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My Fries 35R3/XL2.


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#1 Paul Bruening

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Posted 20 February 2007 - 05:46 PM

Hey Gang,

Bruce at Aranda has finished my 35R3/XL2 combo. He's shipped it out, sending this photo in advance. It falls into his category, "Weirdest things I have ever built." Bruce has been fantastic at enduring and filling my very odd requests. I'm really looking forward to getting my hands on it. Bruce put a 2 perf gear set in it, mounted the XL2 and put his very fine motor control works into it. He also put a remote control in it as well as put an external motor start/stop jack in the motor controller. He also put in an automatic bloop light and tone for syncs. Here's a picture of it with a lens and the XL2 veiwfinder (taken off in normal use):

AAA022A_My_R3_and_XL2_Websi.jpg

Well, what do you think? Am I mad enough for the movie biz?

Matt Duclos put gears on my eleven Nikon primes. All in all, I hope this rig will serve me well.

Thanks guys,
Paul
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#2 Michael Nash

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Posted 20 February 2007 - 06:57 PM

Well, what do you think? Am I mad enough for the movie biz?


Biggest video tap I've ever seen. Or is it the biggest 35mm lens adapter I've ever seen?
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#3 Chris Durham

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Posted 23 February 2007 - 01:53 PM

Can somebody explain the purpose of this thing?
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#4 John Holland

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Posted 23 February 2007 - 02:03 PM

Bet you cant wait to get it on your shoulder !! :o
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#5 Patrick Neary

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Posted 23 February 2007 - 02:18 PM

It looks like there's still room to add a processing machine and telecine too-
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#6 John Holland

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Posted 23 February 2007 - 02:21 PM

And maybe a small screening room ?
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#7 Alessandro Machi

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Posted 23 February 2007 - 02:32 PM

Biggest video tap I've ever seen. Or is it the biggest 35mm lens adapter I've ever seen?



Or it's a hybrid. When getting up to speed, the XL2 kicks in, afterwhich the 35mm hums along by itself.

This camera gives new meaning to the Aussie catch phrase of "down under".
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#8 Paul Bruening

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Posted 24 February 2007 - 09:21 PM

The camera is a whopping monster anyway, so, the XL2 isn't such an encumberance. It all goes into a great big BNCR blimp. The XL records the ground glass at 24fps and does the pull-down in either 2:3 or 2:3:3:2 all in-camera. The bloop light and tone match the film to tape. The audio goes onto the DV tape in sync at 16 bits x two channels or 12 bits x 4 channels. Generally, I can bypass the costs of workprints by using the DV/gate footage (understanding that something might be amiss with the actual film footage here or there). Then, I have to only conform scans to the already synced sound track on the DV workprint. Then it's the usual sound and picture massaging before going back to film. The XL2, while large and seemingly clumsy compared to a small CCD tap cam, eases my job at many levels, especially important since I have to do the editing as well as the shooting. As well, I can get rid of a couple of crew guys by having a remote control, automatic blooping and sound-on-camera (here in BFE Mississippi, where both free and capable crew is damn hard to come by). I realize that the package is unconventional. However, the concept was well thought out and chosen for a variety of useful reasons.

Paul

P.S. It's also 2-perf and I really love that!
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#9 Patrick Neary

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Posted 24 February 2007 - 10:11 PM

So you DID fit a telecine on there!

I'm curious about your Fries, and how loud it is sans-blimp (do you think the 2-perf conversion will affect that?) and what's the viewfinder like? I thought they had a reputation for being kind of dim-and-grim, or is that only the pellicle version?

I hope you post how the new rig works out!
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#10 Stephen Williams

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Posted 25 February 2007 - 04:25 AM

So you DID fit a telecine on there!

I'm curious about your Fries, and how loud it is sans-blimp (do you think the 2-perf conversion will affect that?) and what's the viewfinder like? I thought they had a reputation for being kind of dim-and-grim, or is that only the pellicle version?

I hope you post how the new rig works out!


Hi Patrick,

The eyepiece is about the same as an Arri III assuming the mirror is in good condition. There is an expensive upgrade to choose how much light goes to the video assist, I have never tried an upgraded one.

Stephen
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#11 Paul Bruening

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Posted 01 March 2007 - 02:56 PM

Hey Patrick,

The camera arrived today but I'm in D.C. on estate business. I'm looking forward to getting home and getting my meat hooks on it. I'll let you know how it does.
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#12 Jonathan Bowerbank

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Posted 01 March 2007 - 03:28 PM

How much did it cost for the video tap mod? I hope you save enough in telecine to cover it...

I'm curious, could you detail your entire workflow, step by step for us to explain what your cost benefits are of doing this?

I don't doubt you thought through it carefully, I'm just curious to find out!

thanks
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#13 Paul Bruening

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Posted 01 March 2007 - 04:29 PM

Sure Jonathon,

I haven't thought this out for presentation, so, forgive me if I meander.

The XL2s are going for as little as $1,499.00 when I did a search a few weeks ago. Since the XLH1 came out XL2s are dropping in price. I can't account for the actual quality of these kinds of deals. There are scams out there on precisely this kind of gear. B&H sells them for close to list, around the high 3,000's, but they're dependable. The EF adapter is less than $500.00 retail. The Canon macro lens was something like $450.00. Bruce did the mount bracket and tap modifications for $800.00. I'll have to look up the cost for the remote from Bruce. I'm thinking, off-hand, it was about $400.00. The bloop light and tone was about the same cost, but don't hold him or me to that. Obviously, costs are based on each camera and the complexities it holds for modification.

The thinking behind this was based on two cruel realities:

1) I can't pay for 4 perf film and lab costs. 2 perf cuts that in half. Plus 200' short ends go for less per foot because they're too short for 4 perf, but last like a 400 footer in a 2 perf cam.

2) I can't pay for crew that is competent and can't stand the dunces I pull in for free who wreck my productions.

My camera will earn back its costs if it cuts film, lab and crew costs, which, it should... I hope.

The Fries (Eastonscope) rig combines four crew jobs into one. The bloop light and tone eliminates a clapper. The XL audio-on-film-camera cuts out a seperate sound recorder guy. The tape recording in the XL cuts out a seperate tap-video recorder operator. Now, there's only the film camera operator. With the remote, I don't even need him on lock-down shots.

Of course, the XL is still a video camera and provides output to monitors. As well, it records video and audio so takes can be reviewed for suitability before going on to the next set-up, thereby, avoiding embarrasing print-take calls in dailies and maybe even costly reshoots.

Since the blooplight and tone go on DV audio, video, and telecined or scanned film (both head and tale bloops are programmed into this rig automatically), syncs in post are streamlined and should cut out about one sixth of the most boring parts of simple post production time- syncing and conforming.

As far as noise? I won't know until I get my grabbies on it. The Mitchell GC (the actual camera that the Fries is modified onto) was designed in the silent period when a camera could be as noisy as it needed to be. 2 perf should reduce that, but it will likely be way too noisy to go unblimped or unblanketed. I'll soon see and get back to you with that.

Did I cover your Q's?

Paul
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#14 Leo Anthony Vale

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Posted 01 March 2007 - 04:41 PM

As far as noise? I won't know until I get my grabbies on it. The Mitchell GC (the actual camera that the Fries is modified onto) was designed in the silent period when a camera could be as noisy as it needed to be. 2 perf should reduce that, but it will likely be way too noisy to go unblimped or unblanketed. I'll soon see and get back to you with that.


The NC movement was designed for sound work. While the movement is silent you still have the motor and film flapping through.

the standard/Gc movement is more of a sewing machine.
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#15 Joe Smith

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Posted 05 March 2007 - 06:52 PM

ha thats awesome
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#16 Paul Bruening

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Posted 10 March 2007 - 07:43 PM

Well, batteries and film have been ordered. I hope to roll some tests through it in a week or so. Fortunately, my next production can go MOS so I don't have to fit it in a blimp just yet. As well, I have a 2 perf projector so I don't have to pay for a print-up to 4 perf positive. I can just go with a one light contact. My local theatre has agreed to let me project on their curved screen so I can analyze the prints. I've ordered a little of everything in Kodak and Fugi so I can get a good idea of grains and resolutions of both the 2 perf image as well as how well the Nikons do. I'm thinking of renting a really good Zeiss in a PL mount and shooting half screen, then, rerolling the negative with the Nikons on the other half to get a side-by-side comparison. What do you think of that approach?
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#17 chuck colburn

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Posted 10 March 2007 - 08:20 PM

Well, batteries and film have been ordered. I hope to roll some tests through it in a week or so. Fortunately, my next production can go MOS so I don't have to fit it in a blimp just yet. As well, I have a 2 perf projector so I don't have to pay for a print-up to 4 perf positive. I can just go with a one light contact. My local theatre has agreed to let me project on their curved screen so I can analyze the prints. I've ordered a little of everything in Kodak and Fugi so I can get a good idea of grains and resolutions of both the 2 perf image as well as how well the Nikons do. I'm thinking of renting a really good Zeiss in a PL mount and shooting half screen, then, rerolling the negative with the Nikons on the other half to get a side-by-side comparison. What do you think of that approach?


Ilove it! Half the perfs to start with and then half the stock to test with.
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