Carl Nenzen Loven

Did a quick check at their sites. Full CTB had a 2% transmission difference between the brands (Rosco being 36, Lee being 34). Not sure how much that will make difference in real practice.

I am emailing Les now and hoping for a miracle ;)

Waaait a second. Wouldn't it technically be possible to just make an m43 to ACL adapter then? You got 2 more milimeters than the ACL? (according to the ACL manual, anything with a flange distance greater than 17.52 mm should be able to fit).

Sorry I meant using a Metabones adapter to the Nikon one, to then ACL. So basically 2 adapters to get the lens onto the camera? It should work I feel because I did a similar setup for a Hasselblad lens to a Sony A7, using a hbl to canon, then canon to Sony. C

Hi, Not trying to start a Mac or PC argument, but I am in favour of the Lee Gels. But I always felt they look more solid (as I feel how durable they are). Do they cut different amount of light depending on the brand? C

Hi everyone, Now call me crazy but I was having an idea for the ACL. If I do have and ACL to Nikon adapter I could attach a FF LENS to the ACL body. But I loose some field of view. But what if I use a Metabones speedboster on the adapter? Would it even be physically possible? C

We get one per work we hand in...

Well first, schools telecine suite has 2 technicians there that used to work for FotoKem. And they have a complete DaVinci suite when you are doing the grade so that isn't really the point. Why I started asking is that I am wondering if bigger productions specifically have that extra sharperning add. Is it post or is it in the transfer... I agree, but this was milky colours. And I suspect the Telecine being the perp here, the workprint is way sharper.

When I get my own S16 I will have more time to test, since our school seems to support camera test as much as we like. But I will definently continue this and figure out the best mix. C

Thanks for replying and not being an ass yelling at me :) Happens waaaay to often at forums. I will shoot S16 next shoot so I can see the difference truly. Our school does have access to the Zeiss Super Speeds, so I will try that combination as well. Last footage I shoot was on the SR2, but it shouldn't be too far from the SR3, or am I wrong? I really want to try to push 16mm to the most I can while I am still in school, because I doubt anyone will allow it when I graduate... The stock was fresh 7219 so it shouldn't be too bad? I have had better results with “old” Fuji 250D. Also we do Telecine just. Maybe I should try having someone else do a frame by frame scan.

Hi everyone, If there is a thread bringing this up specifically before I apoligize. So I have been doing the film school studies now for the second time, and i'm on my first year of film (as well as MFA). We started shooting super 8, to move over to 16mm, to next semester touching that golden standard of 35mm. Now while I love working with film there is something that I found a bit strange, and I am wondering what it is. So the movie “hurt locker” was shot on the Arri 416, the tv-series “the Walking dead” as well (if I remember correct), both look really good and I like the feeling of it. But I feel that every time I either get my own footage through the telecine, or look at other peoples test footage online it turns out milky. Like the sharpness is not there and the cripsness of the image just do not pop. Now I know there are of course a lot of things to credit both the masterful DP's, as well as the amazing DI's, but is that the thing that makes a film students footage different than theirs? What I am saying is, the footage they have, is it a special scan? Is it a special way to treat it in post? What it the best way to maximize the most out of the Super16 format? //C

No, I know they aren't the same. But thank you for telling me though. Now I can actually express why they are not :) Still the question remains, where would one develop this? C

I didn't really know how to express it the best way on the phone. This is their quote “Vision 3 films are intended for processing in ECN-2 processing, but experimentally people found that they produce decent (to great) negatives when cross processed in C41 chemistry. Our Remjet process at Little Film Lab uses C41 chemistry combined with a manual remjet removal step. ” I am not sure how many times they use it to do this. Hence why I rather find someone that will do it in ECN-2 just straight away. C

Indeed they do. https://www.littlefilmlab.com/services/

Well Little Film Lab has specific C-41 order you do. For REMJET film. Problem is their chems get bad fast, and I rather have a lab do the ECN-2 to get a cleaner negative. I'll reach out to Robert. C

Hi everyone, Like several people here, I bet you end up with white a bit of shortends after each shoot. Shortends that barely can make it to the next project. And when I do I keep it and respool it into some old 35mm canisters for shooting stills for my hobby. Problem is, I have used Little Film Lab in Menlo park to develop the film. While they may be great people, their C-41 process of doing it tends to ruin the colours a little. The vision3 I shoot for moving image looksa lot better. And recently I have acquired some Vision3 65mm to be used with my medium format. Problem is, I am looking for a new place to develop these to get the best colours. Does any lab let you develop this low amounts? What if I send it in on a core, does it help? C

This seems to be what I am looking for. https://www.aja.com/en/products/mini-converters/hd10a-plus#support C

Back to square one. “Hi Carl, The MD-HX is a digital only device and so can only convert SDI/HDMI to SDI/HDMI, to do the function you require you would need an analogue to SDI/HDMI converter which we currently do not offer.”

I would love for you to check on this to get an actual real answer. That said I read the manual for the decimator (here http://decimator.com/specs/MD-HX_HARDWARE_MANUAL_FV1.3.pdf ). And it seems it does accept 480/576 in (so NTSC/PAL), and it DOES upscale to whatever resolution I need (HD) Hence I do think't it would work. C

Hi everyone, I have already been schooled on this subject by the community that speaks for my monitor company so yes, I already know my stupidity. I bought the PIX-E5 to use with my schools cameras, a mixture of Sonys, one Alexa, and one RED Dragon, and of course out film cameras. Now it turns out two things that I should have looked up. My monitor/recorder only supports HD resolutions, and it has to be a digital one. So my monitor is pretty useless. But I started to think if there is a solution to this. I had people telling me that the Decimator MD-HX might a solution to make this work. Problem is, I was planning using this in the field so I need a battery solution. So to make it simple. A, does the Decimator MD-HX have the capability to make a NTSC composite signal through BNC, to a 720 BNC? Link: http://www.amazon.com/DECIMATOR-Miniature-Converter-Scaling-Conversion/dp/B00QPRGGCS B, Is there a way to run this on an external battery (but not a D-tap since the Arri SR-3 does not have that)? /C

Yes, thank you.

I know what happened. Autocorrect removed the L from my name. correct email is carl.loven@gmail.com C

Would you mind sending it again? I looked through both my emails (including spam folder), can't find anything :( C

So of the two ACLs you offer, is anyone of the m S16? And would you consider shipping to the US? C

Yeah, we only do primes at school. But I agree. maybe a dedicated ACL one instead (around 325 when I found them on some sites) would be better. I did find even some newly made superspeed sets with the Arri-b connection selling just north of 10 000 dollars (which is not a steal for a student, but for a graduating student, maybe :) ) That models seems pretty smart since I have access to a lot of arri-s at school. BTW Volker, sent you a PM, and a email :) C