Robin Phillips
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Everything posted by Robin Phillips
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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. -
Dont process the files in Adobe premier, use After Effects or Resolve to break them up into editing dalies or prores masters. IIRC Premier will spit them all out at 8bit, so if you decide to stay with your prores files or DNxHR files for finishing you'll have lost alot of color information
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its happened before. The real thing that can hold back a 10k film isnt so much budget but lack of practice/experience and talent. That being said, I've seen super low budget USC 310s and 508s (2nd semester projects) that have played at Cannes...
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damn it man you sold your 416?
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PMed you Paul's email
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all good. there are 4:3 fiber screens made for the SR2 and SR3 that basically have a darkened on the side to prevent transmission of unwanted light if you're shooting 4:3 or N16. This darkened area is actually part of the fiber screen, so it can be removed when its re-marked, giving you the full super 16 surface area on the screen to work with. This is the sort of screen I sent to Shurco to have done for my custom 2.39:1 screen, and they confirmed when I sent photos of it that they can modify that type screen to full s16.
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you're right, typo on my part, full name is Shurco tool company, Paul is the guy to talk to. Shurco can convert N16 fiber screens to super16 too.
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I dont have any for sale, but Shruco in LA is re-doing a 4:3 sr3 screen for me into a custom 2.39:1 (arri made a 2.35, but not a 2.39). If you have a donor screen you can have them resurface it. catch is they can take a while. Cinematechnic or Alan Gordon (both in LA) may have donor screens for sale
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you probably wont find one outside of working with a trusted colorist. PM me if you'd like and I can share some samples of what I've done with neat video. If I feel I need a little more pop, or an upscaling to 4k, I typically do the largest sample of grain reduction I can, add 10-15% sharpening, then re-composite with the original (anywhere from mixing back 25% to 75% depending if I need it upscaled). You do wind up having to render alot, and you need to make sure you're in 10bit or more, but I've been very happy with the results. Kinda the best you can ask for outside of either shooting s16 anamorphic x1.33 (expensive) or just shooting short end/recan 35mm (sometimes on par with s16 price wise)
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for the record, I hate you all for starting this thread. I now have a Chevys quesadilla and pepsi craving that shall never be satisfied...
