shows on channels such as fx where they have commentary, behind the scenes and / or b roll footage. i watched one for Hancock the other night in which i even caught a glimpse of what appeared to be a small vistavision rig. if you want to study others work, projectors are the way to go. ive got my eye on a higher end model. just gotta burn the lamp out on this one first.

is the washer toss close to or actually part of the development of that putter? i tried to do some online research but only saw mention of the guy from ocala being at the premiere.

david: i finally saw seven days in utopia. i liked it. i havent played golf since college but i enjoyed the sport and i enjoyed that film.

proper filming is discipline. black and white images requires a little more attention to composition to overcome lack of color separation. but if your shooting for say a bleach bypass look. you would also have to preplan for imagery that isnt visible to the naked eye. otherwise its all art. if you were going to paint this picture. would it be black and white? then thats your medium.

if you look at me as the average forum user... im relatively new to cinematography. ive been involved in wet darkroom black and white photography since middle school some 30 years ago. and picked up cinematography i guess somewhere well into production made super 16mm. but the price of cameras was still crazy so all of mine to date are standard 16. i have, within the past 3 years, rekindled a serious usage for the equipment and have questioned my gear near regularly ever since. i have thought of opening the gates but never taken a tool to them yet for a fear of no return. and ive spent a lot of time utilizing anamorphic adapters to the point i have a lomo 35nap that is restored and aligned near flawless. but it weighs 5lbs and is the size of a blimped zoom lens. you need a mitchell tripod and 35mm size shade to accommodate the rig. its the only model i can pull back to 40mm, 20mm equivalent, with no vignetting. pulling focus. it can be done. not by yourself mind you. recently screening dark night, a HUGE favorite of mine, i couldnt help but notice how the imax scenes, in a small way, come full circle around the scope aspects that so many pictures seem to strive. now CLEARLY imax being cinematography's large super human choice of format is absolutely AMAZING. but i cant help but imagine wally pfister staring through the fingers his face rests in at a camera on a stand weighing god knows what saying "how the $#@* am i gonna mount THAT on a helicopter!?". much in the same way, at my relatively pewny level, i look at a rig thinking "i love the final look but its just oppressive gear to work with." Today 16x9 is the obvious realm of mainstream inhouse media. you cant by another aspect except at a thrift store. so therefore i hate it. bad plan i know, but none the less. im REALLY trying to like 1:33-37 but my mind keeps telling me it hates the side bars. and it actually DOES seems easier to move your eyes side to side rather than up and down. but am i just subconciously feeling that way so i can sell all my gear and buy sr3's? i thought movie theaters were just designed that way so that there was no way possible a home tv could compete with them. and how long before its all internet anyways? on a computer screen 4:3 is still VERY relevant. whats your thoughts on todays formats and aspects?

watched the vimeo download of your short film on the projection screen this weekend. id say the modification is a success. id get that gate blacked out before you shoot something your gonna need later. i watched it a few times on the computer. which of course doesnt compare to the projection screen. i dont really notice the feel of the "suspended" crystal on the computer. its really noticeable on the projection screen. and the footage held up really well projected to a 7ft width. which isnt a rather large screen. but its a small room. good stuff!