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Robin Phillips

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Everything posted by Robin Phillips

  1. 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
  2. All SR3 cored screens are sold, I have 3 SR2 cored screens left at a reduced price
  3. 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
  4. 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.
  5. 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?
  6. 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)
  7. 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
  8. I've got 2 SR2 piggyback battery adapters listed on ebay. also have a bunch of SR3 parts, including fiber screens and pre-ivs video handles incase thats of any interest
  9. man these digital vs film threads are getting toxic. as a potentially useful note, OP have you tried using various filtration to help ease the highlights on a given system? Black pro mist filters can do a great job of creating a filmic halation on light sources.
  10. I think the only reason to get an F55 these days is if you need a global shutter camera that happens to be geared a bit more toward run and gun use than an F65 or something. It also definitely has the "sony look" of old, more so than either the F35 or F65 had. Personally I think you'll get better skintones out of the FS7.
  11. Does anyone happen to know/remember if the Arri WCU-3 wireless hand set has both yellow and white radios built in, or if they came with just one or the other?
  12. my god 3 80/20 beam splitters for sale at once? thats a minor miracle to see
  13. Robin Phillips


    perhaps? I think the biggest downside to the a-minima is needing to rewind the film. but its size is perfect for so many things. Granted I also have no idea what it cost to make that. Any chance you have any idea? I suspect getting new xtrs or a minimas, assuming a crazy rich person doesnt come along wanting to just pay to build them, might hinge on some rental houses wanting new / spare ones. That itself is all dependent upon demand for professional use of 16. I have no idea what that demand is now, especially with some places just not renting film cameras anymore. Anyway, if a conspiracy does form to make more Aaton anythings count me in
  14. Robin Phillips


    this is probably the most realistic way to get it done. build under a license from Aaton, use their IP. Does make one wonder what it would cost to do a new run of a-minimas...
  15. Robin Phillips


    given that 200' rolls need to be respooled to be used, that might limit those mag's usage. Would be super interesting if you had 100/200' mags, along with the ability to take XTR mags (no idea if thats out of the question). none the less I'd be super interested in a new compact super16 camera as a customer regardless of what mag setup it uses. I know I'd be willing to pay something in the 10k range for a camera body, mags, and a spare parts kit for sure. Is there a buyer list you're starting? Are you planning an optical viewfinder or a low latency video viewfinder?
  16. In case this is of help to anyone, I have both the hawk woods v mount belt and the Rencher SR3 v mount adapter. I havent gotten a whole lot of use out of the Rencher adapter thanks to the pandemic, but for what I have done I've been very happy with it. with a 98wh v mount its lighter than throwing a lentequip battery on the back of it. Definite operator quality of life improvement I also have 2 dead Lentequip batteries lying around if anyone is interested. they're heavy to ship, but if anyone is willing to cover the shipping fees I'd rather ship them to someone needed one for an adapter over throwing them out.
  17. for when using 15mm lightweight arri still sells the ARRI LS-11. Im currently using the Wooden Camera universal lens support set on my lwz2 for when Im doing 19mm studio and its great
  18. the Scanity is a spectacular scanner, and scans faster than the arricsan. so if one is cheaper than the other, you really cant go wrong with either image wise
  19. I'd also note that small differences in flange depth calibration can also result in a less defined image, where it goes a tiny bit soft and thus makes the grain seem more apparent. I've seen this even on 416s where the footage being shown off is just a tiny bit soft, even when Ultra16s or Master Primes were used. A tiny bit out of calibration can be the difference between looking like grainy 35mm or sharp 8mm. Same goes for lens collimation. Whenever possible, you want to test and then harp on getting everything super dialed in if you're going for max resolution. Theres also a chance that in example #1 they over exposed a bit to get the smaller grains to expose and thus gave the picture more detail, where example #2 may just be 500t rated at 500. Overexposing by 1/3rd of a stop always seems to help a bit (so 500 shot at 400, 200 at 160 etc) Contestant number 3 just looks like they didnt want a super contrasty look.
  20. you found an FEM-2 in the wild? hell of a find sir. I dont suppose theres a chance the source had another one eh?
  21. You'd need to check the spec of the video wall refresh rate, but I know that you mostly no longer need sync boxes to film displays. Discovered this a while ago while doing a test and rolled on some stuff with a TV in the background. The TV was showing normal (Im guessing 29.97) playback, but because its a 120hz tv its showing repeats of those frames longer (frame smoothing was off). So it refreshed so fast in combination with displaying the whole image at once (vs CRTs that drew lines with an electron gun) that there was no roll bar or flicker. Unfortunately the only way to be sure is to test. But if the walls are running at 120 or 144hz I suspect you'd be fine.
  22. I had this problem when I got mine. IIRC the problem was a damaged prisim inside the viewfinder near the beam splitter. Jorge at Cinematechnic sourced the replacement part and fixed it. you could reach out to him and ask about it. Hes sometimes on this forum too
  23. just a side note, if you didnt measure focus you should get your flange depth checked (or lenses colimated). this seems kinda soft for super16 on an sr3
  24. I do believe all the answers lay here https://en.wikipedia.org/wiki/Citizens_United_v._FEC
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