Joshua Echevarria

Starting a feature and the vendor we are using only has the Panther S-Type and would prefer that our production uses this dolly opposed to outsourcing the Fisher 11. Its a cool dolly but definitely not the same build quality as the fisher and I am genuinely concerned about the load capacity if we have an offset of 3’. Has anyone worked extensively with this dolly? Can it handle a high payload on an offset? Thanks

The 18k Fresnel isnt on the photometrics app. I did however download the LDT files for the fresnel and arrimax but the information was not making sense. The info in those files indicated that the Fresnel was brighter than the 18k arrimax and I just know thats not possible. So I’m not really sure.

I am comparing an arrimax 18k to a 18k fresnel LTM / cinemills /arri. ( i imagine the fresnels are all similar)

hey all I'm starting a feature shortly and our vendor has an 18k LTM fresnel. Im having a hard time finding the photometrics for this unit and so I don't really have any way to compare the two options. Basically, it would be easier for our vendor and our shoot to just use this 18k Fresnel but I am concerned about the output difference. Does anyone have any experience with the fresnel? Thanks!

Thanks Rob our project isn’t shooting until mid Feb but I just learned that we do have a quick turnaround so I may have to keep things local to ny

ah yeah I didnt realize it was a 4k Director. I would imagine for our film's budget which isn't super low but still relatively modest, an RGB scan might be out of the question unless we were to send the film out to Fotokem or elsewhere with the scanner I'd like to use

I appreciate your insight. I'm up in the air right now. Its for a short that is guaranteed a theatrical screening. There is only 1 LG Director in NY that I know of. Everyone else has a scanstation. do you have any side by side comparisons?

Thanks for your reply Robert. I posted the same question in another forum as well and based on the answers I've received, the different between and RGB scan from the Doctor, Arriscan etc and a 2 flash HDR from a Scan Station for example, is negligible. Whats your take on that?

I'm not sure if this is completely relevant to the entire post - I feel like I've been able to understand only a portion of what is being discussed here but I understood your original concern. Below is a note I received when asking about the color space of scanned film that I had done on a scanstation. I was trying to get clarification on the color space so that I could apply a color space transform in Davinci and work in Davinci Intermediate but that is pretty tough to do without the info of the scanned files color space. Anyway, this is what the scanning tech told me - "We've been back and forth about this with Lasergraphics support in the past, and we're told that the colorspace is never really "set" as it all depends on the density of the negative/exposure itself. The only definitive answer we've gotten is that the capture and output should reflect a logarithmic colorspace. Cineon Log has been the standard for some time, and I've been told by colorists in the past that they've used Cineon Log, Davinci WG, and even Arri Log C, it sort of depends on workflow and preference. I believe any wide gamut colorspace should be able to work with the density of these scans, and rec2020 makes sense as the gamma setting as this was a 2-pass capture, but I can't say that with total certainty as I'm not a colorist. " I've tried cineon log and achieved the best results but I guess I'm still curious for a more concrete answer.

What is the difference between scanners with Sequential RGB+Infrared color capture method vs a bayer pattern color capture method? I see that laser graphics offers both models and that the arriscan has the Sequential RGB+Infrared. What is gained from the rgb method ?

Could you share what this movie was? I’m working on a commercial and we are entertaining the idea of shooting anamorphic and cropping for 16:9 so I’d like to see a reference

Hey Tyler. Thanks. I'm basing the price direct from Cinelab's rate card for the east coast prices. The kodak rate card is actually even higher. I think the east coast prices are a bit more inflated then everywhere else.

They Ludwig There are disclaimers on the main page and the result page to reach out to your local lab for best deals. Again this is an approximation tool. Not for exact numbers and I'm trying to be as clear about that as possible.

Price reduced $13,500

So my intention was to just aggregate data and create something that gives a close estimate to what the cost will be so that productions can create a relatively realistic line item. I don’t think there is a world where 100% accuracy is possible unless there was a calculator for each lab - which would be impossible because even here in New York the labs don’t publicly share their price sheet. Some labs will tell you if you reach out but normally it’s not even listed on their website so to create something where a user inputs their own numbers wouldn’t be useful either in certain circumstances