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Robin Phillips

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Robin Phillips last won the day on September 15 2019

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About Robin Phillips

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    Los Angeles / San Francisco
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    Arri SR3 Advanced, Aaton Xtera, Sony F35, BMPCC

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  1. I dont think either are 100% flicker free, IIRC they both run at 25fps. The footage I've seen off the AZ one is effectively flicker free, it just dims a little in cycles. The listed VP tap requires the non-IVS video arm top, though my understanding is they are working on full replacement for the IVS.
  2. I got what I needed form Aaton directly (alas, no 2.35 glasses around anymore). thank you though
  3. with older lenses this is for sure true, but I'd note that the zeiss ultra primes, master primes, and cooke s4s are all sharp enough for super 16 work. I also use a LWZ.2 on my super 16 cameras and its sharper than the mk3 s16 superspeeds. It's probably best to be safe on the wide end and use Ultra16s or Sk4s for a 12mm (and wider than that you need super16 glass anyway). For older era zeiss glass, the rule of thumb I was taught was that anything longer than a 35mm is most likely sharp enough for super16 work, so like a zeiss standard speed 40mm would be fine in theory. Still best to test though.
  4. probably in the 10k range in the US, especially if it includes 3 + mags, viewfinder extensions etc. Maybe expect to pay more for something fully services, less for something that needs a check up. In some cases a place like Visual Products will offer a 6 month warranty, so that can add to cost too (but arguably worth it for peace of mind)
  5. They run 16mm on the scanity 4k. I've had all my stuff in the last year that went through fotokem run on that machine, has outstanding results.
  6. You should get some bids from different companies. Fotokem, Cinelab, Kodak etc usually will get back to you within 48 hours with a cost estimate and suggestions for your workflow. Kodak's website should have a list of labs by region you can check. Last time I checked with Fotokem for a 16mm 4k finish, it was cheaper to scan everything once at 4k than it was to scan everything at 2k and then selectively rescan at 4k (using the Scanity). Was the same situation with Kodak Atlanta IIRC (using the spirit 4k).
  7. its a taller, 4 perf sized sensor
  8. apologies, my brain is so tuned to 16mm lately I made a bad assumption
  9. you should be able to ask them which scanner is which. I havent dealt with NYC but Atlanta has always been super helpful with answering questions. its possible the HD scan is on their blackmagic cintel scanner, which is actually less than 1080p.
  10. one thing you might wanna try, though the plugin isnt particularly cheap, is to run the footage thru Neat Video (no affiliation). it has degrain and sharpen tools that work pretty well, and you can re-mix it with your original footage. I tend to use it on super16 just to squeeze a tad more sharpness out of it, especially if Im using older glass, then I'll do a mix of 25% sharpened 75% original. its just enough to sharpen up the eyes, some details a liiiitle bit more. You might find it can get some of your footage here a bit more acceptable to you. works with premier, avid, AE etc
  11. Check with Ablecine service department in LA. They might have something in storage.
  12. Try playing with Neat Video some time. you can clean up 16mm to look cleaner than 35 if you want. My personal favorite trick is to do a high quality degrain, sweeten up the picture with some sharpening, then do a mix with the source footage to get the grain back. it gives a great extra little kick to the image if you need it (especially if you had to compromise on your scan format)
  13. I spoke with Visual Products this week. they're doing ones that will be replacements for the Arri SR3 IVS model as well as the Aaton Xtera. Glorious days of HD monitoring ahead!
  14. Any chance anyone on here has a PDF of the AATON VSU Mk II manual? for the life of me I cant find it online
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