Josh Gladstone

Hey David, I watched your footage on my 4k tv. Couldn't get 4k to work on Youtube, but it looked pretty good in 2k! Just so's you know

Ah, gotcha. I assumed you could get raw out of the Amira, but uprezzing before going to prores totally makes sense. Thanks for clearing that up!

I'm a little confused, though. Can someone explain why this would be better than capturing whatever resolution is native to the sensor and upsampling in post?

I'm still going to stick with my opinion that Youtube is better than Vimeo. Youtube is allowing up to 2160p now (UHD/4k/whatever you want to call it). It can be a pain to do depending on your hardware / internet setup, but you can uprez your footage into 4k to force Youtube to allow playback at higher bitrates. It definitely helps with the quality.

That depends. Is this a DIY at-home scan? Is it color negative or b/w negative? Did you process it yourself and if so what chemistry did you use?

There's also this on craigslist: http://seattle.craigslist.org/sno/pho/4631589522.html

It looks like exactly what you might need. Either way, I say go with a flatbed, especially if you can get one for free and you have the space for it. Get a work print made. Edit that down and, viola, you have something you can project with a projector. Beyond that, you could also have it negative-cut from the original camera negative and then you'd be able to either make prints from that or just scan it. You might also save some money/hard drive space by not having to scan all of your footage, just the final conformed negative (depending on how much footage you shoot). Plus, you'd always be able to make prints at a later time if you wanted.

Also, that KEM table looks like it has timecode, which leads me to suspect you might be able to sync it up to playback with digital sound. If it works, that is.

Edit: On second thought, it's probably just be a digital footage counter.

Looks nice. What school was this for?

Well I hope this isn't true...

But in case you were wondering, the stock used at the time is going to have a much bigger impact on it than the camera.

Eastman 100T 5247, 400T 5294 according to IMDb.

http://www.imdb.com/title/tt0080240/technical?ref_=tt_dt_spec

Can you upload a piece of the original footage that the lab delivered to you to a Dropbox or other file hosting website?

I saw an issue like this once, although it's unlikely to be the same problem. But if your lab happened to deliver your footage on a DVD, there will definitely be playback issues if you're trying to play directly off the disc. Copy to a hard drive first. If youre already playing off a hard drive, ignore this.

I think want youre look to do is achievable with color correction. Davinci Resolve is free to download and play with, if you want to give it a whirl (http://www.blackmagicdesign.com/products/davinciresolve). A small word of warning though, color correction can get pretty complicated and getting a consistent look is really down to the skill, knowledge, and experience of the colorist. (And that said, of course it's still not going to be the same as shooting on film)

I've saved a couple cameras with vinegar, but corrosion often leaks from the battery compartment into the electronics. Once that happens it's pretty much gone (Or at least, its much more complicated to fix). The only way to know for sure is to open it up.

While I'm not really into football, any abandonment of film is reason enough to be disappointed.

I can't imagine they'd keep the lab open. The whole purpose of them having a lab was to be able to get their footage quicker. Now that they're switching to Amiras (one of the reasons cited was to be able to get their footage faster than is currently possible), that doesn't really seem necessary. Of course, I hope I'm wrong. But it would be a surprise.

I believe a lot of the action sequences in Saving Private Ryan were shot at 90º and 45º shutter angles.

Maybe if you post a few pictures of the inside of the projector, someone might be able to spot the problem?

Depending on the lab you're using, "critical ends" might be a good idea, especially if you roll out while shooting.

There was a 3d festival at the Egyptian in LA last year that showed all original dual 35mm 3d films. I went to "Gorilla at Large" and "Robot Monster". I was really struck by how great they looked and how convincing the 3d was when everything was set up and calibrated properly. So much fun.

That's nuts!

Totally okay to do! The film will be just fine.

Just for reference, here's some tri-x I rated 200 and pushed processed about 1 stop to compensate.

Yeah, I usually just rate it at 200. Tri-x as a negative is going to be contrastier and grainier than it would be as reversal, so sometimes I'll overexpose a stop and pull process a bump. But honestly the difference is pretty minimal. I can't recall if I've ever tried two stops. I feel like I must have at some point.

For what its worth, I've got a Chinon Pocket 8 which I'm sure you could get on a copter. It's tiny. You could probably even rig a little remote control run trigger with a servo or solenoid. And the Pocket 8 is fixed focus, too.

Maybe it doesn't help, but if I were you'd I'd just get a projector. It's worth having one around, and if you keep an eye on Craigslist and buy local, it shouldn't cost much.

Arri SRs would be great for what you're looking to do. Aatons and Eclairs are also great, just make sure they're in good shape because they're a little older. A CP-16 would be a little heavier, but are also nice solid cameras, and can be converted to s16. I love my Beaulieu R16, but that might not be enough camera for what you want to do, plus it's unlikely to be s16. Same with an Arri S or Bolex. Great cameras, but probably not enough for what you want. Now, you mention Baraka and Samsara, so if you're thinking about doing long exposure time lapse stuff, that's a whole other thing.

So in addition to whatever camera you land on, get a changing bag (pop-up changing tents give you more room to work in), a GOOD light meter, extra empty film cans (you probably get these from your lab/definitely get them at Fotokem), tape, canned air, lens cleaning fluid/paper, sharpies/pens, and camera reports (you can make/print them out yourself, or you can get some from Fotokem). And you're really going to want a good quality fluid-head tripod.

Good luck! You're gonna have a blast.