Robin Phillips

I'd side with Tyler on this one. For 35mm and smaller gauges especially, you're going to have a better experience even if you ultimately do a film out. And its arguably been better for a long time now. that being said I love the subtle gate weave on a print and still think that can be easier on the eyes when everything goes 100% right. And yes Im the sort of sociopath that will put a tiny bit of artificial gate weave on a master going to a DCP if they'll let me.

it should also be noted that a photochemical finish when you're talking 65mm and imax film can make sense from a maximizing quality perspective. If you were to say scan 5 perf 65mm 50D and output it back to film, Im not sure if you're going to easily be able to get that printed at more than 4k. Higher resolution scanning is possible, but going back to film is the problem. You also have to account for DCPs maxing out at 4k (and the bitrate for 4k and 2k DCP is the same...), so you are arguably loosing resolution vs going fully photochemical and then back to a 65mm print. Now all of that being said, its not like they make super sharp glass like master primes for the 65mm and imax film formats. Imax likes to say their film has a resolution of something like 18k, but I dont believe any glass compatible with their camera system is capable of achieving that level of performance. The only lenses Im aware of that can pull that off are what they're using on that system for the Las Vegas Sphere

this is a really cool find, thanks for posting it. hopefully they make a good product and will post some test scans soon

of all things, to my eye the Supreme primes actually seem closer to the standard speeds in color rendition than the Ultras. I assumed that was part of the design with the supremes, to basically provide a modern alternative to using the older glass. so that might be an alternative if you're super worried about color matching. But I think that generally most people wont notice either way since you can push things around in resolve a little if needed

its always been my impression that theres a little more blue rendition in the standard speeds, but the main thing you get with the ultra primes is the sharpness, even when at T2. granted I havent tested them against each other with charts, but thats always been my impression. the ultras are definitely shaper than the old super speeds wide open

so I've never run into this on an SR3, but self resetting fuses take time to reset (can be minutes or more). And if you still have all those accessories attached after the rest, you may still have the same problem. I specifically run some accessories off my battery or battery plate's additional power plugs whenever possible just to not tax the aging electronics. if its urgent this might be a call Andree sort of thing if you're in LA and see, should it remain problematic, if he can do an emergency check on it. But I think the max draw should be in the SR3 manual, and if all those devices add up to more than the body can handle you know what went wrong.

Are you saying you cant find double perf rolls that arent 500T? cause single perf 16mm is available in 50d, 200t, 250d, 500t and ektachrome without issue, as well as B&W. you can order direct from kodak (which usually means calling them, they dont sell online), cinestill stocks 16mm and for a little while was willing to ship 400ft rolls. theres also frame24 in the UK, who tend to be a little cheaper even with shipping to the US (still not sure why, but I've never had any xray damage or anything from them). B&H also sells 16mm in the US, but they mark things up so much the only way that makes sense is if you have a student account with them.

if I remember right, NTSC had a slightly non square pixel aspect ratio. I've seen things like this happen when the file is mastered with a 1:1 pixel aspect ratio when it should be slightly different. a google search says the NTSC pixel aspect ratio was 1:0.906. This should be correctable in davinci resolve either by manually distorting the vertical or by setting the correct pixel aspect ratio value. bringing it into an NTSC timeline alone might correct it in resolve itself, then you'd just need to export with the correct settings.

the old documentary hand clap with notes trick can work. but if it were me I'd just have a smart slate thats jammed to your audio device. so long as sound is rolling, you dont technically need to clap it you can just open the arm and let the TC run, and pan the camera briefly to see the slate. you can then match the timecode manually in post. back in the day there were telecine machines that could actually take the timecode the Aaton would print onto the film and the tape audio and kind automatically jam the two in the transfer, but I dont think anyone is running a scanner anymore that can do that.

having done evening available light tests with 16mm 7219 before, IMO you can push one stop so long as you rate at 800. It will be grainy, but still usable and even can be digitally cleaned up without much effort. 2 stops is an unrecoverable mess of confetti. in 35mm you can get away with more due to the extra negative size and the relative reduction in grain size.

I am an idiot for not reading your location. Honestly, if you're in Germany it may make more sense to have Arri check the camera out if Arri Munich will still look at private cameras. I know Berlin and Munich arent exactly right next to eachother, but if they'll look at it thatd be a lot easier than buying a camera in the EU, shipping to the US, then sent back to the EU. Cinefascilities is in the netherlands and I believe also services 435s, so that would be another local-ish option. At least an EU option. But even being in the EU, there may be opportunities to buy US based cameras at a lower price if this strike goes down. I'd imagine locally prices might go up with so much US production looking to shift out of country right now. Anyway, Im not trying to discourage you but rather make sure you dont buy a camera that will cost more to get operational than just buying a used but complete camera from square one. the last thing you want is to accidentally buy a money pit

honestly, if you want a 435 just wait a bit and maybe try to pick one up if IATSE strikes. lots of people are currently dumping all kinds of gear to prepare for that eventuality. a 435 with no movement is probably more valuable as spare parts. I think you'd need to know from someone like Andree at AMcaemra what other parts you would need. I remember last year there was a 535 3 perf movement kit for sale, and it had much more than the movement. there was the gate, the 3 perf gate mask, and a back panel of some sort that was required. plus, if you are picking up a camera without a movement, you have no way of testing to see what is or isnt working on the camera. what if the movement was pulled cause the board fried (or damaged)? 435 main boards are not common. What if one of the motors is no good? If you really want to, I'd get as many photos and videos as possible of this camera body and send them to Andree to see what he thinks. though again, a busted camera might be worth something to the right person for the spare parts

I dont think there are that many out there, and the ones that are out there appear to be workhorses (and money makers in the right hands).

3 perf kits are uncommon at this point, which makes them quite valuable. you also need the 3 perf gate, not just the movement. not sure what you're intending on using your 435 for, but finding and doing a 3 perf conversion may cost a lot more than any additional film costs incured by shooting 4 perf if its just for personal projects. if you need 3 perf for rentals and jobs, you probably would want to find an actual 3 perf camera. Arri certified pre owned actually had some 3 perf 435s for sale not too long ago, might be worth looking into if you need one asap.

editing post cause I mis read that you want it for super 16. I have one of these on my 435, and its exceptionally low latency and Im quite happy with it. Its perfectly fine to operate off of, and much lower latency than my SR3 VP IVS replacement tap (which I am not comfortable operating off of). the Mothco at least for the 435 can be operated off of, and Im fairly sure Oli using the same camera for all of his taps. Its not as good as an indie assist or Andree's camera he has for the 435 and SR3 elbow optic color and DR wise, but if what you need is HD for gauging focus remotely and/or making everyone less anxious I think its a good tap