Giray Izcan

It sounds like a problem with the s16 conversion.. rollers and guides in the path are required to be modified for super 16 as well to avoid film scratches.

Spectra Professional

I would get an NPR or an ACL.. it is better to have a realitvely quiet sync sound camera than dealing with a Canon Scoopic or other types of MOS cameras with fixed lenses - at least you could shoot short films etc especially with a barney to muffle the little noise that it makes. With the NPR or an ACL you could modify or get a PL mount adapter from Visual Products and use the best lenses out there while using other types of adapters like an Arri bayonet mount and get a relatively inexpensive lens for your day to day stuff. I believe a sync sound camera gives you more freedom in terms of the types of stuff you could be shooting aside from just "camera tests"..

You're right. I was wild guessing.

Sr 2 might be a tad quiter.. obviously still loud

Nice.. wow very brave move from Kodak in today's digital age. I look forward to it. I hope they price it right and not too high.

Oh ok. Thanks. I thought they were known for their steadiness and sharpness.

Aatons are actually known for their steadiness.

Actually I did too hahaha. Sorry I should have read better before getting excited. Happy holidays.

When using a 1.3x anamorphic, you still print it on regular 2x anamorphic so you should be just fine. 1.3x lens allows s16 or 1.78 aspect ratio to be printed on 2x anamorphic with minimal crop is all.

I see Canon Scoopics for 1500 - 4000+ all the time, which is ludicrous.

Nice camera. The only problem will be getting film for that beast..

So you didn't get the f55?

Samuel, I think you should check out these 3 videos, especially the abelcine part 2 of the video to get a better idea of the menu,

You buy the cards and a reader once and use it for a long time. I think it's very good investment. Especially if you get the new kind of axsm cards, you could use that with the R7 recorder if you choose to upgrade it to that which of course can be used with Venice cameras.

I just looked up and it says an hour and 6 minutes shooting at 25fps.. 24 would be around there, just a bit longer.

It's not that bad honestly- especially considering you used to talk about shooting on film. If memory serves me correctly, 512gb card gets you around 42mins or so shooting raw.

I would just get an fx6 between the two - matching any one of those two to an f55 wouldn't be a problem.

You won't regret the 16bit colors you get from f55 raw workflow. You did good.

There is a big advantage to using RAW. It's a 16 bit wide gamut color space. Just transcode it to whatever flavor you want for editorial and then conform it back to the RAW files for color timing and mastering in Davinci. You don't need raw files for editorial. I would put the raw files through davinci and would apply a rec 709 lut to have a more pleasing image, edit and then bring the edited material back to davinci for finising. Every editor I know works this way when it comes to handling raw files. I haven't met a single editor who wants or is ok with editing raw files.

Hey good purchase. I am about to buy one too. I hope your family is alright.

Looks like the timing of the camera is off.

As much as I love film, I can't deny the cost of it. Often times, it is prohibitively expensive. It costs about 850 dollars for 1000ft 35mm, 12-1400 dollars per page of script when everything is factored in. As nice as s16 is, it is certainly not 35 amd is still a look. This is assuming you're shooting 10:1 ratio, which is an ok ratio for most narrative projects - ideally, 20:1 would be better. If you had complex shooting situations or long dialog scenes, you would need even more to shoot properly without cutting corners. Having done it in the past, I just don't believe in editing in camera as you're shooting.. you're really shooting yourself in the foot by being a slave to a format. You need enough coverage to have a good edited film.

Eclair NPR is 29 at 3 ft.. even the NPR is noisy in many quiet environments.

It says 35 dB at 5ft.. that's more or less MOS in today's standards.