Bryan Becker

9 minutes ago, Tyler Purcell said:

https://elokuvakonepaja.com/product/arri-sr3-power-adapter/

Quick google search came up with 3 options, this is the one I like the most. 

Thank you! This is very helpful.

I can’t seem to find any information on the Arri sr3 “Mains unit NG 12/24 R”. I’m looking for alternative ways to power the sr3 aside from the onboard battery any thoughts would be much appreciated.

Thank you! Sounds like I will be using neg.

3 hours ago, Heikki Repo said:

It won't look bad, but it will look quite warm. If you have a digital camera, set it to daylight setting and take photos with tungsten lights to see how it'll look approximately.

How about you buy some Vision3 200T and have a one-light work print made from it? I have been shooting 16mm home movies on negative and went that route -- works great and looks great on projector!

Both great ideas, i will try both. do you get your one light work print from Fotokem?

I just got my “new” lens, canon super 16 zoom from VP and I want to do some test shots with my kids for fun. I want to shoot on color reversal so I can project it at home for them but only seem to be able to find ektachrome 100D stock. I wanted to do some indoor nighttime shots with some tungsten fresnels which is why I wanted to find tungsten balanced. I want to avoid loosing 2 stops by using a filter. How bad might it look if I just shoot the 100D at night with no correction filter?

2 hours ago, Robert Hart said:

Are you aftering a moonlit scene or a shot of the moon itself in background of a composed and artificially lit scene? If you could describe your actual intended shots this might be more helpful.

If you put an 85B daylight correction filter on your camera, you will lose 2/3rds or more of a stop. This muchly defeats the choice of using tungsten-balanced film which was originally purposed towards gaining the most faithful colour rendition out of the once common tungsten lamps which are limited by available power sources. Daylight has plenty of power to spare when correction filters are used.

Filters will require you to light your subjects more strongly and if your lighting is to be LED or HMI which is nearer to daylight colour temperature, then the decision for tungsten balanced film might need to be re-examined. 

You might be able to take a bet each way and use a 81EF filter which may leave you with a little blueness in the colour but leave you with a bit more wriggle room for colour grading. You will still lose about 2/3rds of a stop. It confers a sweet effect in very early twilight with the sunset sky in background. 

What speed (ASA or ISO) is your tungsten balanced film? I doubt that moonlight alone will give you much of an image of anything except the moon itself or light clouds across or around it either as a shot or in background of a scene. The moon itself can be quite bright. If you want detail of the moon's surface, then you will need to set the lens aperture to suit. 

David Mullen can advise better than I can about exposure for the moon. 

Is something like this what you are seeking to film?
 

 

Here is a link to another discussion which may assist you.

https://www.rogerdeakins.com/camera/working-with-filters/

Thank you! This article is great.

2 hours ago, Felipe Larrondo said:This will work with SD signal converted to HD or with a naitve HD tap.

Great info! Sounds to me like I can just use my existing tap with the blackmagic analog to sdi convertor and save on the Video Tap upgrade. Maybe I can use the money to upgrade to a gold mount adapter. Which I know nothing about. I think it helps power more on board accessories?

Just now, Tyler Purcell said:

Oh haha visual products. AZ-Spectrum is another company who makes taps. They're just super backed up. You can probably get a faster turn around with the same quality over at Visual Products, who are in Ohio. 

Thank you, you’ve been a great help.

2 minutes ago, Tyler Purcell said:

Got ya, so yea I'd get the VP tap, it's pretty good. It's also HD vs the stock one which is composite SD.

Then ya just use any flavor of monitor that has build in recording and you're good to go. 

Amazing, thank you. Would you mind telling me what VP stands for and if the tap I mentioned from AZ-Spectrum is a VP tap or where I could find one? 

43 minutes ago, Tyler Purcell said:

Is it an HD tap? 

Right now I have CEI COLOR VIDEO ASSISTANT on the camera with a Analog to SDI converter and Ptap power converter. However I saw that AZ-spectrum makes this HD SDI flickerfree video assist for the SR3, and maybe that would allow me to not need the sdi converter. I just have no idea how much AZ will charge for that item. I’m calling them tomorrow.

Is there a particular on camera monitor or set up that would allow playback by means of screen recording that I could use on an Arri sr3? If not Any suggestions for an inexpensive HD on board monitor?

This is perfect thank you. Right now I have 3- mole Richardson type 407 baby solarspots fresnels. (1k watts each) i have a one set up with 1000w bulb, another with 750w bulb, and the other with 500w bulb. So I’ll explore what you have recommended!

Great points. No they don’t have to be Rgbw. I just wanted RGBW to make my kit more versatile. I don’t think I mentioned in my Original post, I am student and new to cinematography so my goal is to build a decent kit and I figured rgbw would be a good way to experiment with different colors.

Unfortunately only 2k. But I already have 3 1000w tungsten fresnels.

That makes sense. And if I am shooting with tungsten lights and film stock during the day it seems easier to put on an 85A filter than to gel all my lights right? Or do I need an 85B? 

Thank you! It’s hard to research certain film making aspects when it involves using “celluloid”. So I really appreciate the information.

Perfect. Thank you!

I am a student shooting on super 16, I am using tungsten Film Stock. There is a night exterior shot and I am wondering if The tungsten film stock will have an issue picking up the “blue moonlight” correctly  so long as the “moonlight” is giving off a color temperature of probably around 4100k or am I missing a necessary step to make up for the fact the film is made for tungsten?

Hello I’m shooting a feature I’m producing myself. I am considering buying the led Gvm 1500D 3 three light kit. Each light supposedly puts out 11,000 lux at 3.28ft. My concern is Color accuracy LED lights especially since I will be shooting on super 16 film. 

I heard handheld spectrometers are the way to check accuracy but I have never used one and it seems like just another expense when The whole point of me getting LEDS is to save money. 

The rotolight Aeos 2 was another option I was looking at since it claims it’s color accuracy is 99% but their price is 5x more for the 2 light kit.

My question is does anyone have anything good or bad to say about these lights for shooting on film, or any suggestions or comments regarding my choice to shoot film with LED lights?

I was reading a 2016 article on https://nofilmschool.com/2016/09/should-you-shoot-16mm

when I came across this statement. Am I crazy or is this 100% wrong?

“When asked about what type of film stock they prefer....  the practical producer Lucas Joaquin prefers 16mm,  it’s more difficult to scan 35mm and you don’t necessarily have more picture information on a 35mm frame than a 16mm frame."

1 hour ago, Dom Jaeger said:

2C refers to the Arriflex 2C - an iteration of the original Arriflex, a small, loud 35mm reflex camera, designed primarily to be handheld, and very popular in the 60s and 70s and beyond. A legendary camera but no good for dialogue unless blimped (which is not worth doing these days). Successors were the Arriflex 35-3, 435 and 235, all MOS cameras (meaning too loud for dialogue).

Thanks Dom!

27 minutes ago, Giray Izcan said:

If you want to shoot narrative rather than mos music videos etc than of course you should get a 2 perf, quiet with pl mount type camera. Forget the 2c type cameras for narrative work is what i would say.

yes I want to shoot narrative. Is it uncommon to find a 2 perf Aaton 35 III? What are 2c type cameras ? 

4 minutes ago, David Sekanina said:

close to 2.39:1

Thank you

1 minute ago, David Sekanina said:

With 400ft you get around 9minutes in 35 2 perf, vs 11 minutes in 16. the film is still around 1/3 more expensive.

What’s the aspect ratio 2perf?