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Robin Phillips

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Everything posted by Robin Phillips

  1. Robin Phillips
    thats kinda what I meant, really just repurposing the transport / movement system and building a new controller and capture system, possibly reusing the LED assembly. Maybe thats less "hacking" and more repurposing though.
  2. Robin Phillips
    used-filmequipment.com has a 235 2perf movement + gate for sale that might work as the basis for converting a different arri body. not sure if theres any electronic modifications you'd need though
  3. Robin Phillips
    not sure if this is an option, but Andree from Clairmont has his own shop in LA now and offers 2perf conversions for some cameras. Might be easier to find a 4perf LT body and convert with how rare those arricam 2perf movements are. http://www.amcamera.com/services/
  4. Robin Phillips
    I'd chime in and say the one thing to keep in mind with a mac is that its got a solid warranty that allows you to throw it back at them and get it fixed reasonably fast. Their Joint Venture accounts are a mixed bag, but can speed up a repair to inside 24 hours (though you can buy like when you need the repair done, so doesnt need to be a pre planned expense). I actually really enjoy building computers, but for work machines Im all about the macs or the z840s because of said warranties.
  5. Robin Phillips
    I feel like theres gotta be a way to do a hack of the BMD scanner to get a better image out of it, if only to re utilize the movement system and replacing the imager and light source. I wish they had a swappable lens to get to 4k in 16mm (or at least real 2k). Alas there arnt exactly lots of used ones lying around to experiment with
  6. Robin Phillips
    interesting, seems to not be in an auction format but a email them and get the price format (items immediately available). Weird that theres ultra primes in the collection...
  7. Robin Phillips
    you'll need the arri reciever + motors for each part of the lens you want to control as I dont think they made an integrated lens control module on the LT (I could be wrong). The 435 Xtreme has the same style lens control wireless system built in like the Alexa Plus cameras. If you cant get an HD-IVS, you might want to consider a Ward's Sniper mk3 or similar invisible laser or sonar focus assist if youre worried.
  8. Robin Phillips
    Anyone have an Arri/Zeiss Ultra16 18mm they'd be interested in selling?
  9. Robin Phillips
    I'd argue that the canons with filtration can be pretty darn versatile, and given how (relatively) common they are you may want to consider one of the late model ones. I know the catch with some of the Angies is once you get midway through the zoom range the maximum open t stop changes while this wouldnt really count as a budget lens, I use a zeiss LWZ.2 15.5-45 T2.6 on my SR3Adv and get great results. For whatever reason its kinda the forgotten zeiss cinema lens despite its insane sharpness and match to U16s/Ultraprimes. Every now and then these can be had for under 10k
  10. Robin Phillips
    just remember to NOT put tracking markers on the glass if you want to easily use the reflections. I definitely made that mistake once lol
  11. Robin Phillips
    there is also a sync box IIRC to help deal with this, though it may have become obsolete when cameras became able to do 23.976 vs only 24. not to say this is ideal, but if you go the VFX route you can always just turn the TV off (or leave it on to get the light spill) and track off the case's corners, comp your feed in, and regrain the element to your film stock at the end of the pipe
  12. Robin Phillips
    it seems like when the pop up they run between 9k and 12k. the catch with the sk4s is that they are both in low supply AND low demand. so there may be a deal to be had, but anyone who owns them may also be inclined to sit on them till the right buyer shows up so who knows. their housings are super nice to work with though, I wish the ultra16s were fitted the same way
  13. Robin Phillips
    I think HotRod still has a set
  14. Robin Phillips
    does Fuji actually still manufacture the B&W separation film? typically an indie/low/no budget will do anything from spitting back to a DCP hard drive (usually when they dont know better) to doing 3 copies that more or less always need to keep spinning (has its own costs, but otherwise you risk the click of death) to doing an LTO backup of the final assets / DCP (25-50yrs). The catch with the last option is you really need to actually buy and keep a compatible LTO deck, since in 25 to 50 years odds are youre not gonna find a drive that can actually get to your files. maybe someone with more experience on bigger shows can chime in?
  15. Robin Phillips
    one thing to just check if money is this tight, make sure they're only transferring the circle takes and not the whole shabang
  16. Robin Phillips
    I would like to officially apologies for driving the thread off topic by bringing up the clairmont toys. but since we're off topic, gotta know, anyone know what AG let their arricam LT's 2perf movement go for? I know it vanished not long after Otto's 2 perf sold again, sorry OP. hopefully this was a useful thread before the toy geekout happened lol
  17. Robin Phillips
    0.14/ft for 250D? wow... that makes that last clairmont 2perf BL4 alan gordon has look all the more shinny lol
  18. Robin Phillips
    two other things just to consider in favor of s16 over 2perf (assuming you dig the grainier look of s16): 1 you're at about $175 per 10 minutes of stock vs $315ish for 10 minutes of stock in 2 perf (although you tend to be able to get really good deals shortends and recans for 35 much easier than on 16); 2 no threading on the SRs and Aaton LTRs, which can be a great time saver if you're doing a show thats mostly running and gunning. Or if you're lazy and still intimidated by gears like myself lol
  19. Robin Phillips
    I can check, I thiiiiink it'll output HD with a slight delay but I havent actually tested it. the other thing to do is to build a bracket, stack the analogue to SD SDI converter and an SD to HD SDI up converter on top of eachother, then send out to a wireless transmitter or whatever. its just annoying cause you'll wind up sucking more power to do it all, and you start to really want a cheeseplate bracket on the camera body... fyi the lentiquip SR batteries have an additional power output on the side that doesnt go through the camera body's fuses incase you wanted to draw power that way. Emory is also pretty responsive to email and custom needs https://lentequip.com/products/sr3-sr2-on-board-batteries my camera tech also had sent me this link to this company to flip over alternate tap cameras that should work with the classic video handle (like what you should have on your sr2) - http://www.sentechamerica.com/En/Cameras/CameraLink?Tab=1. the cameras seem to run 300-1000+, but for you may make more senes to change to an SDI HD camera and skip all the adapter funny business (which a dual stack adapter is prolly gonna run 500-700 after all the custom power futzing and all).
  20. Robin Phillips
    the black magic converter for analogue to SDI works fine on the SR3 IVS tap (either in component or in Y/C mode), but you need a monitor/capture device that can accept the SD-SDI signal. I had to get a Pix240i to be my "offline" recorder/monitor because it could actually accept the standard def signal in SDI form (and nicely upscales, though only to the recorded file). Most such combo recorders can not take the standard def signal, be it in analogue or SDI form. when Im not recording offline off the tap, I went back to an older totevision monitor I had. works great for what it is, and sucks less power than the pix. Its worth noting that the SR2 video handle can technically accept 1080p HD-SDI cameras For power, you might want to talk to HawkWoods in the UK. they can do alot of custom power solutions for mostly reasonable prices. I have a dual v mount 24 thing from them I use on my SR when its in studio mode. I've chatted with them in the past about doing a SR3 single v mount with 12-24v step up converter that would work on the on board battery port. they didnt think it would be a problem as long as the battery port docking parts were provided to them. Havent pulled the trigger on that myself yet, but you might want to reach out to them. Doing a gold or v mount 12v battery into the SR2 involves less electronic funny business than doing the 24v power conversion the sr3 will need.
  21. Robin Phillips
    for what its worth, Im in california and I've ordered 16mm stock from frame 24 before with 0 problems (after you hit a certain quantity, is cheaper than ordering from kodak direct). I was expecting the 500T to show signs of xray damage, but shot the whole roll at 500 and it turned out great. not sure if they have some handshake agreement with how the shipper handles it or not re: customs or if vision3 is just that tough.
  22. Robin Phillips
    I saw this a while ago when doing some other research - its 500T vision 3 2 perf pushed 2 stops rated at 1250. not sure how much it was de-grained in the scan, but it looks pretty darn great. the user even enabled downloading so you can see the source (or possibly just least compressed) file
  23. Robin Phillips
    your picture will feel a bit different in any 35mm shots, but mixing the formats happens relatively often. if you are concerned about grain size, 500T in 35mm will play as significantly tighter grain than 16mm 250d. you would probably want to push the 500T (and maybe even shoot at 1000 instead of shooting at the more common 800 when the stock is pushed), OR maybe use a 2 perf body (or crop factor on 3 perf) so that you're blowing the image up and thus increasing the grain size. This assumes you're not going through any sort of grain management (either automatically in the scanner or after the fact in grading). If you can, shoot some 100' tests and work with your transfer house to come up with a game plan. Your transfer house may also be able to advise based on what they've seen come through their shop before If it were me, I'd try to get a 2 perf body for the 35mm stuff and probably push the 500T one stop at least. try to shoot a few 100' tests of the 35 though.
  24. Robin Phillips
    Im sure kodak doesnt want to anger fotokem, but I feel like a bigger thing for them would be offering process paid service on 16mm, maybe even 35 as a way to expand the market for motion picture film. Sadly even with the Max8 gate (or larger?) this thing has, for the price point Im gonna just shoot 16. Heck, a 16mm cartridge camera would have made more sense than this thing... Im really afraid this camera's price point is smack in that digital bolex price dead zone - too expensive for a point of entry for many people, but lacking things any professional might want. Which means it'll sell out right when they declare they're discontinuing it... that all being said I still kinda want one. just annoying that its gonna cost more than my SR3 cost me
  25. Robin Phillips
    sounds like you prolly want most of your stuff to be 250d and maybe a bit of 50d for exteriors if need be. otherwise just make sure you got a matte box and a full ND set. depending on the subject matter you can also shoot on the tungsten stocks and do a post color correct, will give you an overall cooler look with tighter grain on the 200t than the 50d. but if you can have only 1 stock it sounds like 250d is your winner
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