Robin Phillips

this is the sort of edge case where you really need to just test. if you want to help people with similar questions in the future, definitely post this test on youtube

a classmate in grad school once took some clear film leader, tied it to his bike, road around the campus to mess it up, scanned it (really a super cheap video camera telecine the animation school had), and applied it to a short that was shot on video. granted, he made it in black and white, but the effect was surprisingly effective.

Im not sure why kodak would not just do a normal DI process for something they're putting out on social media. they dont seem like the sort of company to spend additional $$$ on printing and then scanning that print, especially when thats not the workflow the majority of customers will follow

whats weird is that kodak's official posts of 200D all have this magenta vibe that Im not seeing at all on material others have posted. it almost looks like they're distributing their posts with a sort of beat up hd telecine look from 2005. really want to get my hands on some to see whats going on for my self. cause I've seen Uli's stuff on IG and it looks pretty fantastic seen here for reference https://www.instagram.com/reel/DaawdUUIn8L/?utm_source=ig_web_copy_link&igsh=NTc4MTIwNjQ2YQ==

its worth considering that any innovation that makes people more open to shooting the format the better. we're not going back to the 90s, 80s, 70s etc. you have to meet the audience where they are, at least to some degree, otherwise they wont even engage with what you're offering. in the case of this new camera, it has the real potential to engage producers who otherwise refuse to shoot film due to perceived risks. for a lot of (most of?) those folks, just telling them to take the risk anyway isnt going to convince them

you cant police how people want to make art. if this camera opens more producers up to shooting on film, it'll be good for the rest of us who want to keep shooting film. more business for kodak will keep the format around longer.

I have to imagine in a doc scenario this setup would be fantastic. rolled out? digital can keep going. problem with the film or lab? digital backup is there. out of film? can still stay on the same lens and camera body. film jam? program it to stop the movement but keep the digital going. will be interesting to see which sensor they're using and how the color shakes out. they said its a sony sensor. if it can look even close to the venice 1 then that would be amazing.

thing is, we can all be as romantic about film as we like but if the producers and financiers are too afraid to do it then your show wont shoot film. that alone makes room in the market for this camera

interesting. at 1min 24 sec you can see there is a sensor reflected in the shutter. so no ground glass

unfortunately its not likely any big companies would want to. Arri cant make their old designs anymore. Sony isnt about to get into building mechanical cameras. if we see more of these, it'll likely be from smaller companies. if any big companies decide to make a film camera, it will likely be via buying out someone whose already solved most of the design and basic tooling.

the real question is did anyone get to check it out at cinegear? at this pricing crystal sync shouldnt be an issue. Aapo has been doing miracle work in this area, especially given his pricing. it can obviously be done, and no one will touch it if it didnt hold sync. my point was just that the image on the negative and the image captured on the tap will be slightly off sync from eachother

it looks like it will. but if people conform the audio off the video tap to the film scans, they'll all slowly go mad from the half frame off sync you'll get. but I do think people might underestimate the demand for something like this at the medium to high end. I suspect anyone 30 or under would not be willing to use anything but an arri grey camera for a real production. and even in the crash cam scenario, having an integrated solution transmitting the image stream out could be more ideal.

the digital sensor likely is receiving reflected light from the shutter, so it may just not be doable. at least not without shoving a bolex style beam splitter in front of the gate

theres definitely a universe where a camera like this is an fx camera, a camera that can be sacrificed more easily or at least put into stickier situations. and the supply of 416 spare parts wont last forever. theres also something to be said about a tap that is greater than 1080p for critical focus situations.

someone took a swing at it. should be interesting https://www.cineluxcinematools.com/sixteen