Giray Izcan

With this conversion, I will be able to use my Rokinon lenses and rent pl glass for more serious projects.

Canon ef and yes I have a c to ef adapter. I am sending my NPR to Les soon to get it converted to s16 from u16 and get the cameflex mount replaced with permanent pl. So it will be c/canon ef and pl mount.

I'll take a couple of pics and upload or email those to you asap.

It's Zeiss Jena 50mm f/1.8

Gregg, I personally own a Zeiss Jena 50mm glass (35mm format), and used it on my s16 camera. The results were incredibly sharp. Medium format, I don't know, haven't tried it.

Gregg, Technically, yes you are right about s16 glass having higher MFT curve than 35mm format lenses. But, if you pay attention movies like Vera Drake - shot with Cooke s4s; also, the Rum Diary, shot on Zeiss ultra primes. Those both looked pretty sharp to me. My point is, can you really tell the difference between s16 and larger format lenses in terms of one having higher resolution than the other?

True... I mean I own a Rokinon 35mm lens. It is pretty sharp, in fact, some people compare those to Canon's and Zeiss glass in terms of sharpness. But I checked out the 24mm lens, and it only has markings up to something like 6ft. That's not nearly enough to pull focus on

I'm sure there is a way to convert. Then, it would be expensive though, why even bother? Those don't even have proper markings.

1 hour of footage is roughly 6 rolls of film, which is around 150 per from Kodak. You can get cheaper short and re-cans. It is usually harder w 16 than 35mm, because more productions originate on 35. And then, 1080 telecine depends. I suggest you call Cinelab located in Maryland. They are really indie oriented, and would help you out with pricing too.

True... Sorry, I think I just made a nonsense comment...

I agree that shadow and highlight contrast looks pleasing with b&w. Cameras like 5d however lack sufficient dynamic range...

Hello everyone! I have some questions about the software and color correction. I just downloaded Resolve Lite, and have been playing around to familiarize myself with color correction. I have an u16 uprezzed 1080 project that's in prorez 422 10bit, which I set it at 444 32bit in Resolve to avoid compression artifacts. I was messing with blur/sharpen tool, but when I sharpen it (radius setting dragged down to 38 from its start point 50) I notice a great deal of increase in grain. I'm assuming it is because grain is part of detail, so it pops out as I sharpen it. If not, would anyone suggest some other solutions?Or should I avoid using sharpening tool with 16mm projects? The reason I was trying that is because uprez 1080 does not have the same sharpness and crispness of a regular 1080 telecine, so I was trying to compensate for it by sharpening the footage. Thank you in advance.

5d mark2

All exteriors were shot on 65 and interiors on 35.

Adrian, As everyone says, gh2s are actually 1080 right? I know Canons are supposed to be 1080, but aren'.

I meant barely hd if that on Canons. Sorry I'm using my phone to type.

You should consider Panasonic gh2 or 3. People say those have true hd resolution vs barely hd of that on Canon's

I am really excited about Cinelab's Xena machine. It is just like an Arri scanner, has pin registration, so should be pretty sharp. I have a 16mm role that I am going to send to Cinelab soon, pretty anxious to get the results already. I work with ultra 16 camera for now, so Cinelab is my choice of place, but am planning on working with Cinelab after s16 conversion. They are really helpful for budget minded people. Places like Cinelab, with reasonable rates, will keep film alive..

Arri and charge per frame instead of ft. If you notice, most major movies are handled at e-film.

If you have the means, I would say e-film.

Weren't NPR cameras for hobby/amateur use back then? A major BBC tv mini series being shot on NPRs is pretty cool however.

I just watched this BBC mini series, and I was really impressed with it. It is obviously more detailed than the movie and cinematography is really superb. Apparently, they shot it with Eclair NPR and Zeiss lenses. I am curious however, why didn't they shoot it on Arri SRs since it was shot in 1979?

Freya, I don't think David Mullen, ASC has anything prove as far as his capabilities on film or digital goes. As he mentioned, just by looking at his credits, one could easily figure out that he has an extensive experience with both formats. Aside from all that, I think Mr. Mullen is really down-to-earth person, who, despite his achievements, takes time to answer some really non-sense questions. From my personal experience, I emailed him a few times awhile ago, asking him some technical questions, and he responded thoroughly to all of those. I guess, I appreciate people like him, who are really achieved in their careers, and pass on their hard-earned experiences to less experienced people.

"Machine Gun Preacher" was shot on s16 with Hawk v lite anamorphic 1.3x lenses.

Richard, Wow!! Way gnarly... Hehe.