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Robin Phillips

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Everything posted by Robin Phillips

  1. this is a really cool find, thanks for posting it. hopefully they make a good product and will post some test scans soon
  2. of all things, to my eye the Supreme primes actually seem closer to the standard speeds in color rendition than the Ultras. I assumed that was part of the design with the supremes, to basically provide a modern alternative to using the older glass. so that might be an alternative if you're super worried about color matching. But I think that generally most people wont notice either way since you can push things around in resolve a little if needed
  3. its always been my impression that theres a little more blue rendition in the standard speeds, but the main thing you get with the ultra primes is the sharpness, even when at T2. granted I havent tested them against each other with charts, but thats always been my impression. the ultras are definitely shaper than the old super speeds wide open
  4. so I've never run into this on an SR3, but self resetting fuses take time to reset (can be minutes or more). And if you still have all those accessories attached after the rest, you may still have the same problem. I specifically run some accessories off my battery or battery plate's additional power plugs whenever possible just to not tax the aging electronics. if its urgent this might be a call Andree sort of thing if you're in LA and see, should it remain problematic, if he can do an emergency check on it. But I think the max draw should be in the SR3 manual, and if all those devices add up to more than the body can handle you know what went wrong.
  5. Are you saying you cant find double perf rolls that arent 500T? cause single perf 16mm is available in 50d, 200t, 250d, 500t and ektachrome without issue, as well as B&W. you can order direct from kodak (which usually means calling them, they dont sell online), cinestill stocks 16mm and for a little while was willing to ship 400ft rolls. theres also frame24 in the UK, who tend to be a little cheaper even with shipping to the US (still not sure why, but I've never had any xray damage or anything from them). B&H also sells 16mm in the US, but they mark things up so much the only way that makes sense is if you have a student account with them.
  6. if I remember right, NTSC had a slightly non square pixel aspect ratio. I've seen things like this happen when the file is mastered with a 1:1 pixel aspect ratio when it should be slightly different. a google search says the NTSC pixel aspect ratio was 1:0.906. This should be correctable in davinci resolve either by manually distorting the vertical or by setting the correct pixel aspect ratio value. bringing it into an NTSC timeline alone might correct it in resolve itself, then you'd just need to export with the correct settings.
  7. the old documentary hand clap with notes trick can work. but if it were me I'd just have a smart slate thats jammed to your audio device. so long as sound is rolling, you dont technically need to clap it you can just open the arm and let the TC run, and pan the camera briefly to see the slate. you can then match the timecode manually in post. back in the day there were telecine machines that could actually take the timecode the Aaton would print onto the film and the tape audio and kind automatically jam the two in the transfer, but I dont think anyone is running a scanner anymore that can do that.
  8. having done evening available light tests with 16mm 7219 before, IMO you can push one stop so long as you rate at 800. It will be grainy, but still usable and even can be digitally cleaned up without much effort. 2 stops is an unrecoverable mess of confetti. in 35mm you can get away with more due to the extra negative size and the relative reduction in grain size.
  9. I am an idiot for not reading your location. Honestly, if you're in Germany it may make more sense to have Arri check the camera out if Arri Munich will still look at private cameras. I know Berlin and Munich arent exactly right next to eachother, but if they'll look at it thatd be a lot easier than buying a camera in the EU, shipping to the US, then sent back to the EU. Cinefascilities is in the netherlands and I believe also services 435s, so that would be another local-ish option. At least an EU option. But even being in the EU, there may be opportunities to buy US based cameras at a lower price if this strike goes down. I'd imagine locally prices might go up with so much US production looking to shift out of country right now. Anyway, Im not trying to discourage you but rather make sure you dont buy a camera that will cost more to get operational than just buying a used but complete camera from square one. the last thing you want is to accidentally buy a money pit
  10. honestly, if you want a 435 just wait a bit and maybe try to pick one up if IATSE strikes. lots of people are currently dumping all kinds of gear to prepare for that eventuality. a 435 with no movement is probably more valuable as spare parts. I think you'd need to know from someone like Andree at AMcaemra what other parts you would need. I remember last year there was a 535 3 perf movement kit for sale, and it had much more than the movement. there was the gate, the 3 perf gate mask, and a back panel of some sort that was required. plus, if you are picking up a camera without a movement, you have no way of testing to see what is or isnt working on the camera. what if the movement was pulled cause the board fried (or damaged)? 435 main boards are not common. What if one of the motors is no good? If you really want to, I'd get as many photos and videos as possible of this camera body and send them to Andree to see what he thinks. though again, a busted camera might be worth something to the right person for the spare parts
  11. I dont think there are that many out there, and the ones that are out there appear to be workhorses (and money makers in the right hands).
  12. 3 perf kits are uncommon at this point, which makes them quite valuable. you also need the 3 perf gate, not just the movement. not sure what you're intending on using your 435 for, but finding and doing a 3 perf conversion may cost a lot more than any additional film costs incured by shooting 4 perf if its just for personal projects. if you need 3 perf for rentals and jobs, you probably would want to find an actual 3 perf camera. Arri certified pre owned actually had some 3 perf 435s for sale not too long ago, might be worth looking into if you need one asap.
  13. editing post cause I mis read that you want it for super 16. I have one of these on my 435, and its exceptionally low latency and Im quite happy with it. Its perfectly fine to operate off of, and much lower latency than my SR3 VP IVS replacement tap (which I am not comfortable operating off of). the Mothco at least for the 435 can be operated off of, and Im fairly sure Oli using the same camera for all of his taps. Its not as good as an indie assist or Andree's camera he has for the 435 and SR3 elbow optic color and DR wise, but if what you need is HD for gauging focus remotely and/or making everyone less anxious I think its a good tap
  14. Tyler covered the problems of going super wide fov with the s8 format. I would suggest, if you want to be on film, to actually just rent a 16mm or super 16mm camera, maybe a bolex. there are one or two 4-ish mm lens options out there, which would get you into the territory of an 8mm on 35mm film. The ones I remember off the top of my head are the Optex 4mm and the Century 6mm with the wide angle converter that makes it into a 4.5mm lens. I'd venture the century will be sharper than the optex, though my only experience with the optex line was their 8mm on super 16 (which was not a very sharp lens). If you're outside a major production hub it may be difficult to find some of this stuff, but there are some vendors out there who lean into film equipment over digital. I think Duall camera in NJ has a fair amount of 16 and s16 options. on the west coast old fast glass has a nice selection of stuff. but I would definitely rent if this is going to be a single project. if theres no money for production insurance, you may just want to deal with digital and super 8 film emulation.
  15. IIRC Hoyte van Hoytema has said they've output around 6k to imax film before for digital composites. Im not sure who their vendor was, but I'd imagine its fotokem
  16. FYI Ultra 16 as a format is not compatible with some film scanners. ones that can do overscan it'll be fine, but I dont think it works on a spirit or a scanity. ultra 16 is also not really a professional format, so there was never really a high end, precision conversion for that. you also may be a bit outside the image circle on some n16 lenses. I've been told before that ultra 16 can get some weird flaring sometimes. if something is wrong with the conversion you get, it may be problematic to fix. You might be better off with a N16 camera, and just get into the practice of over exposing a little and/or doing a little post sharpening. there are some plugins out there like neat video that will let you de-grain, sharpen, and then mix back the original grain into the picture too. If you want to go with that converted CP16, I would ask to see some footage from it that was shot with a wide angle lens just to make sure nothing funky is going on. I'd also check maybe with visual products what they would charge for basically a new camera inspection and service, that way you are all set up. I would also just check with at least Kodak lab in atlanta to see if they can do utlra16 on their scanstation. I believe they can, but you just want to make sure you're all good with whatever vendors you think you'll be relying on with this format
  17. I think just to add, Im not sure if OP is fully aware of the need for crystal speed cameras for sync. you need crystal sync in order for the camera image to remain consistent in timing and thus be able to sync audio to. if your camera does not have a crystal speed controller either built in or attached externally, you will not be able to have sync sound with the picture
  18. not sure if you are limiting this to UK sales only, but FYI it only shows up on the uk site and not the .com site, even if you search world wide
  19. maybe, but personally I've never seen any footage of those lenses that I liked. but I suppose its also possible that the lenses were not collimated to their maximum performance, which was reading fine digitally but wasnt quite there for film?
  20. looks like it was 4 perf 35mm on an arricam lt with atlas orion anamorphics https://theasc.com/articles/framing-up-for-flowers#:~:text=Cinematographer Marcell Rév%2C ASC%2C HCA,her album Endless Summer Vacation. honestly Im a little surprised, the resolution felt less than what you'd expect for 4 perf anamorphic. though I suppose its possible the atlas lenses are not that sharp. article doesnt say they pushed the stock, but the grain level almost feels like they did. but again, if the lenses are not super sharp that could just be drawing attention to the grain
  21. I am not sure you'll be able to get a super 16 camera for that price that isnt a bolex, and even then it might be tricky. I would not count on being able to convert any regular 16 cameras to super 16 btw, and ultra 16 can be a bad idea (its not a professional format, and can result in weird flares or issues with some scanners). Conversions are labor intensive and the parts are generally not available. but if you had the parts, you might easily be spending another 5 grand just on a conversion. TBH I would not be willing to use anything older than an SR3 or maybe an aaton XTR for anything going somewhere big. you want the image stability of later cameras, along with a PL mount. you also want the ability to have the camera repaired fairly quickly and easily. its even getting hard to get some spare parts for the later arri and aaton cameras now, its much worse for older ones. In a professional shooting environment I'd very much be wanting to rent rather than use a film camera thats pre 1990. To buy, those cameras are going for a good $20k+ right now. Keep in mind you need to have a resource that can service and maintain your camera, as they are not like digital cameras. you've got parts that can wear down, things that need ocasional greasing etc. As for your video assist questions, a 1080p low latency HD tap can be used to check focus, but that is dependent on knowing that everything is dialed in correctly - flange depth, lenses, ground glass, and tap mount. If you are using an older camera, the amount of light getting to the tap might not be great and thus may only be so useful. Generally on film, if you know your lens mount and lenses are dialed in, measuring with a measuring tape or laser is the way to do focus. But if everything is dialed in and you dont have a tap camera with latency issues you can operate off the video tap if need be. Im not trying to be down on your goals, but you definitely dont want to get into a money pit of an old camera that winds up costing thousands more than you anticipated.
  22. can you give us an idea of your budget and how you will use the camera?
  23. T* coating is the factory coating, which increases contrast and reduces uncontrolled flares. uncoated versions will have the T* coating removed.
  24. you gain 2 stops of depth of field in super 16 for a given field of view vs that same field of view on s35. so a 16mm at T1.3 will look like a 32mm T2.8 s35 equivalent. But, on the B speeds going truly wide open can cause some significant softness. if you need to basically be wide open, I'd try to split between 1.3 and 2. edit: spelling
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