Raymond Zrike

5 hours ago, Tyler Purcell said:

7-64, 8-65

It's 7-63mm and 8-64mm, just to clarify. The 7-63mm is an update to the 8-64mm. Way better housing, slightly sharper, goes wider, but it's a bit slower.

It does sound like a limitation of the photo lens you are using. Cine lenses have much longer focus throws. 

Full frame is a terrible term, and I try to use it as little as possible. Usually just use VV or vista vision, and other camera people know what I’m talking about. It’s also sometimes best to talk about things comparatively, so I’ll usually say “formats larger than s35” rather than just LF. And “LF” tends to be shorthand for the Alexa LF rather than a general term (does anyone refer to the Venice as LF?) for cine purposes at least.

The terminology is certainly messy at the moment!

I'd love to try them out and get some 4K scans, but nobody seems to have any of them for rental in NYC. It's odd; been waiting for at least one person on ShareGrid to pick them up for nearly a year.

6 hours ago, David Sekanina said:

Loawa announced a 20mm 1.5X Nanomorph:

https://laowacine.com/product/nanomorph-20mm-t2-2-mft/

I checked again if the 20m (white) is also within the ARRI Studio envelope (blue), and it is ?

It'll cover S16 nicely, but not S35.

That's fantastic news! I'm surprised since I wouldn't think there is much market for a PL-mount MFT lens, but that works perfectly for s16. And T2.2! You're basically completely covered with the 20mm, 27mm, 35mm, and 50mm. Maybe throw in a 9.5mm/6mm Ultra 16 for when you have to go wider.

1 hour ago, David Mullen ASC said:

A few sequences are more stylized and the color saturation is modulated to match the mood of scenes.

Would the shot at 0:35 in the trailer posted above be a part of those more stylized sequences you are talking about? Because that shot is a good example of what I’m talking about. I'm mainly focused on skin tones—there’s no color in anybody’s face (except for the warm push that is over the whole image). I guess this shot could be evoking an old photograph considering the context of the moment, but it doesn't scream Vision3 to me, at least how most people grade it these days.

Also, pairing softer lenses (“‘We literally put optics from the 1950s inside the lens so it wouldn’t look so modern,’ Sasaki said”) with extremely low-grain stock like Vision3 50D, and then finishing with a DI, gives somewhat of a similar feeling of softness that you’d see with a poorly DNR’d scan. Very much my personal opinion, but softer lenses with grainier stock or sharper lenses with less grainy stock both work well while soft lenses with less grainy stock does not. Visible, well-resolved grain gives the appearance of a focused and sharp image. From the third row of the theater at which I saw Flower Moon, the daylight exteriors looked grainless and mushy.

Wow, Marty opted for an iPhone for this shot. Voilà, cinema.

This looks like a Venice.

I think a lot of it that was shot on film has kind of a digital appearance because the grade is so aggressive. The daylight exteriors bothered me a lot in particular (saw it at a Dolby Cinema last week).

Has anyone done a comparison between Sony's X-OCN LT and X-OCN ST? I couldn't find any direct comparisons online. I'm wondering how much of a real-world limitation it will be for the upcoming Burano since it'll be limited to X-OCN LT.

The hyper tap isn’t truly flicker free at 24p, and AZ Spectrum had a wait list of about 6 months last I checked, so I went with AM. Great tap.

1 hour ago, Marco Andre said:

Still available?

Seller was labeled a scammer, just FYI.

10 minutes ago, aapo lettinen said:

sideways is often more problematic with cameras than upside down because when mounted sideways the guide roller will have more friction and work to run the film onto the takeup spool and the feed and takeup rolls may not stay at perfect positions so they may create friction and noise in the worst case.

"Sideways" as in the camera is rotated so that the frame is now vertical? Or "sideways" as in the camera is tilted 90 degrees up or down? The former is not something I'm planning on doing while the latter is.

13 minutes ago, aapo lettinen said:

don't misalign during handling or shoot when they are hanging from the locking pins instead of just resting on the camera like when operating normally.

Interesting. I'll probably keep my hand on the top (now the bottom) of the mag the whole time so maybe that won't be an issue.

14 minutes ago, aapo lettinen said:

Weird sounds tell a lot when doing tests. If something does not sound right then you will have an issue and should make some changes before trying again

One of my mags made some incredibly weird noises last shoot. Took it out of commission immediately. Nothing worse than a film camera making sounds you haven't heard before.

4 minutes ago, Robin Phillips said:

Havent done it myself, but I've seen an SR3 run at motion control speeds upside down with no problem

Good to hear. Thanks! Maybe a test is in order.

Is there any issue with running an SR3 upside down? Or at a 90 degree or more angle? I think I've read about the topic on this forum before, but I can't find the thread. I'm hoping to rig the SR3 like in this demonstration: 

52 minutes ago, Joshua Cadmium said:

Maybe the bulb wasn't on long enough to settle, or the bulb was old, or the ballast was dimmed (which can cause a green shift): https://lightbulbrentals.com/hmi-troubleshooting/ .

HMIs are also just a little finicky in general and may need to be gelled with plus or minus green in order to hit a neutral white.

All of those could very well be the explanation. Thank you! I'll make sure to have some magenta gels on hand next time. We'll just have to embrace the green for these shots haha

I think the light is actually green based on this quick correction I attempted.

Here is the original:

Here is the correction:

While everything in the shot looks fine, you can see that the green marker on the slate has completed shifted along with the HMI light.

5 hours ago, Mark Dunn said:

I wonder if it's an effect of the mixed daylight/gelled HMI.

I had that thought too, though the daylight was gelled just the same as the HMI since the window was gelled rather than the HMI itself.

5 hours ago, Mark Dunn said:

it reads as not so much green as very deficient in blue- something like R66, G67, B42%

I'll try adding blue.

We might end up leaning into the green daylight for these shots anyway. It's a fantastical film where the outside world is supposed to be hazardous. But it'd still be nice to know what is going on exactly.

We shot a 1.2k HMI (fresnel) through a window during the day. We gelled the window with full CTO (LEE Filters I believe) and shot on 200T s16. Why does the light through the window appear green? It’s not what I expected, but I also don’t have very much experience with HMIs. The other lights in the scene are LiteMat 4s set to 3200k.

Above is a scan from Kodak NY with a ScanStation. I threw on a very basic grade.

Price decrease to $950.

I am selling a Cartoni Focus 12 fluid head in excellent condition. 100mm ball base with 0 to 26lb load capacity. I bought it new from B&H in 2022.

There are some dings here and there, but it is fully functional. New, the fluid head sells for $1450, so I am listing this for $1000. Plus $25 to ship in the US. Local pick up in NYC. I can take PayPal, Venmo, Zelle, cash. Open to offers.

In my opinion, this is the best proper fluid head you can get under $3k. Only reason I'm selling is because I needed just a bit more weight capacity for my very heaviest rig.

Images

I am selling an Abakus 132 B4 to Super-16 PL expander. It expands the image circle of B4 lenses to cover super-16 with a magnification factor of 1.32x (so multiply the focal length of your B4 lens by that amount).

There have been B4 to S16 PL adapters from a variety of different manufacturers—having owned a number of them, I can tell you that this is the best. MTF’s adapter is of lower optical quality while IB/E’s adapter lets in less light (it loses a stop of light while the Abakus 132 loses about 0.8 stops; additionally, IB/E’s adapter is limited to a max T-stop input of T1.9 while the Abakus 132 does not have that limitation). The Abakus 132 fully optically corrects the 3-chip image format for use on a single sensor/film.

It is in great condition with clear glass. Includes caps.

My price is $1100. Plus $10 to ship in the US. I can take PayPal, Venmo, Zelle.

Images

I assume no sync sound? Because if it’s MOS, you could just slow the footage down to 15fps (a minor slowdown) and then double it to make 30fps. If there is sync sound, you might have to use software to create frames to bring it to 24fps, or else there will be skipping during pans/tilts and movement.

I’m looking for some sort of option for super-16 dailies in NYC. Is there anything slightly affordable? Kodak NY has great processing rates, but I asked them about what the pricing would be for dailies, and they just quoted me their regular HD scan price.

Is there anybody in NY, NJ, or CT that’s got a not-so-great scanner like a Blackmagic Cintel? I assume they’d be able to run the scanner at a fast speed cheaply. The scans can look bad as long as the film is handled properly.

I don’t need the dailies actually daily, maybe every four or so days—I’ve just got a month-long shoot and don’t want to fly blind the whole time.

1 minute ago, aapo lettinen said:

another matter is that if the camera kit is lacking in some way and is too expensive for the filmmaker, then it is pretty challenging to plan and execute any actual projects with it and one may end up making just some single roll "camera test short films" which are not actually even movies, just something one scrapes together to get an excuse to shoot at least SOMETHING with the camera.

but yes, if a poor-ish indie filmmaker can manage get hands on a working 16mm sync sound camera after saving and hunting one down for years, it is likely still lacking in some way (bad ergonomics / unreliable / poor viewfinder / noisy / missing important accessories / weird lens mount so one cannot use the lenses one wants / etc) and that limits its usability so much that the said filmmaker will still not have much use for it even when using so much time and money and effort to get that camera kit.

Best to rent or borrow a known-working camera in that situation.

3 hours ago, Tyler Purcell said:

Fotokem is the number one lab in the US. I spend a great deal of time there and honestly this year outside of Oppenheimer, they've been pretty quiet, according to them.

Things are slow right now in general. Rental houses I've talked to have said so, across the board (film and digital). There's a strike going on after all. And a quasi-recession.

Regarding Kodak stock, they definitely don't seem to have the shortages like they used to, but 7213 400' has been out of stock at B&H for a while. Kodak hasn't been responding to my emails about the stock either. Will be calling them this week.

1 hour ago, James Compton said:

Then you have TV shows that are shot film. Season 1 of 'WINNING TIME' was epic, and here is the trailer for Season 2, as well as the behind the scenes footage of 'ASTEROID CITY'.

And the best show of the last ten years (in my opinion, since Breaking Bad): Succession.