Chris Fernando

So no 2D IMAX, huh? Seems kinda pointless to go through all that trouble and then only exhibit it in 3D. What gives?

Any 2D IMAX (not Lie-Max, mind you) in LA, to speak of?

Hi,

 

go for Aaton LTR.

Together with Angenieux 9.5-57mm (especially H.E.C. version, if you can get) it's a really nice package. Ideal for handheld shooting, capable of 54 fps, time-lapse, sync sound filming, virtually silent (much more quiet than Arri SR's).

 

I own Bolex EL, Eclair NPR, Aaton LTR and Arri SR1, but If I had to choose only one camera (and don't have enough for SR3), I would choose LTR :-)

 

These days are so many 16mm cameras to sell, just keep searching for the right one, don't be too hasty :rolleyes:

Shameless plug for my CP-16R package along with an Angenieux 9.5-57 for sale here:

http://losangeles.craigslist.org/lac/pho/3378596205.html

Willing to ship if necessary. E-mail me at cmfern@homtail.com to discuss.

I'll send something cinematography.com's way if it sells, too :-)

Until you set your diopter it's anyone's guess as to what, if anything, is wrong. The diopter is in two parts, the eyepiece/ cup and the actual diopter adjustment and the adjustment dial has, I think, (not currently near the camera) about 6 or 8 click-stops to adjust. Do you have the owner's manual - I can check it when I get home, but I don't seem to remember it mentioning too much about the diopter other than how to adjust it.

I´d say it depends on the projector. You cannot come to any kind of conclusion based on how much of the perforation is visible.

 

 

 

All HD formats are 16:9,so any machine delivering HD transfers will deliver 16:9, because 16:9 is the only available HD standard. So that is not the problem.

 

And as far as I can understand it he specifically asked for your option number 2, not loosing any parts of the image and having black bars on both sides of the image. But he received something in between the options 1 and 2, not quite zoomed in to fill the 16:9 area and not fully receiving the whole image area.

Exactly! This was supposedly a full gate HD transfer on a (Moviestuff) Sniper DV8 HD. But I specifically asked for pillar-boxing; of course they had never heard the term pillar-boxing based on the silence over the phone when I asked why it wasn't done. They couldn't give me any camera/CCD info for their machine (this was the "colorist/tech" that couldn't tell me this either). They couldn't even answer whether this was a flat pass or not - scary stuff, but it seems, once again, you get what you pay for when it comes to transfers.

By the way, they completely raked the negative as well - these guys give QC a whole new meaning! They've offered to refund the money for the transfer with very little resistance, so I'd prefer not to mention any names, but in keeping with their usual way of doing things they haven't followed through on that either.

So I recieved a Cineform HD S8 transfer I had done recently to quicktimes. The transfer house shall remain nameless, for the time being, as I'm hoping you all can help me with what I am looking at.

First off despite asking for pillar-boxing they have somehow managed to do some sort of full frame transfer (leaving half a sprocket hole in frame?), the other (bigger) issue, however, is the color. This was a Fuji (Pro8) daylight load, metered with a calibrated hand-held meter. I've attached a transfer that Justin over at Frame Discreet did for me earlier this year with the same camera, (different stock though). I've never seen what negative film transferred on a machine set up for reversal looks like, but I don't know how to explain the odd colors. Anyone?

I'd like to make sure this isn't operator error before I pass judgement, but the framing leaves me a bit leery and the colors; ohhh the colors...

Caps off, wide open with focus set (approximately), as well.

But the 35mm print version tends to be the worst all-around in most theaters, except for black levels, which tend to be better than most digital projectors can achieve. But otherwise, you have poor/uneven focus across the whole width for 35mm scope print projection, you have steadiness problems, you have dirt & dust, and you have wear-and-tear after the first week of release. I'm generally much happier with the digital presentation. But at least IMAX blow-ups are super-steady and the projection tends to be fairly clean, and the focus even and consistent.

It's a shame that theatres don't do more to make sure print projection takes advantage of all the possibilities. To my eye, barring the scratches and dirt, there's something about the color depth and fidelity (maybe it's the "organic" black levels) that stil make film projection second to none.

I caught up with 'Inception' at a Krikorian on a 2K projector and some of the jaggies around faces on close-ups (granted, I was looking for it) were a bit distracting.

Which is another thing, I thought of that day: Why don't theatres tell you how a show is being projected anymore? I don't seem to remember "Digital Projection" being touted anywhere (or anymore, for that matter). What if you want a choice? There's something about watching a Wally Pfister show digitally that just doesn't seem right.

I was wondering. Is it possible?

Sure it is...(channel radio advert pitchman voice here), on the new Samsung Galaxy S, with it's massive 4.3" widescreen display!

Keep in mind; Lawrence of Arabia, conversely, will look like it was shot on 284.375mm, though :-(

Well, when he shoots he generally just shoots with available light...

So he saves time by not going into all that other unnecessary "lighting" stuff DP's sometimes talk about.

He never seems to let composition, camera movement and, from what I've heard, proper exposure dictate story either.

I saw this posted on the Titanic trivia section of imdb:

 

"His practice of testing his DPs by darkening the film originated on Aliens (1986). Cameron wanted to use a particular type of film stock, but cinematographer Dick Bush ignored him and used a different type. The end result being that the footage shot ended up being unusably dark.

If Dick Bush used the stock of his choosing how did it end up being "unusably dark"? Secondly, how in the world do you "notice(d) what (was) is going on after the first take" when shooting on film? Did 5247 sound different than 5294?

This sounds alot like one of those conversations with someone who thinks anyone who has anything to do with the camera department is a "camera operator".

Congrats Justin on getting the SI2K to scan film!! That's a huge accomplishment. I'm looking forward to seeing some scans.

 

Chris... If you want to end up on Blu-Ray I would definitely try out the Justin's kit instead of doing a softward based SD uprez from Premiere or whatever editing software you're using on your PC. Software-based uprezzing tends to look pretty bad in my experience.

 

-Paul

Keep in mind that when doing test transfers at different studios, you really have to decide what the look is that you are after. Many different places can provide the same look (color/sharpness/saturation) or totally different looks, based on not only their equipment, but also the technician/colorist running the equipment.

Thanks for the info, guys.

I completely understand the "no-uprezz" school of thought.

Forget Blu-Ray versus DVD deliverable for a second, what I am also hearing is that it is not as cut and dry as a SD vs HD decision when considering transfers. Which is what my original post was looking to uncover - ideally someone that has done a side-by-side comparison of Spectra's uncompressed SD out versus (say) Frame Discreet's HD/SI2K/Cineform output, who can offer what differences they noticed (all things other than transfer equipment and colorist being equal); but am I right in saying it is not as simple as saying, "Well it's in HD, its better."?

Justin are all your HD scans done with the MovieStuff/SI2k combo? Is everything output as 2048x1556 and then dumbed down to 1920x1080 if that is what the customer wants?

Hope my questions haven't led to complete handfuls of hair being pulled out - but this is all very fascinating and (obviously) quite new to me.

If you are going to end up on Blu-ray you should get a HD transfer, instead of doing a uprez on a SD transfer. But just labeling the transfers as "One SD transfer with a Rank and one HD transfer frame by frame" doesen´t say much...

 

Do both give custom colorcorrection? What is the frame by frame transfer based on, a old projector and and a 8 bit videocamera? What resolution is the HD transfer, is it square pixels or not, is it transferred with a single chip camera or not, 10 bit or 8 bit, and so on.

 

You should ask for reference material from both companies so you can compare the results. Or better yet, send them one reel to transfer (the same reel to both companies) and then judge the difference from the transfers they provide.

Thanks for the response Kent. This is a favor for a friend - shot 4 rolls of his wedding in Super 8 for him, so there isn't much room in the non-existent budget for comparison tests, but I understand the importance.

Both places offer custom color and exposure correction.

To put it bluntly I've narrowed the transfer down to Spectra's uncompressed (Rank) SD transfer and Justin Lovell and Frame Discreet's Frame-by-Frame HD/Cineform out.

I know Justin is a regular contributor here - so perhaps he can jump in with tech specs on his frame-by-frame method and equipment (sorry to put you on the spot, Justin).

From what I can get off their website, Spectra is outputing uncompressed; via Black Magic SDI, I would imagine?

The need to finish on Blu-Ray might be the clincher, but I guess the question is based on Frame Discreet's equipment and whether their frame-by-frame HD out betters Spectra's Rank/V3 uncompressed SD out. What will give me the most information regardless of deliverable (Blu-Ray/DVD)?

For discussion's sake is the HD route even necessary if I am ending up on DVD? I would imagine it would be beneficial if it gives me more info to start out with, right?

I'm trying to find a way to decide between going with a local transfer house that can do uncompressed 10 bit SD transfers via a Rank telecine for slightly less money than sending a drive and the footage out of the country to a transfer house that can output Cinefom HD files via a frame-by-frame machine.

I'm not sure how much of a difference the transfer method would make, I'm thinking resolution (SD vs. HD) probably makes more of a difference than what the film is running through.

I would eventually like to end up on Blu-Ray, but that seems like it would be a moot point if taking the uncompressed SD route - not sure but wouldn't that technically be uprezzing if you tried to end up on Blu-Ray from an uncompressed SD workflow; is that even possible?

Editability is another concern as I'm running a Pentium PC that isn't exactly state-of-the-art, but I've been told the Cineform codec is pretty well-behaved. How does it compare to working with uncompressed SD files, though.

As always your experience and generosity in sharing it are most appreciated.

Sent you an e-mail, as well, Bill.

I'm watching The French Connection on AMC right now.

The "William :P Friedkin Version" or the "Owen :angry: Roizman Version"?

This, in a nutshell, IS what has happened to the US over the past thirty years, because evidently, unfettered Free Market Capitalism is the very best economic system in the world. Or so they claim.

Brian, can you break that down into even simpler terms due to the blinders I'm wearing and my propensity to discount rationalization when it amounts to my having to sacrifice something.

Now, I'm off to refinance my house (again) and by that 130" LED so Rush will be an even bigger part of my life!

Anyone know of anyone (company or individual) stocking the SG Blade (or similar) DOF adapter for rental. Looking for a 72mm/Nikon Mount combination along with rails and whatever accessories are necessary.

I'm looking to rent for a couple of weeks for a personal project/endeavour. I see that Abel stocks the P+S Mini for $300 day, but that might be a bit out of the price range for a personal/passion project, so I'm wandering if anyone is willing to take a credit card deposit (or equivalent) for a personal piece of equipment that has been sitting around and can bring in a few bucks for a couple of weeks.

Any help is appreciated.

That all depends on you.. being a card holder doesn't mean a thing except that you will now have to pay dues.

So the only way to economically justify the initiation fees is if you already know a union 2nd AC on a union show who is willing to bring you on board, as a loader, for enough work to justify the fees.

Seems like I'm the one doing most of the work here and shelling out most of the cash - at least on the front end.

Maybe I'm missing something here or haven't gotten wind of enough info. I know that union rates, as opposed to independent non-union ones helps to offset some of the initiation fees and dues - but I've always thought the whole "that all depends on you" concept has always been one hell of business motto/concept. I can't remember the last time I paid $4000 for something where what I got "all depended on (just) me".

Can payment of initiation fees and dues be put off until you start working regularly?

They're bringing in as many new members as they can, as fast as they can, in order to get the initiation money.

So how long before someone off the street sees a return on thier investment in the way of steady employment?

As a former 683 member I know the benefits of unions, but as a non-union 1st AC what exactly does my $4000 (or whatever it is these days) to get in as a loader get me? Will I still be sitting around typing up cinematography.com posts or will I be working?

Then there's this when you want to change things up...

http://www.engadget.com/2009/06/25/video-i...ount-we-giggle/

I want to know what the follow focus is for - switching from your Jonas Bros MP3 to the latest Lady Ga-Ga track???!!!

Gotta love the LED Lite Panel - like fill light is going to be your biggest problem!!!

the overall impression is just one of relentless violence, "torture porn" as some people describe certain horror films today.

I'll buck the status quo here and say that IMHO I didn't think anything in the photography was ground breaking but there are moments that certainly stand out - the scene when JC falls and his mother rushes to his side is one that is often called Carravaggio-esque and I thought rightfully so. It's a powerful scene that's well shot and works for me, especially having just lost my own mother. I've always felt that's one thing good, or at least earnest, cinema can do - remind you; but maybe that's just me.

I don't remember anything with the name Eli Roth (or any of his "disciples") attached to it that makes me think of my mother.

"I gonna shoot the Mayor next Wednesday".

The second you wrote that sentence the FBI was alerted. Watch your back Bob! :o

The INS as well! :o

You mean you couldn't tell by the behind-the-lens net/stocking effect on all the highlights?

Thanks, Jamie. The filter switch seems to be working properly but I have heard that is a problem with these cameras. I'm going to have some tests processed and if it's functioning properly I may just have to live with it till I get a CLA for the camera.

As far as the "Fade" button goes; I tried removing the plate on the left side, but it seems like the button has no "give", it doesn't respond like the "EE" (Exposure Lock) button. I'm thinking there's some type of gasket or O-Ring type that's come loose that was part of the "Fade" button assembly. That may even be what's floating around inside.

Thanks again.

Anyone have any idea what a typical CLA goes for for a Super 8 camera these days?

So I just recieved an Elmo 1012 SXL I purchased after reading some of the testomonials on this and a couple of other sites about the optics, rugedness and price to quality ratio.

As it is there are a couple of concerns; the most pressing being a clicking/moving metal sound I can hear inside the camera whenever I tunr it over, usually to store it in the case. Is this normal? Is this some type of sensor, maybe the film load indicator sensor? Anyone else hear/experience this?

Second issue is one I might have to live with (i.e. an ebay attribute) as the seller never disclosed that the "Fade" button has been pushed in and doesn't seem to want to come out/sit properly. Everything else works as it should and I'm thinking this is just a feature I'm going to have to live without. Any thoughts?

Lastly, can anyone recommend a good CLA outfit in the Los Angeles/Orange county area? I'm thinking it's probably Spectra or Pro 8mm but any thoughts/other recommendations would be much appreciated. Also if anyones had it done lately, what does a good CLA run for one of these cameras?

As always, thanks in advance.