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Robin Phillips

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Everything posted by Robin Phillips

  1. IIRC the 435 was trigger-able by Kuper and other motion control software, along with the intervalometer controller that I think came with the capping shutter, I believe thru the CCU port. not sure if that intervalometer works on the 235 or not. The 435 was the vfx camera of its era, so its possible they kept those functions exclusive to it thru the Xtreme era
  2. what you've shown I believe should be enough. a vfx sup I know was doing that somewhat regularly on S16mm several years ago and IIRC the demo showed about this amount of sprocket hole. though if you can run it through a pin optically registered scanner I'd recommend that over manually doing it in post, just so its done
  3. very few sets were made, relative to other zeiss glass. story is almost all of the spare parts were thrown away when the Red One came out and the interest in s16 plummeted. It took me years to put together my set, and I almost never rent them because if they get damaged they are instantly trash. Optically their only replacement is the Master Prime lens series, but 1 those dont fit great on an SR given its viewfinder arrangement (not an issue on an aaton), 2 they're expensive as all hell, and 3 they dont go as wide as the U16 line did. Basically the only way to find any these days is to constantly be checking ebay and a few other trusted vendors who sometimes have them. if you're really lucky some of the lenses can be had for around $5k /each. Usually through brokers they're around 11k/ea. The only other real alternative is to buy out a rental houses collection, which is probably doable with the right amount of cash, but I'd expect you'd need to pay a hell of a premium to get anyone to do that these days.
  4. I think you need to find a music supervisor, ideally one who works with both larger shows and still indies, who might be able to help you navigate the process. They could also connect you to folks who could do a cover, a sound-a-like (really best for comedies though), or possibly an original composition that might exceed your intent and expectations with a licensed track
  5. feasible sure. but the CCD on the F35 / Genesis was so god damned expensive (and Im not sure if the manufacturing yields were that good, though thats just a recollection) that it probably wont happen. Remember that the F35 was a $250k USD camera back in the day. CCDs have always been very expensive, hence why when CMOS sensors came to market they swooped in and dominated, they were that much cheaper. That being said 1 boy do I love the F35s CCD imager at 444 and 2 if you were to upscale to 4k, at least you'd be doing it with a true 1080 444 image. With VFX companies still upscaling 2k vfx shots to 4k for delivery (though this is changing), its not the end of the world to upscale, especially if its just going somewhere like youtube.
  6. You know, how much have you played with filtration? I think you might find a 1/8 black pro mist might be a good starting point if you've got time to experiment with the alexa
  7. I use Ultra 16s typically and am neurotic about maintaining maximum sharpness on my cameras. I also almost always overexpose a little bit to get the smaller grains to expose, which helps some. Do I think there is a full 4k worth of line pair resolution with that mix? no, but Im convinced its beyond 3k. I've also done test where I've run the same film through a 2k scan and then a separate 4k scan and there is a quality difference. As such I advocate for a 4k scan even if you're looking at a 2k finish. That all being said what you get out of the scans depends on the film stock, lenses, exposure choice, stability of the scanner, stability of the camera etc. Change any variable and the pipeline choices might change.
  8. I suspect some of what bugs you is is post processing during the color grade. Its also still a thing that some big shows will do a 2k VFX pipeline and upscale at the end to get 4k (this has been changing though). That being said, throw some MK1 ziess super speeds on any digital body and you'll get a nice, less "harsh" picture. It also might be a good idea to learn to play with some film emulation plugins, or plugins that can de-tune the image in post without much consequence. Im personally a big fan of dehancer, but Resolve has some built in tools that can help with this as well. Adding film grain, halation, and a tiiiiiny bit of gate weave can all help. OR, and just hear me out, you join those among us who are still shooting film. Just throwing it out there. Mind you Im also one of the people who advocates for 4k scans of s16 so make of that what you will. The benefit if you can shoot on film though, if digital harshness bugs you, is that typically with film you're putting the effort in to make it more sharp not less, and with higher end scanners you can get a true RGB scan with no need to debayer anything. Mind you the downside is the cost, which kinda sucks. But maybe its something to consider if the opportunity arises.
  9. IIRC if you just go 1080p out from the alexa, the alexa will be doing its bayer demozaic calculations on board the camera. the reason for it being a "2.8k" camera was to overcome the loss of color information a 1080p native bayer sensor would suffer. So when it downsamples to 1080 out to prores, you're getting an image that was intended to be the output option for HDTV. Doing 2.8k arriraw and demozaicing into a 2.8k image means you're rolling with color interpolation to achieve a 444 2.8k image, vs basically super sampling for a true 444 1080p image. That being said I think the vast majority of everyone has long since abandoned using these cameras as just 2k or 1080p, so I dont think you can go wrong shooting arriraw 2.8k -> 2.8k proress 4444. just providing some context about the camera and why of all numbers its a 2.8k camera.
  10. I was once on a show where they were focusing only by the monitor for the first week of shooting. Panavision Alexa package, all top tier stuff. 50% of the footage was out of focus. We in the post team hypothesized that the monitor was so small (or was not full HD) such that the scaled down image looked in focus when it actually was just ever so out of focus (and not salvageable by post tools). After repeated warnings from us production finally started using laser rangefinders measuring from the image plane to talent, and lo and behold suddenly everything was in focus. On camera monitors lie, or at least are not suitable for interpreting the final image short of a calibrated high rez monitor in a dark tent at video village. Get your marks, measure your focus with a tape measure or a laser finder, or ideally get a cinetape or similar if spending the extra 15-30 seconds to measure your marks is too great an inconvenience. Doing any less is potentially throwing money into a shredder, and leading to heartbreak, disappointment, and scrambling in post to save the picture.
  11. you might want to check with Herman at Cameramarket.eu, he had a small gold mine of fiber screens and ground glasses a while back. Also try hitting up AM Camera at amcamera.com since Andree might have some (or may be able to make you one)
  12. you'll see extra blue in the film grain if you dont do some optical filtration, even after your correction. I've used an LLD filter in the past to take the harshness off those tiny blue grain bits when I dont want to use the 85, since LLD doesnt loose any light. That being said, 500T with the 85 filter looks really good, and brings out a warmth to it you'd otherwise not get. Much better IMO than a corrected, unfiltered 500T.
  13. What is the refresh rate of that monitor? if its 30hz (or even under 60hz potentially) you may encounter problems. If you have another laptop that can do 120hz or higher, you're unlikely to see this sort of behavior (you dont see it at all on TVs anymore). I would test this with a 180 degree shutter if you have not already. I see you're in europe, so I'd see if you can manually jam the laptop display to 50hz or 100hz while shooting at 25fps and see if that improves things. I'd note I have shot iphone screens at 24fps and a 180 degree shutter on an alexa before and we were able to use the in camera footage without manipulation, and there was no ghosting. so I wonder if the 180 degree shutter is necessary. If you have to use THIS laptop, try plugging the laptop and the camera into the same wall circuit. IF the laptop will actually directly pull power from the wall (without going thru the battery first), then it may phase jam the two devices to eachother and get you what you need. If theres anything else messing with how power is delivered to the display though this may not work. In that case, I'd use some screen capturing software to record whats happening on the screen separately, and then do a screen replacement (odds are you can track the display corners alone and not need tracking markers. If you do the take with a dark screen (which will keep your reflections), and then you record the screen and motions matching what you wanted in the good take, you should be able to comp it in relatively easily. Your last option would be to get a phase sync box like the one cinematography electronics made, but to be honest I've never used one with a digital camera so I've got no idea if it would play ball or not. good luck
  14. red 8k S35 body will give you a 4k extraction for super 16. Did that on a music video once, was quite impressed how sharp the canon s16 zoom lenses can actually be.
  15. Knowing what I know now, I would have gone with AM's setup. My SR3A has the Visual Products IVS replacement and its.... kinda just ok. Just make sure your elbow optic has the C mount thread and not the CEI thread (which was slightly different)
  16. Generally speaking digital cameras loose value fast. And now that there is a "true 4k" super 35 alexa, you're likely to encounter people who see that the Amira isnt that and then insist on the newest thing. And resale value will continue to drop. (Oddly the only cameras I own that have actually increased in value are the film cameras, go figure). So if you were to buy a camera, odds are either the Alexa 35 or the latest Red may make the most sense. Now alternatively, lenses can be a great investment if you can ensure your set always works your jobs. Other support gear as well, though at some point unless you want it for personal projects or you want a full rental side hustle you may want to not go overboard there. That being said, I definitely get wanting to have your own camera that makes the images you like for your projects. If thats really what you're after, if you can maybe wait a little bit to see if the Amira prices fall any further (Im betting they will). Or you can get a set of glass that'll always work the shows, and pick up an older, more affordable camera that is fine for the personal/no/low budget projects.
  17. if thats the case, I'd buy the new one so you can make $$$ back on it ASAP. Bonus points for getting it new and having a warranty
  18. if its for renting and jobs, everyone (read: clients) always seem to want the new thing regardless of if the old thing is just as good. If its your personal camera and you're getting a hell of a deal on it, that may work occasionally, then may as well get whatever you want. I saw a Red Ranger Gemini listed for 12k on ebay not sell the other day, so theres deals to be had for sure. Hopefully someone who rents more can chime in. I know a lot of people who have played the constant upgrade game and few seem to enjoy it
  19. cinestill in LA had at least one (unsure if its 400ft or 1000ft) can of ektachrome 35mm as of a few days ago, but they're local pickup only for motion so you'd need to find someone to pick it up for you and ship it on found the link https://cinestillfilm.com/products/ektachrome-100d-color-reversal-film-5294-35mm?variant=41335944020140
  20. is it a modern LCD? if so, make sure its running at a higher refresh rate, ideally at a frame rate divisible by 25. My experience has been that when shooting 24 fps, on a tv or LCD running at 60htz or higher theres no real issue shooting a TV screen without a sync box. This comes from the LCD holding on a given frame for a few cycles before it changes (when your video on the display is fewer fps than the monitor refresh rate). On one rear projection job (projector was running at 120htz) we considered plugging the camera and projector into the same circuit to phase jam them that way, but it wasnt necessary (this was with an alexa on battery). For... reasons... the source video playback was actually at 30, but there was no artifacting or anything weird on the final shot. If you have a DSLR or even an iphone handy, do a test filming the monitor you want to use. if the refresh rate is high enough you probably wont have any issue.
  21. I think ablecine in Los Angeles will still service Aaton 16mm cameras, though I havent had to service mine since the pandemic started so I havent actually been by to ask. I think AM camera could as well. Visual Products in Ohio should be able to since they occasionally sell them with 6 month parts/labor warranties
  22. The master primes are all sharp enough for s16 work, and substitute for U16s no problem resolution wise. the 14mm U16 I specifically avoided cause its kinda a weird focal length. It more or less looks like a 29.4mm would on s35. The 18 works out to something like a 37.5mm equivalent, but definitely feels closer to a 40mm. My personal preference for a 16mm focal length is just cause that one works out to looking like a 33mm in s35 terms, and just "feels" better to me as a medium/normal shot lens. You may not need a 6mm in your kit, but its nice to have. The U16 has surprisingly straight lines. the Century has more character but cuts pretty well with the ziess superspeeds. I got the 12mm for my kit in part to round it out as a rental, but also in part to have a sharp lens in the wider range that I wouldnt be too upset about if something happened to it (say for a stunt or otherwise). There are effectively no spare parts for the U16s, so you need to be aware of that and basically price in master primes as their replacements when it comes to insurance. Im not sure I needed the 12 to round out my kit, as I've often had people telling me they only want to rent the 8, 18, and 35. Take from that what you will.
  23. the difference between a 6mm, 8mm, and 9.5mm is actually pretty noticeable. I think if you're trying to rent then you probably want more or less a full set - so a wide along with the 12, a 16 or 18 (U16s only came in 18, but you can substitute a normal 16mm ultraprime if you want that focal length), and you probably want the 25 or 35 (be it panther, elite, or u16) and a 50. TBH I think its also totally reasonable if you're a zeiss guy to mix or substitute in 35mm format lenses for the longer end of your set. Also the LWZ.2 zoom lens also is sharp enough for S16, and gives you a range of 15.5-45 at t2.6 with the xp (master prime) coating and has basically no breathing. That all being said, given how expensive these can be and how long it can take to find a set (especially of ultra16s) you might consider doing what I did, which was just hunting down the lenses you specifically want for your own use first, followed by ones to round out the set when stuff became available and if you had the cash handy. If it helps at all, I lean almost exclusively on my 8mm, 18mm, and 35mm U16s, with my 6 and 12 being in reserve/part of the rental kit. But given the option on a larger project, I'd actually prefer to use an 8mm U16, a 16mm master prime, and a 40mm master prime.
  24. Robin Phillips


    copy all. thank you for the details
  25. Robin Phillips


    Im a sucker for an optical viewfinder. extremely interested. does it use a built in battery or something removable?
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