Robin Phillips

I'd follow Chris's recommendation, but would also note that if you can do a 444 transfer you should. The source many not have had that much data in it, but if you're going to have to pay someone to dig out a D2 deck anyway I'd recommend getting everything out of the source that you can

its worth noting the Evolution was an upgrade for the SR2 to an SR3-ish state. I dont believe there was a further upgrade from the SR2 Evolution to fully be an SR3, though if Im wrong someone please correct me

Definitely interested. please let me know how to order one

this is insanity. one of the best upsides to shooting film is you have an analogue offline master (the negative). Sometimes I wonder how people seem to not comprehend that hard drives die faster than film... hell LTO tape can die faster than film depending on each's storage conditions...

I always use lens support on my LWZ.2 on my SR3 and Aaton. its only a 4.4lb lens, but its a bit front loaded and if you clamp on a matte box with filtration... basically its worth it to reduce the frequency of needing the flange depth checked and reset frequently from a long heavy thing applying pressure to the mount. Im a sharpness freak on 16 so part of always using the support on zooms is just to reduce the chance

Is your sound at 24fps as well? or did sound record in a different frame rate? Given that its narrative, I would say you probably need to manually re do the whole project in the correct FPS timeline and manually re-edit to match whatever work has been done thus far. This is the only way I can really see to ensure you dont have other problems downstream. You can still print a video file in the current project as an editorial reference. You'll likely have EDL issues if you bring a 25fps EDL into a 24fps timeline but theres no harm in trying that.

really too bad. I do think if they'd done some kind of kickstarter type thing, just something to get some press about it, they could have gotten the 50 orders. By the time I'd figured out things on my end to put in an order they'd already killed it (I think cause we were all complaining that we wanted a 16mm camera at that price). Heck someone paid like $6k or more for the original logmar s8 camera that showed up on ebay, which means there were multiple people who bid that thing up so high. I do think the market was actually there for the new one, even if a lot of forum users didnt want it. Would have been a great crash cam, camera house only rental cam for sync applications etc... Its just not enough people knew about it. also looks like the 16mm one is dead too. doh. Granted a $26k 100ft load only camera was always a harder sell, especially with SR1 and 2s at or below that price point right now. Still, its a shame. Not sure if there will be anyone else who tries this again, save for a situation where Panavision builds something themselves or licenses the arri IP just to build spare parts for their 416s (which I highly doubt would ever be publicly for sale). Though I suppose one of us here on the forum could always win the lotto and just start building XTRs again lol

also be aware ground glass / fiber screens for the 416 are the same as the SR3, so make sure your search is appropriately broadened

Ive gotten fresh film shipped to the USA from frame 24 in the UK before via DHL and never had any signs of x ray exposure or damage. Unfortunately I've never tried to travel with or ship exposed film from one nation to another, but it might be worth seeing if there is public info and/or a contact for NZ's airport security to find out if they even know what to do with motion picture film anymore. You could probably also contact DHL to see how they handle stuff clearly labled as exposed film (I'd ask it that way, not "do you xray packages going out of NZ?" Asking that way might not go over great)

part of the problem with speedboosters on a film camera is that the added optics tend to wind up where your spinning mirror is, which makes for a very bad time. I may have spent quite a bit of time looking into this a few years ago and every option I found that didnt require manufacturing new glass was going to make my sr3s mirror go shatter shatter I dont remember if you can convert the 416 to n16, but Im not sure why you would. You can put a 1.33 fiber screen in the camera that will be the N16 format but centered. Then you can just crop the sides off. If you can't find a fiberscreen like the one you need, AMCamera and Shruco tool I think can still do new frameguides on a fiber screen if you have a donor one you're willing to have changed. Herman over at Cameramarket.eu had a stockpile a while ago but you'd have to ask him what hes got left now. If you do want to use master primes on the s16 format, you basically need either a 416 or an Aaton camera. the Master primes barely fit on an SR3, and require you to contort the viewfinder in weird ways such that it makes shoulder operation effectively impossible. Even then I dont know if all of them will mount up, I've just seen it done once and I unfortunately cant recall which lens it was. But if master primes are in your budget then I suspect a 416 or xtr is too, so probably wont be a problem

I saw Logmar pulled their pages for the s8 and s16 cameras. honestly too bad, despite their costs. Im guessing if any new film cameras get made they'll be at panavision and rental only at this point. that being said there have been some rumors that kodak may finally produce that s8 camera. not sure how good an idea that would be but it'd be something

price?

Pro8mm posted some tests on a super8 camera with one of these on their youtube channel when the lenses originally came out.

if you can do c mount these might be the best modern lenses available that arent Ultra 16s https://www.zeiss.com/consumer-products/us/industrial-lenses/dimension-lenses.html

Are there any motion picture processors that run C41? this seems like a very strange choice

yikes... talk about all the eggs in one basket. May its construction be robust and its maintenance regular

How many film fabrication machines does Kodak have anymore? is it just the big one featured on smarter every day?

I wish they'd shot on 16, but if they wanted what the instagram filters would get you then I guess they took the right route. All hands brace for more film shortages lol

LTO is an archival format, and is way too slow to use for production. HDcamSR or D5 was pretty common for film transfers prior to 2008 or so, but its been HDDs since the HDcamSR factory flooded and killed the format in 2011 if I recall correctly

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

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

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.

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

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.

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