Jump to content

Karl Lee

Basic Member
  • Content Count

  • Joined

  • Last visited

About Karl Lee

  • Rank

Profile Information

  • Occupation
  • Location

Recent Profile Visitors

5033 profile views
  1. I have a Canon 11.5 - 138 S16 PL mount lens that I use with my SR3, and if possible, I'd like to try some digital cinematography with my S16 lens. A while back I asked about digital cinematography with a S16 lens, and someone mentioned that the BMPCC might be a good choice. I'm guessing that this was referring to the original BMPCC, which was limited to 1080 and had a S16 sensor. Does anyone know if the newer BMPCC 4k would be a viable option, or would its (presumably) larger 4/3" sensor pose issues for using a S16 lens? Or, does the BMPCC 4k have some sort of scaling option that would mak
  2. Right...I can't imagine that there are any systems that can (accurately and consistently) visually resolve TC from a TC slate in a video clip. Rather, I'd imagine that if the TC slate was the primary visual reference, TC would need to be set manually in the NLE for each slated take.
  3. I should have specified this in my original post, but I'm primarily interested in how this relates to production workflows where the camera itself isn't synced (such as when using a film camera not equipped with Aatoncode / Arricode), in which case the TC slate captured visually on film and the TC-synced audio recorder are the only two reference points for synchronization.
  4. I was curious if anyone might be able to help with a few questions I have about production workflows that use a TC slate for sync sound. While I understand that an external TC generator is used to sync both the TC slate and TC-capable audio recording device, my questions are specifically about how TC on the audio recording device translates to the editing workflow. My understanding is that there are a couple of ways to handle audio TC in double system recording. One method, which seems to be the most widely discussed, is that the TC-synced audio recorder adds a timecode “stamp” to eac
  5. Hi everyone. I have an SR3 and a Canon 11.5 - 138 S16 PL mount lens. Out of curiosity, do there exist any digital cinema cameras, past or present, on which a S16 lens would provide sufficient coverage for the sensor at all focal lengths? I'm guessing that 4K is definitely out of the question, and that even 1080p might be iffy, but I thought I'd as least ask. I'm just curious if, in addition to shooting S16, I might be able to use my Canon lens for any digital cinema applications as well, provided that I pair it with the right camera. Thanks!
  6. Hi everyone. I'd like to get a follow focus for the Canon 11.5 - 138 S16 lens that I use with my SR3, however I see that there are a few different standards for gear sizes (MOD 0.8, MOD 0.6, and so on), and that even within these standards, there are various tooth counts (MOD 0.8 w/ 35 tooth count, MOD 0.8 w/ 42 tooth count, etc.). Is there any way for me to figure out which "MOD" standard and tooth count would be compatible with my lens? I'm not sure if the gear rings on my lens are factory originals, or if they were added by the original owner (my lens was originally a rental which I
  7. This has turned out to be an interesting discussion, and thanks to everyone who has replied to my original thread. I did notice in the screenshot that there appears to be a bit of vignetting around the corners of the slate, so that's why I thought that perhaps there was some sort of optical path integrated into the camera that allowed the internal slate to be filmed. And, if the illumination of the marker (or some other visual cue) and bloop sync tone were synchronized, then I'd assume that the marker must have been filmed during production as either a standard slate or tail slate. Also
  8. Hi everyone. I wanted to see if anyone might be able to help explain a slate / marker that I noticed while watching an episode of The Monkees TV series from the 1960s. Yes, I actually became an avid fan of the show in the late 1980s when I was in first or second grade and the show was airing daily on a local channel. Anyway, this particular episode includes a few outtakes at the end of the show prior to the end credits, and between takes there's a momentary shot of what appears to be some sort of slate or marker, accompanied by an audio cue that's essentially just a buzzing sound (or may
  9. This might be old news, but while I was checking out the S8 section of Kodak's website and reading about their new S8 camera, I noticed that they plan to start offering an all-in-one film/processing/scanning package for S8, presumably to coincide with the release of their new S8 camera. From the website... Easier than Ever Shooting Analogue has never been so easy. When you purchase film you will be buying the film, processing and digital transfer. The lab will send you your developed film back and email you a password to retrieve your digital scans from the cloud so you can edit and s
  10. No offense taken, Bill. I can certainly see your perspective regarding the deeper DOF and overall crispness of some scenes, and I'm always interested to hear feedback from others. My lens is a Canon 11.5 - 138. I bought it used, and I'm not quite sure when Canon made this particular lens, but it's specified as a S16 lens, so my guess is probably late '90s or early 2000s. It's not nearly as expensive as a Cooke or Zeiss, but I didn't want to put too much money into a much more expensive lens since this is more less a hobby for me...and I already put enough into buying the SR3! Even so,
  11. Bill, I was using a ND9 when I was shooting 250D in Chicago, and no filter when I was shooting 50D in Toronto and Ottawa. I checked my notes, and with a couple of exceptions, I filmed most of the shots in Toronto and Ottawa at a T5.6 / 8 split (50D / no filter). In Chicago, I filmed most of the shots in direct sunlight at T11, while most shots with mixed sun / shadows were filmed at a T5.6 / 8 split or T8 (250D with ND9). That said, perhaps the narrower apertures and resulting deeper DOF are contributing to your observations. Also, many shots were filmed with my lens at its widest (11.
  12. Thanks for the notes and replies. As some of you have already mentioned, I think some of the quality and grain is definitely lost in the YouTube compression. I actually tried exporting a variety of different formats from Premiere and and uploading them to YouTube, but I found that even the higher resolution files ultimately succumb to YouTube's transcoding and compression. Bill, to my eyes grain is much more evident in the original ProRes clip I received from FotoKem, but moreso in the 250D than the 50D which is what I would have expected. As I mentioned, I think the YouTube com
  13. Well, I'm a little late (ok...really late!), but I just wanted to give a shout out to FotoKem for a really nice S16 processing and transfer job they did for me late last year. I finally got around to uploading a few samples of my filming in Chicago, Toronto, and Ottawa which I thought I'd share, since I know many of us are curious about how others' transfers have turned out. I'm really happy with the transfer, and I think FotoKem's work added a nice, crisp look to my otherwise rudimentary camera work.
  14. On the SR3, just above the pitch adjustment on the dumb side of the camera, there's a mounting bracket for the IVS video tap. Does anyone know if this bracket is some kind of standard ARRI mount, and if so, what it's called? My SR3 package came with an IVS video tap, but since I rarely use the tap I usually just keep it detached from the camera to cut down on weight. With the IVS removed, the mounting bracket would be very convenient for attaching an accessory or two, but I can't seem to find any information about this bracket. I checked, and it's a little wider than a standard hot shoe mo
  15. Not to take this thread off course, but out of curiosity, is there a reason that the IA logo is often, if not always, the only union logo commonly included in the end credits of union productions? Granted, I'd imagine that the IA usually represents a majority of off-camera labor involved in union films, but you'd think that some of the other unions (like the Teamsters, DGA, SAG, AFM, etc.) frequently involved in production or post would want equal representation with their logos in the end credits.
  • Create New...