Stephen Perera

thanks for the advice

....the clips came in as DPX files from the Arriscan....

Hi there... ......what I'm editing into a final piece will be placed into a drive and connected to a TV screen for display - seeing as size of file created is thus not an issue whats the best quality setting to export to from within DaVinci resolve for something on 16mm film......I will do separate copy for social media and use Vimeo settings etc...... I'm confused as there's a lot of options for Format/Codec export combination

I called them up when I read about it the other day.....I spoke to Orla Nielson the 'testing manager' for nearly an hour....he was very happy to receive a call of support from overseas.....he told me they were getting requests for interviews from the industry from all over the world and that the interest was huge (by the way he commented about it not the same getting an email than a call from a person.....old school like me!) and he also told me BIG WORLD FAMOUS people had called them about the camera....of course he said there were tons of emails coming in .....off the bat i told him I'm a nobody in the film world but felt compelled to call to congratulate them on such a ballsy, interesting move.........as a Hasselblad shooter I told him the mount was a fantastic idea.....he commented he was also a Hasselblad owner and we went on and on about our favourite lenses in our kits....... He told me about how they designed the Super8 camera for Kodak that was presented originally - in terms of design there is an obvious parallel to me.....northern European minimalism in my view......and it does remind me of the Krasnogorsk3 as well hahaha I cheekily asked him about the price point and he said a ton of money had been invested to get this done and that it was aimed at rental houses....they're going to the Los Angeles Cine gear thing now and spoke of the mad schedule they had with presenting the camera out there......dunno if I caught the info right but this has been done or not in hand with Kodak......obv as the latter makes the 65mm stock........ all in all the excitement for me is that all you guys who actually shoot feature films etc will get more 70mm features in cinemas and keep film alive and kicking and resurgent!

dont forget how many Hasselblad lenses out there.....having that mount opens a LOT of doors......

Takes a Hasselblad Zeiss lens mount...such a fantastic, practical idea.......this is going to make a lot of people happy if this takes off....personally I have 2 different 50mm lenses, an 80mm, a 110mm, a 150mm and a 250mm lens in my kit......I could stick any of those on....unbelievable .........now for the price.........I wonder if they have the balls to make it REALLY affordable even the cost of the stock and footage processing etc 65mm would take

Better article: http://www.in70mm.com/news/2018/magellan/index.htm

.....anybody know about this???? I quote..... https://logmar.dk The camera will be presented to the public, at the CineGear Expo in Los Angeles, CA, in May 2018.

I went with the Arriscan in the end and Im really happy with the results....what Cinelab London have done for me completely blows away the Telecine they did with the Tobin in another place and they DID **(obscenity removed)** up the processing of my first roll of 100ft in comparison just like people here told me they had.....

cant open .dpx in Final Cut Pro X as is so that answers the question! DaVinci Resolve all the way

.....so I have the 16mm Vision5 500T footage already from Cinelab London as Arriscan - well, still, as we speak uncompressing it - taken hours!!! I have to choose to edit into a 'piece' incl. colour etc in FCPX or DaVinci Resolve - any comments as to what to expect or which to work in and how....workflow i mean..... I use a 2013 Mac Pro - the black bin style

so where can one see this film out here in the middle of movie nowhere?

sorry I think I just named their machine wrong...its the Scanity...thats it....they had it as HDR Scanity on their price list

thanks Samuel!

I've come to the point aside from the top decision to describe the transfer aspect ratio...... I want my standard 16mm film IMAGE area to be scanned to 2048 x 1556 pixels to take advantage of the 2K scan - not a scan at 2049 x 1080pixels giving me a pillar box and the sprockets on the sides How do I tell them this tecnically>

ORIGINAL POST IN GENERAL DISCUSSION FORUM - i could not delete it...should have been here Hi all....finally sending out the Gibraltar Crystal project some of you are aware I've been shooting (some of you have been advising me all along) and the final footage is 700ft of Kodak Vision3 500T shot at standard 16mm Cinelab London are processing and scanning it for me at 2k - they have been most welcoming and friendly to me plus logistically they were a great option as neighbour country Spain doesn't offer the services I need....not to mention no problems with currency. Apart from the ECN-2 processing, I have two narrowed it down to TWO machines for the scanning: 1. SPIRIT log scan at 2k standard 16mm format 2. HDR Scanity log scan at 2k standard 16mm format Things to consider: a) The Spirit is £0.42 per foot and the HDR Scanity is £0.86 per foot The largest the final, edited 'piece' will be viewed is on a TV screen at the factory where they blow glass for tourists to watch.....then of course online/social media etc for marketing purposes. As a seasoned scanner of photographic film (I have a Scanmate 5000 drum scanner and now a Hasselblad/Imacon Flextight 646) and knowing what a good scan looks like and exactly when so operator has decided to bake in stuff like noise reduction etc......which option should I go for all things considered...... ......my top priority is getting the dynamic range of the Vision3 500T as the footage shot is mostly high contrast scenes at the limits of exposures Thanks for your advice and sorry for posting this in the general discussion as I really need good advice!!!!!

Hahaha yes per minute sorry

Hi all....finally sending out the Gibraltar Crystal project some of you are aware I've been shooting (some of you have been advising me all along) and the final footage is 700ft of Kodak Vision3 500T shot at standard 16mm Cinelab London are processing and scanning it for me at 2k - they have been most welcoming and friendly to me plus logistically they were a great option as neighbour country Spain doesn't offer the services I need....not to mention no problems with currency. Apart from the ECN-2 processing, I have two narrowed it down to TWO machines for the scanning: 1. SPIRIT 2. HDR Scanity ....both at 2k (remember its standard 16mm) Things to consider: a) The Spirit (£15 per foot) is 40% cheaper then the HDR Scanity (£25 per foot) b) The largest the final, edited 'piece' will be viewed is on a TV screen at the factory where they blow glass for tourists to watch.....then of course online/social media etc for marketing purposes. As a seasoned scanner of photographic film (I have a Scanmate 5000 drum scanner and now a Hasselblad/Imacon Flextight 646) and knowing what a good scan looks like and exactly when so operator has decided to bake in stuff like noise reduction etc......which option should I go for all things considered...... ......my top priority is getting the dynamic range of the Vision3 500T as the footage shot is mostly high contrast scenes at the limits of exposures Thanks for your advice and sorry for posting this in the general discussion as I really need good advice!!!!!

yes Will I'm going to get 'log' scans (the flat scan you refer to) at 2k of all the footage from the lab and do it all myself in DaVinci Resolve.....the only way I will embrace the grain and not get the smudgy noise reduction baked in S

hey thanks Jon! appreciate the kind words

I'm just after clean footage if I shot it clean...and at its max quality as is.........I dont want scanner/telecine operators who apply noise reduction (for example) cos HE/SHE thinks grain is bad....nothing worse than seeing those noise reduction products out there for photographers who just miss the point

Still use it all the time professionally......the 160 400 and 800...i told my clients i quit digital and they are liking it!

Shooting with Aaton XTR XC with Kodak Vision3 500T at the Gibraltar Crystal handmade glass factory in Gibraltar for their marketing......(image has notes to myself haha) I'm the one man band behind the camera of course, the BTS was taken by the client....

I've been shooting a lot of Kodak Portra from 2012 on Hasselblad recently and I rate the film at half box speed if I shoot in lower light and at box speed if in bright conditions.....

thanks for that Samuel