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Robin Phillips

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    Los Angeles / San Francisco
  • My Gear
    Arri SR3 Advanced, Aaton Xtera, Arri 435, Sony F35, BMPCC

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  1. thats fair. Personally I do prefer its grain generation and have found its halation tool fairly intuitive, hence suggesting it. I think a spot on colorist can probably do the work with either set of tools and yield a solid result, but you do need a colorist who really knows film to get best results.
  2. Since you said shooting actual 16 isnt an option, shooting the alexa crop for s16 with s16 glass is probably the closest you'll get optically. The last show I was post sup on we did a full arri digital to s16 treatment and it came out surprisingly well, though this was with a colorist who really knew her stuff (alas its not out yet so I can't share images). Done this before with reds as well but I think the color results on the arri sensor were better. I'd also say I've been a big fan of the dehancer plugin for resolve, the variable grain size per exposure is great and its halation tool generally sells quite well.
  3. kodak usually posts changes that remain in place for months to a year... Again, I was just trying to get a little intel to know what to factor in to budgeting before presenting to the client. Attitude is not required for that. Furthermore the intel has been provided, and once again I suggest we all just shut this conversation down.
  4. I think you missed my point. I had a specific question cause it pertains to some upcoming projects in the new year where creative is thinking about shooting film. It has nothing to do with wanting to purchase another camera. If it goes digital we'd rent. I dont understand why every time film cinematography comes up on this forum someone has to chime in to basically say "shooting film is dumb" and start a whole fight. You may think that, but some of us are just looking for answers to things that pertain to the business end of making something on the medium creative wants to use. Thats suppose to be what this forum is for, exchanging professional knowledge. If there is a Mod watching, the question has been answered. I think its time to close this thread.
  5. man I just wanted intel on pricing and we wound up with another "is film viable" thread followed by people seemingly getting angry with each other... comedy gold? Anyway thanks for the intel Tyler.
  6. Just wondering if anyone has any info on if we're looking at motion picture film price increases come the new year. Seems like its certainly happening for stills but there seems to be no intel out there on motion. Anyone heard anything?
  7. are you trying to keep the 50p stuff as "high frame rate"? or are you wanting to strip the extra frames out and turn it into 24fps material that plays back at 24fps? I know in resolve you can set a master frame base (say 48) yet if you bring in 24 fps into the same timeline it will run the 24fps material normally if you dont modify it (basically it will play each frame of the 24fps material twice). So you could try doing a 50fps timeline if you're using resolve, throw the 24fps stuff in, and see how it plays. Regardless you may have to do some strategic retiming of clips to get it to sync up.
  8. if the camera has a super35 gate, you want the super35 option. if the camera has a normal 35 gate, you want the normal option
  9. All SR3 cored screens are sold, I have 3 SR2 cored screens left at a reduced price
  10. Just posting an update. Only 1 SR3 screen left, 3 SR2 screens left (price reduced) SR3 2.39:1/1/66:1 https://www.ebay.com/itm/274858700856 SR2 2.39:1/1.66:1 https://www.ebay.com/itm/274867453800
  11. I hate to join the "new computer" chorus but a dual core with 8gb of ram is extremely underspeced for just about any workflow, much less a RAW workflow. But yes, you should absolutely do a proxy workflow. It may take a while (days?) to render it all, but once you've done that you can always rent a system or even just find a friend with a more powerful system and do an online later prior to doing color.
  12. Question for folks - is there a software solution for taking LDS metadata recorded on a UMC-4 and injecting that into Prores files of film scans? Lots of googling shows how to extract that data, but Im wondering about a pipeline where one would shoot s16 or 35mm with a UMC-4 jammed to the smart slate's time code, and then injecting the sidecar's data into the scan files. Those google searches were not successful. Any chance anyone here happens to know how to do this or can point me in the direction of a tutorial?
  13. The Old Man & The Gun is a great example of 2.39:1 super 16 (I think they mostly used Cookes and a canon zoom). As a side note I still have some SR3/416 2.39:1 fiber screens listed in the Marketplace and on ebay if you are looking for one (or two)
  14. I had a small run of SR3 and SR2 fiber screens done up at Shruco as 2.39:1 with 1.66:1 full aperture safe hooks that I've listed for sale. The SR3 ones are SR3 cores, the SR2 are SR2 cores (slightly dimmer). Open to reasonable offers. I also have two SR3 1.33:1 super16 screens (though markings are for N16) for sale for anyone looking to do their own custom fiber screens SR3: https://www.ebay.com/itm/274858700856 SR2: https://www.ebay.com/itm/274867453800 SR3: 1.33 with hooks https://www.ebay.com/itm/274872117001 SR3 1.33 with safety marks https://www.ebay.com/itm/274872118642
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