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Luke Roberts

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Everything posted by Luke Roberts

  1. Thanks! I guess some overexposure makes for a better image, especially when the weather is overcast.
  2. Thanks. Not initially, but I went with it after trying stabilization in AE. Haven't used Resolve much, and wasn't even aware it included stabilization. To be honest, I'd like to circumnavigate the foible altogether by procuring a proper 16mm camera.
  3. This is an old thread, but here is the video link for anyone interested: I recommend watching in 1440pHD.
  4. With the handheld shots I've filmed it's hard to notice the K3's jittery quality. The winding was a pain for me too. I had to be careful not to pull the key out, which happened once. The Scoopics look nice, but I'm not fond of the flickering, and they seem hard to find.
  5. Seriously! I'm quite astonished by film's overexposure latitude and overall beauty. Also, I think the lab must have fixed the color balance for me. I don't have an 85 filter (not sure if I'm fond of the look either) and planned on color correcting myself since I went the D.I. route.
  6. There you go. Everything turned out nicely. I added a bit of contrast to it. Thanks again, David. Thanks for the info!
  7. Nice test. I bet it's great to have a lot of camera rental options in Los Angeles. The only cool motion picture place out this way is Visual Products, which I have yet to visit.
  8. I could send it back to Bernie; however, I'd probably be better off with an Arriflex. I would have to be considerably more careful.
  9. Double post. Sorry. UPDATE: I noticed the Take-Up Spindle tends to wobble a bit. The metal take-up tends to scratch the big inner plate intervallically when the camera is running of course.
  10. So I wrapped production on a guerrilla short, but a couple of mishaps occurred during the process. The first one was when the Krasnogorsk-3 took a fall. It didn't descend super fast, but enough to damage the cosmetics a tad. Checked everything. Thought the film advancing sounded off. Then it got really off. Opened it up briefly (in somewhat subdued light) and inside it was a mess (film all over the place). I covered myself with a coat and examined the innards, and indeed something went wrong. The take up spool wasn't taking anything up. Thankfully there wasn't much film left, but I wound the rest into the take up by hand. Then I loaded the next roll. The next 100' went smoothly until the same problem (take up spool not taking) recurred to a lesser degree. Again near the end. As far as exposing it, I was in a controllable lighting situation, but I'm guessing the film may be scratched up a bit there, which might actually look cool. I was shooting handheld at this point, and I did move the camera a bit. I'm wondering if that has to do with it? Or perhaps I have permanently damaged the camera? Appreciate any expert hypotheses, thoughts, and comments. I can post a video(s) if needed.
  11. I'm getting a data scan done. Any tips on coloring and exposure? Thanks. Do you you have any samples or examples of Cinelab's work? Although I've already sent the film out to be processed and scanned with a Pull -2 on the aforesaid roll. I wonder if ProRes 4444 will have the same amount of space?
  12. Will do! No, it doesn't. But using a comma without a conjunction doesn't make sense either. Anyhow, thanks for the clarification.
  13. Thank you for the quick and informative feedback! Is this how you figure out the stop differential? ...50 100 200 400 (500) (600) (700) 800... 1+ 2+ 3+ 1/3 2/3 3/3 4+ I'm going digital intermediate with this footage, but I'd still like to get pull-processing done if possible. Thanks! Yes. 100'. I've been meaning to try out Spectra, although at first I wasn't even sure if they were still in business (low-profile internet status I suppose)! I'm positive you guys have heard of this lab before; it's a great deal nearer to me than those long-standing SoCal laboratories (not that distance matters). On their processing form, you can choose Pull 2 from a drop down menu. I'm assuming that means pull-process by 2-stops?
  14. I shot a short roll of Kodak 500T (16mm). Upon finishing I noticed, much to my dismay, that the ISO on my light meter was set to 50. So, the fast film's exposure index is rated at 500T and I overexposed by how many stops? Can either push or pull (pull, right?) processing save this spool? The negative is probably pretty dense too, right? I saw a latitude test where film was overexposed by 5+ stops and it looked nice. Hoping there's a way to remedy this problem.
  15. I don't understand the mechanisms involved, and was unsure if it would be harmful to the camera or not. I've thought about that. I'll probably have to utilize aperture method though.
  16. Could it work without harming the camera? Let's say I'm shooting at 24 fps and then have someone carefully dial the speed to 48 fps?
  17. Thanks for the recommendation. The Canon is pretty nice, though I'm more impressed by the footage coming from the Arri. Probably the Zeiss, scanning, and stock that make the biggest differences? Maybe I should jump up to the next film gauge and look into getting an Eyemo?
  18. Let me expatiate on what I mean: I'm searching eagerly for a cheap as dirt 16mm camera (preferably S16 and sync), and not sure a clockwork K-3 is the way to go. Maybe it is. Anyone got a functional Arriflex SR or Aaton they don't want?
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