Sanji Robinson

Hello, I have a couple of flight cases that I got. The foam inside is literally falling up leaving pieces of black foam on the camera. I can't afford to get new cases as shipping alone would be a lot. Is there some type of home remedy for this? Is getting a new piece of foam the only option?

Hi Does anyone here know if the Arri 535 Steadicam Magazine works on the 535A and if it is equal in terms of noise to the normal magazine? For normal shooting would you prefer the normal or steadicam magazine and why? Thank you

Hi I am looking for a decent tripod and video head that can handle up to 20 kg. I am looking for something that is at or under 600 dollars used. Is there such thing on the market?

no i still mean technicolor ib on nitrate base. do you know what it is that make technicolor ib on nitrate sparkle on the screen as opposed to technicolor ib on safety film? can you describe what enr prints look like? other than more contrast and desat color, is there something special about them?

true. but what is it that gives nitrate film its shimmer and beauty? if its only the amount of silver, would it not be similar to the enr?

I have heard of it but I don't remember. Is it beautiful? Does it closely resemble a nitrate print?

If I were to leave the silver in the print, would the image shimmer when projected like Nitrate film?

Color nitrate prints are gorgeous: the shimmer, contrast, deep blacks and vivid color. Especially IB technicolor nitrate prints. I understand that nitrate film stock has higher silver content than safety film. Is there any way of getting close to that with standard 35mm safety film?

Hi, I am starting on a small feature film soon and we are shooting on the Alexa. My first time shooting Alexa on a feature film. What is your idea of a complete feature film Alexa camera package? Sticks/follow focus/media etc. Which Alexa can load LUT's and display them on a monitor? Thanks

Congrats!

Hi, I am looking for an easy way to digitize video (1080p) from an old Cintel C-reality telecine machine and transfer it onto a laptop. I don't own have any special equipment, just my laptop and an HDP3 SDI to DVI-D converter. The telecine machine is hooked up to a monitor, I have attached a picture of the back. My thinking is: I could hook up an SDI to the monitor and then go SDI to DVI with the AJA converter and then plug the DVI directly onto my Macbook Pro, but then how would I capture the input from the DVI? Are there other ways?

I am puzzled. From the trailer, the film has a "texture"and looks kinda grainy. But its a big super anamorphic neg and has been pull processed? Even if the film was underexposed, by brightening the image in post you would you get noise and not grain?

It looks like that isn't the case. They actually pulled the film? From the Jan 2017 issue of American Cinematographer: EFilm dailies colorist Matt Wallace seem to disagree with American Cinematographer. In a interview with ICG magazine he says: Source: http://www.icgmagazine.com/web/breathless/

David, but do you think its an idea worth pursuing? In other words, would you have done the same if you thought the lenses were too clean (Zeiss Master Anamorphics)? Would half a stop be safer or not push none at all? We're finishing both digitally and on film.

Happy Holidays to you all! I completed a short film that takes at night. Shot on both 200T 5213 and 500T 5219 exposed either normally or slightly underexposed. Format is 35mm anamorphic with very modern clean lenses. I am thinking of push processing every single roll by 1 stop to introduce more texture and contrast which should work against the cleanliness of the modern lenses. Do you think its a good idea? Will I have issues with continuity in terms contrast or milky blacks?

For sale is an ARRI 235 4-perf 35mm Camera Package. Includes the following: Arriflex 235 camera body with IVS video assist and cage (no optical viewfinder) x 1 4-perf movement x 1 Arri shoulder mag 400' x 2 Arriglow Super-35 4-perf x 1 Hot eyepiece x 1 Cable RS-XLR (monitor power) x 1 Ground glasses - s2,35, s1,85, s1,33 Back rod system 19mm x 1 Cups for mags and camera x 1 Arri RS-3pin Handgrip x 1 Excellent cosmetic condition. Works great. Price: $7,000 OBO. Send me a PM if interested.

Hello, Anyone selling the Arri 535 or 235?

When you say IP, do you mean intermediate stock or print stock? Intermediate film is quite low-con, low-sat. Are projection prints too high-con because of the generations removed from the OCN or because of the nature of the print stock? Another question: how would one excatly replicate the high-con high-sat print look of this "Death Proof" trailer:

David Mullen, what are the advantages of doing a color timed IP from the OCN and then scanning that? Versus just scanning the OCN and doing the rest in the digital world. Does the photochemical grading yield a higher quality or more "organic" image?

Nolan don't seem to agree. They did an all photochemical finish on Inception and they'd even telecine the print which is what I am talking about: "The editors were working with an HD telecine made from a film print (not a negative), and the director was screening dailies in 35mm scope every night plus Avid screenings of the evolving cut, through a Christie 2K projector, every Friday. " "We telecine’d the print. So we didn’t telecine the negative. For all of our major screenings, we have a conformed 35mm workprint. " Source: http://www.studiodaily.com/2010/07/editing-inception-for-a-photochemical-finish/

Hello, I wonder if anybody has attempted to take the OCN and grade it photochemically using printer lights, then make a best light print and then scan that print for the DCP? I can imagine the characteristics of the print stock would be embedded in the scan (contrast, grain and color). Obviously there is no/limited digital post flexibility once you scan the print. Could this workflow yield some interesting/unique results or can the look be exactly replicated by scanning OCN and using a print-stock emulating LUT? Any thoughts welcomed!

Hi, Anybody selling a 5-perf 65mm camera by any chance or happen to know someone who does ? Thanks

Hello, What are some ways to rig a large solid (like a 20x20) to a celling? No frame, just the rag perhaps attached to some speed rail? The idea is to create as much negative fill as possible (keep the light from bouncing off the walls) and keeping the interior as dark as possible. I have attached a picture of the space.

Anybody selling a 65mm camera by any chance or know someone who does ? Thanks

Hi, I have a problem with the Arri cam. The camera is stuck on "wind" when I load a mag. Sometimes it doesn't, but the mag jams after running the film for a few seconds. I hear a scratching sound in the mag. When I load the film, I make sure to roll the take-in core several times to make sure its tight. Then I close the mag and pull out some film from the feed side to make a bigger loop. When the camera jams, I open the mag in the changing bag and the film in the take-in side is either loose or "spaghetti". What is going on? HELP!