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Robin Phillips

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

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  1. I always use lens support on my LWZ.2 on my SR3 and Aaton. its only a 4.4lb lens, but its a bit front loaded and if you clamp on a matte box with filtration... basically its worth it to reduce the frequency of needing the flange depth checked and reset frequently from a long heavy thing applying pressure to the mount. Im a sharpness freak on 16 so part of always using the support on zooms is just to reduce the chance
  2. Is your sound at 24fps as well? or did sound record in a different frame rate? Given that its narrative, I would say you probably need to manually re do the whole project in the correct FPS timeline and manually re-edit to match whatever work has been done thus far. This is the only way I can really see to ensure you dont have other problems downstream. You can still print a video file in the current project as an editorial reference. You'll likely have EDL issues if you bring a 25fps EDL into a 24fps timeline but theres no harm in trying that.
  3. really too bad. I do think if they'd done some kind of kickstarter type thing, just something to get some press about it, they could have gotten the 50 orders. By the time I'd figured out things on my end to put in an order they'd already killed it (I think cause we were all complaining that we wanted a 16mm camera at that price). Heck someone paid like $6k or more for the original logmar s8 camera that showed up on ebay, which means there were multiple people who bid that thing up so high. I do think the market was actually there for the new one, even if a lot of forum users didnt want it. Would have been a great crash cam, camera house only rental cam for sync applications etc... Its just not enough people knew about it. also looks like the 16mm one is dead too. doh. Granted a $26k 100ft load only camera was always a harder sell, especially with SR1 and 2s at or below that price point right now. Still, its a shame. Not sure if there will be anyone else who tries this again, save for a situation where Panavision builds something themselves or licenses the arri IP just to build spare parts for their 416s (which I highly doubt would ever be publicly for sale). Though I suppose one of us here on the forum could always win the lotto and just start building XTRs again lol
  4. also be aware ground glass / fiber screens for the 416 are the same as the SR3, so make sure your search is appropriately broadened
  5. Ive gotten fresh film shipped to the USA from frame 24 in the UK before via DHL and never had any signs of x ray exposure or damage. Unfortunately I've never tried to travel with or ship exposed film from one nation to another, but it might be worth seeing if there is public info and/or a contact for NZ's airport security to find out if they even know what to do with motion picture film anymore. You could probably also contact DHL to see how they handle stuff clearly labled as exposed film (I'd ask it that way, not "do you xray packages going out of NZ?" Asking that way might not go over great)
  6. part of the problem with speedboosters on a film camera is that the added optics tend to wind up where your spinning mirror is, which makes for a very bad time. I may have spent quite a bit of time looking into this a few years ago and every option I found that didnt require manufacturing new glass was going to make my sr3s mirror go shatter shatter I dont remember if you can convert the 416 to n16, but Im not sure why you would. You can put a 1.33 fiber screen in the camera that will be the N16 format but centered. Then you can just crop the sides off. If you can't find a fiberscreen like the one you need, AMCamera and Shruco tool I think can still do new frameguides on a fiber screen if you have a donor one you're willing to have changed. Herman over at Cameramarket.eu had a stockpile a while ago but you'd have to ask him what hes got left now. If you do want to use master primes on the s16 format, you basically need either a 416 or an Aaton camera. the Master primes barely fit on an SR3, and require you to contort the viewfinder in weird ways such that it makes shoulder operation effectively impossible. Even then I dont know if all of them will mount up, I've just seen it done once and I unfortunately cant recall which lens it was. But if master primes are in your budget then I suspect a 416 or xtr is too, so probably wont be a problem
  7. I saw Logmar pulled their pages for the s8 and s16 cameras. honestly too bad, despite their costs. Im guessing if any new film cameras get made they'll be at panavision and rental only at this point. that being said there have been some rumors that kodak may finally produce that s8 camera. not sure how good an idea that would be but it'd be something
  8. Pro8mm posted some tests on a super8 camera with one of these on their youtube channel when the lenses originally came out.
  9. if you can do c mount these might be the best modern lenses available that arent Ultra 16s https://www.zeiss.com/consumer-products/us/industrial-lenses/dimension-lenses.html
  10. Are there any motion picture processors that run C41? this seems like a very strange choice
  11. yikes... talk about all the eggs in one basket. May its construction be robust and its maintenance regular
  12. How many film fabrication machines does Kodak have anymore? is it just the big one featured on smarter every day?
  13. I wish they'd shot on 16, but if they wanted what the instagram filters would get you then I guess they took the right route. All hands brace for more film shortages lol
  14. LTO is an archival format, and is way too slow to use for production. HDcamSR or D5 was pretty common for film transfers prior to 2008 or so, but its been HDDs since the HDcamSR factory flooded and killed the format in 2011 if I recall correctly
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