Dan Finlayson

The google drive link isn't working

I can't remember the name of it but there's a rafter-mounted jib system that's sometimes used in live sports in indoor arenas that's basically an upside down jib (that is also mounted on a track).  Sorry this isn't the most helpful lead, if the name comes back to me I'll update!

1 hour ago, Uli Meyer said:

I liked the  idea of having  the column on the left with people contributing to the forums and discussing subjects and the other column on the right with all the new market place items. This gave you a clear overview and is what I presume most people are interested in. It is now relegated to one narrow side bar.

This is exactly what I liked about it too

Something that could give your producer peace of mind: If you can afford to shoot Arriraw, Arri has a desktop tool for upscaling to 4k from the raw data that squeezes out more resolution than a standard upscale from a source like ProRes

Their claim about 1600 ISO is a lie.  If it went through a carry-on x-ray machine like it sounds like, the roll might be ok.  I have a roll of 500T that my friend had in checked luggage that got absolutely fried.  Would love to know how it fared once you get it developed!

On 8/12/2023 at 2:17 PM, Phil Rhodes said:

I'd be fairly convinced that how this guy does it is very close to how it was done. Most of it is fairly obviously cloud tank effects.

They really nailed it with the 3rd effect.  Also, someone needs to get those boys some eye protection, the safety pin one was scary 

I'll post some example images soon once I have the scans ready.  But for now, here's a little more detail:

I'd like to produce log tiffs that closely match the log curve and color that you would get from an Arriscan scanning Vision3 stock.  This would allow me to use a kodak 2383 print emulation LUT as an editing starting point for example.  I'm interested in doing this for the following reasons:

- I'm not particularly happy with Silverfast's built in negative conversion.  It's prone to digitally clipping highlights

- I'm most comfortable working with tools like Resolve and the catalog of LUTs I use in my motion work

- I'd like to start from a familiar base image that could help translate experience between my stills work and motion work

My understanding is that for a lab to produce useful results on fresh negative film with an Arriscan (or any DI scanner like a Scanstation or Scanity etc), they need to have density data for the particular stock they're working with and then adjust per roll.  Fwiw, I'm really only interested in Portra 400 and maybe Portra 800 which are related to Vision 3 and Vision 2 respectively

I'm interested in replicating the kind of log results you get out of an Arriscan with my Epson for stills scanning.  I know the hardware is quite a bit different but my main interest is getting close to the same color space and log gamma.  Are there any resources out there that I may have missed googling about the viability of this?  Anyone in this forum achieve something similar?

Thanks!

It depends on the kind of work you expect to be doing.  I really like the whole North East stretch from Los Feliz and Echo Park all the way up to Highland Park.  You'll find a pretty wide range of pricing, generally cheaper the further up the North East you get.  It's not the closest to the studio lots but your work might not revolve around those facilities.  Highland Park or Eaglerock would be convenient if your partner get's a job in Burbank or Pasadena.

The other nice thing about NELA is there's a lot of interesting cultural stuff to do, including film screenings and microcinema spaces.  And there are lots of younger industry folks up this direction so taking networking meetings can be convenient.

I used to live in Mar Vista and @David Mullen ASC is not exaggerating - it really is 10 degrees cooler, minimum.  So if your partner lands in Santa Monica, that's a good option.

And as everyone else has said - avoid Long Beach

This wouldn't be very cost effective but I wonder if Fotokem could pull this off using a film intermediate process with an optical printer?  This still wouldn't be in camera but I imagine it could look pretty good.  I don't know much about the hardware limitations here

1 hour ago, Heikki Repo said:

One super-8 feature is in post production currently and is going to be released later this year, "Dead community guild":

Looks like this might have been shot on the Logmar camera? Only way I could imagine having registration that good

I might be interested, though I'm located in Los Angeles.  Do you have any footage from this camera available online?

14 hours ago, Mark Dunn said:

Beside the Planar the Mamiya RB 90mm. is a bit of a brick- no-one seems to be converting them for 15/70 lol.

 

I imagine this has to do with the RB/RZ system relying on the whole front standard moving to focus.  I'm sure Panavision could do it though, the RZ 110mm would look spectacular

2 hours ago, Tyler Purcell said:

At the same time, the 5 perf shots (which are the bulk of the movie) looked like 35mm, they were horrible.

Just not the case with the print at the Chinese theater at least.  The only shots that felt extra grainy were the 5-perf double-x shots.  It's just double-x!

On 7/20/2023 at 10:36 PM, Tyler Purcell said:

That Oppenheimer was more than just a scientist, but also someone who should be commended for his desire never to see the bomb used.

I don't agree with this reading of the film and this could very well change your perspective on a number of other aspects of Nolan's work here.  Don't want to get into spoilers though.

I also don't think the IMAX presentation is a waste of time, especially if you care about the sound presentation.  But I do agree that 70mm 5-perf is a great way to watch it/wouldn't disappoint by any means.

17 hours ago, Stefan Lindenblatt said:

When I start rolling it makes a bad sound and the film has punctures in it.

I've never had that happen.  Did you use the test button to inch the film forward before running it at full speed?  I think this tutorial video is pretty solid:

In this tutorial, the guy says you should match a perf up with where the claw will grab the film.  I don't think I've ever done this and yet I haven't had an issue.  But might be worth trying, inching the camera, and seeing what happens.

That slack is important.  You need to have roughly the same amount of slack on both sides of the pressure plate - looks like not enough loop on the bottom side.  Someone with more recent SR experience might be able to guide you further

When you say "destroyed" what's happening exactly?

8 hours ago, Alexander Boyd said:

So if mag A would be loaded with 35mm color film and mag B with BW film, would I need to change anything in order to switch?

I was told some years ago by the head tech at Arri CSC (when it was called that) that on occasion you do need to tune the pressure plate adjustment for double-x.  More-so if you were doing something weird like running tri-x through the camera.  But what they advised is to only bother adjusting if you started finding extra hairs or buildup on the guides below the gate.  They suggested that in most cases this wouldn't be necessary.

On 1/4/2023 at 9:57 PM, Robert Houllahan said:

I would think that if you offered to buy 25 million feet of film from Kodak they would figure out how to use multiple layers of Vision 3 emulsion without the color dyes and couplers for a theoretical new monochrome stock.

You're describing a customer that likely doesn't exist

On 1/3/2023 at 2:19 AM, Karim D. Ghantous said:

I wonder why b&w films now only have two layers? If you had a b&w stock with three layers (or even four, as there is plenty of room) you'd have a film stock with more DR than the best digital cameras.

I think it's just a matter of market demand.  Even before digital, all the stock development was geared toward color stocks.  And these days, most people who want black and white want the double x sort of look.  

3 hours ago, Steve Switaj said:

He also dug up a lot of really interesting technical information - for example, he found out that Kodak manufactured special film for the bomb test that was kind of like color film, but it was actually three B&W layers that had wildly different ASA's - say 400, 20 and 1. The idea was that as one layer saturated, the next one would be reaching a good exposure window, and by printing it three times with different color filters to pull out the three layers of interest you could effectively get a B&W film with extreme dynamic range - useful for very bright events.

Wow that is SO cool!! 

The Amira is barely lighter than the Alexa classic but it is more ergonomic - you can slide the shoulder pad nook and top handle forward or rearward to accommodate the exact weight of your lens/battery combo.

The Amira has more robust onboard sound options, with dials on the camera to change levels.

In my experience the effective run time per battery size is the same as the Alexa Classic.

I would not say it's as easy as an ENG camera - every ENG camera I've handheld is lighter.  But I do love working with the Amira for handheld.

On 10/31/2022 at 8:24 AM, Tyler Purcell said:

It's a speciality camera, with a specialty purpose.

What, in your estimation, is it's specialty purpose?

20 hours ago, Mark Dunn said:

NC500. Intended for C41 but can be processed ECN2 with a change of contrast. No remjet.

Super curious how this looks in motion.  Maybe they've overcome the need for remjet to some extent?  People's tolerance for halation is certainly higher these days than it once was (I can't stand cinestill 800 but people love it).  So maybe they think there's a market for a stock with more imperfection than what kodak is offering.

8 hours ago, Giray Izcan said:

He was talking about Kodak Gold as if it is a great stock.

You should give his channel a watch.  He talks a lot about a whole host of stocks.  He's likely referring to the new 120 Gold that seems to behave halfway between 135 gold and 120 portra 400.  When you look at a 6x7 sized negative of Gold 200...  it is a pretty fun/good stock imo