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I agree
I have a d90
And a hvx200
I have a partner who has a 5d mark2
Basically it boils down to glass.
What lenses we already own
Vs what lenses we can rent
The lumix can be outfitted with the pl mount and Cooke primes
Have you ever looked through those?
I mean I figured this out when I realized my fujiS2 I bought back in 2003
It was expensive
But now last year I paid a third for the nikon d90
And it shoots 720p HD 24fps!
The key I am diving into
Is color space
My hvx200 has 4:2:2
The compressed cameras like
Canon lumix
And nikon
Are not and are in between I think
4:1:1
Or like HDV 4:2:0
Can you correct me please?
But I had heard that using Cineform software it allows you to open up the color space ( obviously not adding information that wasn't there to begin with ) but that it allows for some pretty nifty color correction fixing operations in final cut pro and color 1.5
Have you heard of this? Or had any experience with this?
I mean I am at a crossroads
Actually thinking of going
Full metal hybrid!
Shooting 2perf 35mm film
Which is widescreen without the expensive cost of anamorphic
And think Sergio Leone shot this as the Italians had developed this as a low budget idea film saver. Plus you shoot 50% less film and it is alot quieter as the film is not moving as fast.
This in turn I plan to process
And skip telecine
Forget the foolish 29.97 process
Just film scan
I am developing a guerilla filmscanner system with off the shelf gear and software, with possible help from my cousins who can program robots machines simple that can monitor the scanning process of the computer
It is an automation
Kind of like Photoshop scripts
But this has to actually sense when the scanner is working and when to advance to the next frame of film
I had previously laid this idea or project on the backburner as I thought P+S Teknik was coming out with the solution at the last NAB but I was discouraged only to find that they are just a distributor for a new film scanning device ($100,000) out of my budget, that can process film without needing the pin registration. It uses what I assume motion tracking software provides to other applications well in this instance it is a mainframe with the closest location in Boston!
Not westcoast!
It says it has a tiny kiosk touch LCD screen that the user can view and I assume fix certain settings as the film is scanned and spooled down toward where the pc lying on it's side works below. Probably on a Linux os.
All this said. Digital is still not film
Red is 4k , but kodak vision 3 stock or vision 2 stock or even the original vision stock that I shot 16mm with is simply amazing what you can create or capture with just natural light and a few photo flood practicals. Or reflectors.
I have not had the chance to shoot with the new stocks
But I plan to shoot hybrid
In tandem like I do for my stills work
Let me explain
I have a 6x6 bronica medium format camera
That size of negative is just gigantic!
Even the newest 40,000 Hassleblad digital 50 or 60 megapixel camera
Is not the same as a 6x6 or larger film negative. Ansel Adams shot with 8x10 negatives for a reason!
But instead of wasting all my money on prep film under and over exposures
I can use my light meter and the digital cameras light meter. And video assist.
Yes I have a RAW image that is 12mpix
But when I also then set my medium format camera with the same settings
Then only pay for processing which is very cheap these days. I then scan it in using silverfast Ai software that actually can by double scanning increase the dynamic range of the scanner!
In turn you end up with the same amount of control as RAW working in Silverfast
Why all this talk about still photography?
It is the medium.
Digital vs film
Digital changes codec and format every year or so? (Adobe is working hard to push DNG)
But ask yourself this question.
If you are passionate about your vision and if you are working on something with the sweat of your brow, dont you want it to stick around this universe for awhile? Or do you have that much faith in the future format translators that you are willing to roll the dice and keep your masterpiece all balled up in 1's and 0's?
Think. A analog tape recording of Louis Armstrong can be digitized and purified to the nth degree. But it's archival state is that same analog tape or vinyl record that still blows past any CD or mp3.
Back to archival film
The reason we can see TCM footage
More than the video that was shot in the 70's and 80's or even 60's
Is because unless that material or show or movie was transfered to another format? It was lost in time.
Why take the chance?
If it was good enough for Greg Toland and Orson Welles? And it lasted the test of time. Why not your projects?
I know Francis ford Coppola keeps his or kept his negs in some cave in Pennsylvania.
I know that color film is basically a bad archival medium
But take it from the history of printing
CMYK
Not RGB
If you take four black and white reels
Well five one for audio and have you ever had the joy of listening to audio recording on 35mm stock? It is one inch thick! And amazing!
The transfer from 35mm to vinyl
Is simply breathtaking!
You can't beat that resolution
But obviously this is expensive.
But if you had say a masterpiece like
"titanic" that won all the awards
Would you save it on digital?
Or archive the master into a 4 color seperation system that once it was married back into it's original color space Each Cyan Magenta Yellow and Key(black)
This would lock in the color exactly as it was in it's original format.
No other software simulation to my knowledge could take the place of this organic process. Nothing. Because the others are just virtual or digital rasterized versions of a Whole Image copy. (please note yes film has grains and particles, but that is color film)
If you use silver black and white?
This is probably about as close as getting to archive your movie in a crystal like Marlon Brando plugged in to show his super baby the history.
Yes I do assume that once technology
Gets to the point of having
Quartz crystal archives
Then silver four color processes will become obsolete and we will just
Plug a quartz crystal into our camera that has a primo lense made of good glass( also a type of quartz)
So is this like in that funny movie "the Graduate" where the dads rich buddy wants to fill Dustin Hoffmans character in onto a secret? He says " just one word ... I want you to think about it....mull it over....the one word is "plastics"..
Now our cameras are made of plastic
I say just one word
"quartz"
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