Jay Young

I don't know about the lut, and it wouldn't be quite as intense on actual film negative, but the old adage holds here: Kodak = RED Fuji = GREEN! Old Kodak stocks always popped red.

It's only sort of "as simple as that". YES is the answer to your question, but it gets more complicated. If you use a light meter (and you should) and that light meter tells you your daylight scene needs to be shot at f/5.6 , then the needle will tell you how many stops under or over 5.6 you are! Then you can compensate if needed, or just let it go. I wouldn't worry about it too much, but you should really test out some things and write down what you shot and what the camera reports. That way, you can go back and understand what you are seeing versus what you did.

Well, you actually WANT to over expose by 1/3 as it will richen up your image. It's a good thing! Don't worry about the 50D. If you wanted to not overexpose, you could manually adjust 1/3 stop but that's more trouble than its worth. The viewfinder meter is just like the f/stop settings on your Canon AE lens. Red generally = bad. The needle points at what aperture the camera is set, even in automatic mode. If it goes to the red, it means there is not enough or there is too much light and you will under or over expose your image by a bit.

Many years ago Slides were awesome. People would come over and watch you project your awesomeness. Then Photos in 4x6 prints were cool, you could share those! Then no one wanted to bother with the consumer unfriendly negatively marketed but technically superior slides. Then prints were larger, and slides were tiny. Then, watch out, here comes a cell phone - digital slides. We've come full circle. Let me hand you my slide projector so you can see my tiny images. Consumers are being guided, no lied to. Consumers likely don't care enough to discern an IMAX experience from a traditional experience. In my home town there is one cinema, which is atrocious. The owners don't want to put any more money into it so they built a larger screen onto the side. Now people are returning to this cinema and always say 'is it on the large screen?' because they see that as a better experience than the smaller screens. Truthfully, this screen is maybe 10% larger than the others, but it's the room that's much larger so it feels like a better experience. At least they don't have GIANT BLUE LED's all the time. Consumers will flock to new and different. I would bet 132% of consumers would believe they had seen nuclear lazer projectrons if you showed them a very good 35mm print presentation.

I've decided to make my CP as useful as possible, for whatever projects it might be used on. My camera has the video tap port on top, which I can't seem to remove as I think it's been painted on... Anyhow, I don't feel the video tap solution commercially available is worth the money, as I don't feel the camera system is worth more than the video tap would be (+$1500). My initial thought is to use a single board computer, such as a RasPi or oDroid and camera unit to relay a video signal - this could potentially be wireless with streaming over wifi. I would much rather just use an HDMI to monitor, but the potential is there. 3D print a housing for the camera to position it at the appropriate distance from the ground glass, and power it from the camera battery, with embedded software that just displays the camera. If I could find a SONY CCD module at a decent price (even black and white) I feel that could be used instead of worrying about an embedded system single board computer. However those Sony cameras tend to be more expensive than the raspi/camera combo. That said, I'm game to create my own video tap solution but I wondered if anyone else had any thoughts? That said, I'm game to create my own video tap solution but I wondered if anyone else had any thoughts?

While IMAX would be nice, there really isn't a nice 15/70 cinema near me. 70mm show I can travel to, and hopefully will if the cinemas in Knoxville kept their 70mm projectors from Hateful 8.

DO IT! Make a plan, stick to the plan. How long is the feature? Are your talent well rehearsed? How much have you budgeted? 40 rolls on a 90 minute feature would be cutting it close at 4:1. 80 rolls would allow almost 8:1 You could go with 60 rolls and a 6 or 7 to 1 ratio if you wanted to split the difference. That's about 600 minutes of film time. When you shoot digital, how much footage do you normally generate?

I don't even own six table lamps.

I saw it last night and thought it was enjoyable. I for one am really glad they destroyed that first ship; it looked terrible with those nacelles sticking up like that.

This is exactly how I felt. The pilot was crap, and really turned me off. But, by episode 4, I was in all the way COME ONE SEASON 2 TAKE MY MONEY!

I watched Stranger Things over the weekend. I found the first episode lacking in tone of lighting, but it got better as soon as they figured out where to go. I am very much interested in how much digital wizardry was involved in the black void. One wonders if that was all chroma.

Max household circuit is usually between 15-20 amps. From a lunchbox you might could get 40 amps.

I mean I forgot I had the film. It was stored in a box, on a concrete floor, in a building without heat/cooling for 5 years through the summer and winter. The worst part about it is that its quite unruly if it comes unraveled the slightest bit. The average mean temperature was likely 25c in that location, except for in the winter. The box was under some shelves and protected from daylight covered up by other boxes.

I have some 7296 that I shot. Turned out fine. the colorist was able to best light a workprint for me. The stock had a strong green tint. I rated it at 320. I had a DPX scan of it done, but I seem to have deleted it, so I can't show you. This was after the stock had set in an un-regulated building for 5 years.

Well, as if by fate - I pulled out the dummy rollers where the sound head use to be for a good clean, and then it would NOT go back on. Its like the tensioner pin got bigger/misshapened, OR the aluminum tube that sits on top of that pin became warped? Very weird. Since I don't have another dummy head, or the original sound head I can't tell which is actually out of spec.... oh well. Anyone ever had similar issues?

I have found the same. The last shoot I did I found a good amount of duvetine folded and thrown over the top worked very well, or at least the sound guy smiled and nodded...

Pin registered or not, all things being equal, an image shot with the same lens, on the same film, camera body will matter little. I have a non pin registered camera, it produces stable images.

I do. I've tried to sell the CP, but it seems no one has any money, which I can at least agree on. The original spirit behind this thread was ' most effective way to have two cameras without spending thousands '... because having two is twice the fun! And, since it seems no one is either interested or has the cash to buy it, I'll just keep it and use it as a beater camera in situations where I don't want to put a more.. expensive? worthwhile? camera?

So the big URSA 4.6k - if you're going to get it, just get the PL mount. You can get the EF, but then when you have budget for a big Optimo zoom you'll think 'why didn't I get the PL'. There is a giant monitor on the operator side, it has controls on the edge which you can use to operate. There is an EVF if you want, but then it's hard to use the 10" monitor built in. Its upgradable, which is cool. All the kids are going with the mini, because they have weak arms, I think. It's really hard to show you a video of the URSA in action because most youtubers went with the mini. It's heavy, but so is Alexa. There is a C-fast to SSD adapter if you don't want to deal with C-fast cards. The images look great. If I had $8000 to spend on a new camera, I would very seriously look at getting one.

The wonderful people at Panavision get it, when I emailed them for a quote on a rental package earlier this year they sent me a list with so many accessories it tripled the day rate easily. I email back and said I just wanted a camera and they came back with a fantastic price, all the gear I needed, they didn't question anything. Arri on the other hand I guess I'm going to have to go in person as the people I talked to on the phone don't seem to understand that I don't NEED cinetape, or wireless FF (even tho the new model is cooooool), just a camera. I"m fine tethered to a battery, or a wall for that matter. And, when I need to be able to run with the camera on a shoulder, I usually choose the SR as it seems to work a bit better for that. I've watched films from friends of mine swoop and swirl around actors 360-degrees. They want to utilize the camera language of The Revenant, and Gravity but with a single take in as small a camera as possible - which is interesting, but that is not the language I speak. Watching some Star Trek: TNG last night I had to back up a bit and watch a few seconds twice; I noticed they went handheld for one particular shot. I had to make sure I saw what I did, as it goes against the camera language they used in the early seasons. Very interesting. I don't know why cinematographers my age are looking towards free floating cameras and constantly moving frame. I'm very much of another age when it comes to camera moves I enjoy. Everyone goes crazy over Chivo, but it's Hoyte Van Hoytema I've got my eye on. I've resorted to keeping the camera on a jib most of the time, which allows me a lot of free movement, but also is totally stationary when I need it locked off. I think this is the reason older camera systems don't really make me worry about anything. I'm very likely going to buy a Mitchell Fryes camera in the near future, and I'm holding out for a nice Arri 2c if I need handheld 35mm work, as its getting harder to rent an Aaton Penelope, or any decent 35mm camera that is small anymore. I was actually looking for a 16BL before I bought this CP. That was almost 10 years ago. I am not unhappy, but I am glad I was able to get an SR as well. My only problem with the plastic magazines is for some reason the material inside seems to snag on the film edge and pull it out of the core. Then I end up with 400 feet of trouble. When the mag starts gently squeaking, I know what happened. I got a great price from Visual Products for a hard PL conversion, and they have the parts so I'll that route.

No Worries Tyler. I guess I come from a more controlled mindset when it comes to cinematic language. It seems modern filmmakers want a camera that weighs nothing, floats via anti-gravity so they can move it however they wish, is able to remote control, outputs a video tap that is better quality than the final image wirelessly, and never needs maintenance.

The definition of BlackBody: A blackbody refers to an opaque object that emits thermal radiation. A perfect blackbody is one that absorbs all incoming light and does not reflect any. At room temperature, such an object would appear to be perfectly black. Lamps that emit light by thermal radiation caused by heating a black body... Incandescent are the only lamps I can think of that work in this way. The spectral power distribution (“spectrum”) of light emitted from a blackbody is a function of its temperature only and is described by Planck’s radiation law. That is to say, Color Temperature comes from the spectral radiation when a radiating source is held at a particular physical temperature. LEDs emit light by a process called electroluminescence, not black body radiation. All other fixtures either heat gas, or create an arc, but who's spectral color temperature is not based on the physical temperature of the medium. If that were true, Arc lamps would have a color temperature of a lot.

It was last at Visual Products for a full CLA including the accompanying Angie Zoom which they said was in great condition. They still offer S16 conversion, but I'm really not interested in that, however they do offer hard PL conversion which I guess is the best option at this point. My main issue is that particular zoom, which I very much like, is deteriorating fast, with spider fungus creeping in between the cemented lens groups, something I can't fix at home. I'll most likely find another version of that lens as I quite enjoy the look and feel.

I have the orientable viewfinder, and Whitehouse AV wants waaaay too much money for the eyepiece extension... (good luck with sale). Does it force one to work slower? Sure, but then how did films get made before quick change coaxial mags were invented... Honestly sometimes the conversations on this board move into "if it is not the camera that I would personally use it's junk, and it better be able to do all things ever". Yes, there are more lightweight cameras, and easier to load cameras, and less noisy cameras. There are also cameras that are just as noisy if not more so and people use those every day. In my mind, its not really a handheld camera any longer. It's a studio camera that needs to be treated like a studio camera; big, heavy, must have batteries or line power. The most portable the camera might get is when attached to a Fisher dolly. I just shot two rolls with it this past weekend, and the lead acid battery I built combined with the xlr dummy battery plate worked flawlessly. If I had had a gear head I would have been set! I wont apologize for not owning an Arri 416, neither will I for all of the so called short comings of said CP-16. All I wanted was to bounce ideas off some people smarter than I about keeping an older, perfectly working camera going. If anyone wants to sell me an Arri SR kit for the price of the PL conversion ($600) I might buy another. Furthermore, if Whitehouse AV believes their bowtie CP with Angenieux zoom and non-orientable viewfinder package is worth $5000, then my kit has to be worth even more. What is even more hilarious is that one could buy at least THREE SR2 kits with that cash.

They were very popular ENG cameras in the 60's and 70's, right up until I guess the SONY Betacam came out.