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Robin Phillips

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About Robin Phillips

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  • Occupation
    Director
  • Location
    Los Angeles / San Francisco
  • My Gear
    Arri SR3 Advanced, Aaton Xtera, Sony F35, BMPCC
  1. Film can not resolve infinite resolution. From what I've seen there is 0 way super 8 can resolve 8k. Its pushing it to say that super 16 can resolve 4k, and that assumes Ultra 16s or Master Primes are being used. This will almost certainly not be the case with a super 8 camera. So why throw away money on an 8k scan on a format that cant resolve it? I suspect if we all had that kind of money to blow, we'd all be shooting 65 lol
  2. I know in the SF bay area along with most of LA, cable only pushes at 720p (though some on demand stuff is 1080). If these regions dont even push 1080, it helps the argument that UHD TV is... questionable in practice. Also I've found that, at least with S16, scanning at 2k and upscaling to 4k can (emphasis on CAN) result in an equal of better (where better equals more satisfying to people who want a sharper picture) image than a 4k scan. So the idea of doing 8k scans of super 8 seems utterly insane
  3. The rounded frame is going to be the old CRT TV Safe zone. The corner hooks should be your full gate area, aka the full of what you'll see when you do a scan
  4. most of those were gun cameras or scientific cameras that would be triggered precisely to capture what was being studied. While some were usable for film production (IIRC some were used on Hurt Locker) most are not exactly ideal for narrative or doc production use
  5. sent you a pm, but ya the lentiquip cables work with the 304 so should work just fine with the 301
  6. I use a PAG AR304 charger for my SR3 batteries. They work fine with both the normal batteries and Lentequips larger ones (but not the super duper high density ones). You can find these chargers for about 50 to 200 on ebay right now it looks like. now for the XLR to SR3 battery charge cables, you'll probably need to order those from Emery at Lentequip
  7. tad late to the party but I've found what vimeo does to 422LT to be effectively indistinguishable to what it does to 4444
  8. correct, my mental math there defaulted to 1920x1080 vs 2048x1152.
  9. no affiliation https://www.ebay.com/itm/Used-Arri-Ultra-16-T-XP-T1-3-Lens-Set/163518458527
  10. if you dont need their HDR scan, a 1080 scan needs like a 6% upscale to be 2k. that upscale is unnoticeable to most, plus you'll still have your original negative if you do need a higher res scan later on
  11. I think you've under estimated the cost of HDDs. IIRC insurance to cover re-shoots in event of catastrophic loss for digital requires 3 backups, and as someone who has lost hard drives before its basically cinematic suicide to not use at least x3 raid5 disc arrays all running WD Black or NAS drives. Anything less is begging for something weird to go wrong and data to go poof. On an ArriRaw feature (probably the most appropriate digital comparison to shooting on film), its entirely possible to blow $20k on hard drives, raid enclosures, and the data management/LTO backup that comes at the end. Aaaand if you're being responsible you kinda need to buy a personal LTO drive on an indie flick, or risk not being able to recover the data 10 years from now. So the costs are actually higher than you estimated if you're doing everything by the book, though I'd imagine a lot of smaller shows use the DIT and film loader interchangeably so as a line item that might not be a major cost difference. Though I will say for really low budget stuff on film Im the sort who just has a stupid number of mags for my cameras so if I have to download at the end of the day I can (yeah I know, not best practice).
  12. I had about 300' of 16mm 7203 I'd shot mostly as a lens test and left in the fridge for nearly 10 months (oops). Finally sent it to get processed over at kodak along with some push process tests I'd done. I was shocked that the 10 month old stuff turned out just fine, such that I doubt I'd be able to tell the difference if I'd set it in right after shooting. So its definitely feasible to shoot, chill, and send a batch in to whatever lab.
  13. I know this doesnt help now but in the future definitely consider shipping your film to the lab instead. My only real experience similar to this is having film shipped from frame24 in the UK to the USA, and from what I can tell the few thousand feet I've done that way have never been x ray damaged. It seems you are far less likely to get the war on terror level xray blast if your package is among 1000 others that all need to get to their destination within 48 hours.
  14. The Amira shoots the same resolution as the XT. its not a full 4k camera, it upscales to UHD. What is your goal with the camera? Personal? Jobs? Docu work? Do you need to one man band it alot? Figuring out what you're going to do with the camera is the best way to dictate what to buy (if buy at all)
  15. you can not use 100' rolls, as the a minima requires film with the emulsion spooled out. Since kodak doesnt make these from the factory anymore, you need to have your lab re-spool the film onto the special 200' daylight spools (which you will need to acquire and re-use). Fotokem will re-spool for you at a pretty reasonable rate, but it does work out to making film more expensive.
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