Robin Phillips
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Everything posted by Robin Phillips
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I ca't quite tell from the photo, are the focus scales ft or m?
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I've been trying to set up my gmt-s to drive a smart slate. the Origin C+ is definitely feeding data to it (show ID, start TC etc), however I've noticed that the FPS is definitely controlled by the tiny dial inside the GMT-S (see attached photo). Does anyone have a diagram or know what dial settings = what base timecode FPS?
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Paul at Shruco Tool is who Andree at AM uses IIRC, I think hes the last guy around that resurfaces them (at least Arri ground glasses). I know hes about to do a batch of them this month, might want to email him this week at shurcotool@aol.com. Hes a bit old school, so email turnaround tends to be a few days to a week
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Anyone have an Aaton XTR Prod era 1.85 or 1.78 ground glass they'd be willing to sell? Would also be interested in a 2.35 one if someone happens to have one
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alan gordon, visual products, ebay, broadcast solutions etc
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a cheap but solid super 35 sensor camera (maybe a used APS-C dslr, or something like a used sony F3 type of camera), and maybe 3 or 4 used fresnel lights, and then some occasional white/silver insulation boards to act as bounce and you should be golden. going much beyond that and you're gonna be wasting money that should go into projects on gear.
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a 435 3 perf movement should pop in if Im not mistaken. Contact Adnree at AM camera, he does movement conversions still (and has done several 2 perf 435 cameras while at Clairmont) - AMcamera.com
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try to stay in the darkest room you can even with the 500T daylight spools. If you can do a bag its helpful, cause you never know if the tension on the film might loosen up a tad and you'll have 10 or so ft semi-loose in the camera body, which may get some orange flashing on it. that being said I've done 500T 100' changes mid day in the cab of a truck, no windows blacked out or anything, and was just fine. but you may not want to take that risk
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The Old Man & The Gun - Cinematography and Look
Robin Phillips replied to James Malamatinas's topic in General Discussion
new interview, looks like it was super 16 with cooke S4s, some older zooms thrown in at times https://filmmakermagazine.com/106202-the-thrill-of-the-chase-cinematographer-joe-anderson-on-capturing-robert-redfords-ride-into-the-sunset-in-the-old-man-the-gun/#.W9Nj2xNKi_V -
this looks great, resolved surprisingly well for an adapter. any chance you shot charts?
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For another set of movies to look at and compare, rent / stream "The Wall" for an anamophic s16 and maybe Silver Linings Playbook for 2perf. Once you get into considering anamorphic anything, the "feel" of it as as important as the math re: FOV. 2 perf and x1.33 s16 definitely feel different when viewed, and its worth considering that before the budget questions come into play
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They do kinda look like an out of phased shutter... how were you powering the camera? new/healthy battery cells? any weird sounds from the motor?
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I'd have to go digging thru records to check. This was on a 4K test. The 2k comparison test was acceptable (and IIRC uprezed to 4k with greater detail than the 4k scan itself). it was a minor adjustment, but when it was made there was a bump in quality in the charts.
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A 416 without video tap sold for around 11k last year. Only one I saw sell this year went for around 20k USD.
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If you're trying to max out super 16, you really want a modern, serviced camera with Ultra16 lenses (or ultra primes generally). On the Arri side, the Arri SR3 Advanced (the one with the gate guides) and up, or an Aaton XTR Prod and up. You also need to make sure your lenses are dialed in to the max. These cameras have the minimum amount of any side to side movement of the film, and are very robust/reliable. You also need to do tests with any gear prior to a shoot, incase something just isnt right somewhere in any of the gear. On the SR3, the FFD range listed by arri is a tad wide range wise, and if you're too close to the shallow limit you will be a tad softer than if you are closer to the SR3 HS flange depth. (I learned this the hard way lol) If I were you, I'd be looking for an Aaton XTR, XTR Prod, or SR3 Adv. I've seen all of those show up for under 3k every now and then, though they can be found easier for around 5k+ USD. Arri parts seem easier to get in the Los Angeles area, though Ablecine in LA I've recently learned has a nice stockpile of Aaton spare parts. I will say the biggest advantage of the Aatons is they are sooo much easier to shoulder.
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To clarify, Mother was super 16 on Ultra16 lenses, the Arri/Zeiss high end and last generation of dedicated super 16 lenses.
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you'll certainly find shortends and recans for 35mm easier than you will s16. 2 perf spherical is always a great option if you can get the camera bodies. I will say, I actually really like s16 spherical cropped to 2.39. The feel of 1.3x anamorphic is a bit nicer, but from what I've seen those hawk lenses do have some sharpness issues the wider open you get, vs say the Ultra16 spherical lenses. If you can check out some stuff shot on each. "The Wall" was hawk 1.3x anamophic s16, IIRC "Mother!" was Ultra16 cropped to 2.39 s16
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Robert Redford's Latest Film Was Shot On Super 16mm
Robin Phillips replied to Mike Krumlauf's topic in 16mm
Hopefully more details will show up in some interviews, as the spots fooled me into thinking it was s35. the dof is so shallow it makes me wonder if they shot just shy of wide open the whole time -
Ablecine will work on Aaton film cameras still. I didnt ask Girvan if they will do anything else, especially the more esoteric or rare cameras (I would guess not but ya never know)
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Jorge at cinematechnic might be able to help http://cinematechnic.com/ (based out of HotRod Camera's building). Andree from clairmont now has his own shop and he may be able to help too https://www.amcamera.com/ both are in LA
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Girvan at Able said this caused a lot of confusion when these came out. Im just thrilled someone is still around in the US who knows about them and their quirks (and has spare parts in stock)
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was able to get it by Able. Im less than pleased with the fact that the manual does not label the run lever that sits near the top battery release... That was fully depressed, leading to it immediately running when power was supplied. So I was doing something dumb and not realizing it. As an Arri guy, I gotta say these Aaton design quirks are starting to make me dislike the french lol
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Hi all, wondering if anyone has any insights on this problem I'm having. I got my hands on an Xtera that's been in storage for 5+ years, and while its in darn good condition its got one weird problem - attaching the battery results in the camera instantly running. The test/run wheel's position seems irrelevant to this behavior. I've swapped the body fuses, but theres no change in this behavior. Im using the only battery that will actually charge, attached the VHR shows the battery at 13.7v Anyone ever experienced this or something similar and have any insights? Any chance Im doing something dumb and not realizing it?
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I too highly recommend looking at the F35. I own one, and its alot easier to record data from (as well as has actual current recording support from Convergent Design via their odyssey 7q+). Its also a bit smaller, its global shutter is spectacular, and for my money looks more like film than the D21. It also upscales to 4k really well when you use Ultraprimes (F35 sensor is above 5k, resolves in camera to 1080 444 12 bit) You also dont have to worry about needing the mechanical spare parts for the sweeping shutter on the D21 (I think its mostly 435 parts but not sure).
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How Illegal Is It To Shoot @ a Cemetary?
Robin Phillips replied to Max Field's topic in Business Practices & Producing
well, probably because its trespassing for one. Even if its public it can be trespassing, as the usual underlying reason for film permits in public spaces is because you're using publicly supported property for a for profit endeavor and as such the public should be compensated in some manner. Also if the headstones and such constitute an additional form of private property then you'd need permission from both the overall property owner AND the headstone owners, lest again you're just trespassing.
