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Orwo UN54 and 74 are also wonderful stocks for diy processing though I have sometimes managed to get emulsion cracks due to using too cold water with it. The double-x is also good but I don't personally like the texture and shadow detail much though have only tested it with two developers and it could probably be possible to get more out of it if experimenting a bit more. At the moment I use Fomapan 400 negative film on 35mm bulk rolls and it has very nice retro look. They don't sell it in 16mm but I would try Orwo if you can get it from somewhere for reasonable price
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positive (reversal) stock has lovely colours and contrast when projected on film but it can be a real pain to scan to digital to get most out of it. the contrast is difficult to handle to most scanners and you will get less room for any adjustments during scanning or post prod. this is specifically on motion picture stock. I have not done much still work but as I have understood the photo negative scanners are much more capable than most motion picture intended units so the stills scanner would get much more out of the similar contrast slide than a MP scanner could in reasonable time and effort. Additionally you could use considerable amount of time per frame when trying to get the best out of a stills frame whereas moving image has much more limitations in this regard. It can be nice to be able to watch the camera original directly on a projector but realistically speaking no one really uses that option nowadays unless for home movies. It has no value on any kind of distribution application which is why reversal has never seen much use on MP use in the first place. Negative is much easier to handle and duplicate and it enables sound work and much safer editing. When distributing digitally the negative enables digital grading but if using reversal you pretty much need to nail the look in camera because post adjustments are extremely limited and you will lose even more of it if the scanning is not top notch. I personally like the look of Fuji Vivid stocks but they have always needed more telecine time for being higher contrast (more adjustments needed on telecine/scanning) so that the transfer has been more expensive. On low contrast stocks like Vision line or Eterna 400T you could almost transfer one-light with only couple of adjustments per roll if having very hot highlights or dark shadows. It just costs more to transfer because of the time needed. Reversal is much more demanding and the lower end scanners can't even handle it properly without crushing everything
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Cine Tape sonar measure system for sale Set was serviced by Cinematography Electronics Inc. in California last year. Including: Cine Tape Measure Control Horn assembly Sensor cable Power cable 2x extension cables custom horn extension tubes custom bracket for horns on an lcs (focus / iris / zoom) motor original cine tape pelican case catalog price $6800,- USD asking price €4800,- including continental shipping for pictures please visit: https://steadicamforum.com/index.php?app=forums&module=forums&controller=topic&id=29657 or message me on: rrheikens@hotmail.com
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Perfect conditions! Regular import with box and genuine Sekonic pouch. Asking price is €850 If you don't have an EU or UK VIES enabled VAT ID I have to apply local VAT. -
Hello Marco, in my experience in still photography it is a lot easier to digitise 'slide film' like Fuji Provia eg than any colour negative you can name. I have been scanning film since the early 1990s and scanning colour negative is VERY VERY interpretive and full of variables.....first you start with a ballpark 'profile' you attach to it and then you start adjusting the white point etc etc to get the look you want...and there's no getting away from having a colour chart in the image if you have to reproduce accurate colour Back in the day when I scanned a lot Fuji Provia II was THE film to scan....the easiest!! If you read the threads regarding The Lighthouse film, for 16mm the recommendation by its cinematographer is to shoot Tri-X and develop as a negative, rate it at 100 asa instead of 200 asa (1 stop over) and pull one stop in development....but of course thats what you have to tell the lab....Im doing that for my next project cos he knows better than I do x 1 million hahah
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TMAX 100 AND 400 Special Order?
Stephen Perera replied to Scott Pickering's topic in Film Stocks & Processing
As a note, TMax is also a very 'dense' (I'm using the wrong word for sure) negative and it exhausts developers and fixers faster than the other BW film.....just look at that purple dye you have to wash hard again and again to get rid of when you're processing yourself......saying that....TMAX 400 is fantastic....I soup both in Xtol 1:1....obviously I dont know anything about it in motion picture use....dont know what Tmax 100 does though but its fantastic to shoot people....has a creaminess and acutance at the same time.....i first used it in 1985 at Art School and its one of those je ne sais quoi films for me.....but 400...wow....what a film -
500T is a beautiful stock.....I am mesmerised by it......your graded footage has beautiful colour, love it....thats the thing with film....I visualise it in the following way.....its like reproducing photographs via offset lithography on a more porous paper stock and the way the ink bleeds just that little bit almost gives it that depth of colour and reality that digital still to me looks like a layer of ink....film is like layer upon layer upon layer and there's nothing like it.....(Im a graphic designer/photographer (stills) by profession heh heh hence the analogy)....500T in particular has that blue in it that somehow holds the image up, holds everything on its shoulders and is just there, intense and beautiful.....then the reds....then the greens......I love this stock.....on my vimeo you can see my 16mm Gibraltar Crystal stuff shot on 500T if you are interested.....the inside the factory sections sorry if this seems like I'm trying to show my stuff all the time its NOT my intention.....
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Thanks all for your assistance. This weekend I’m running dummy film through to alienate the issue. I more than appreciate your comments and experience to assist and resolve this concerning Matter in order to get this fab camera back in motion Hoping to shoot a project in next couple months, but this sprocket tearing derailed my plans. thanks for all your help. -robbie. .
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Funny, I once had an angry director literally rip the headphones out of my ears. He was a douche. Pissed off everyone on the crew. I was the only person who was totally chill around him which I think annoyed him even more. Mostly because I was always listening to music. -
PL mount for 8 hole Zeiss ex Slomo Digital
Dom Jaeger replied to Gregg MacPherson's topic in Lenses & Lens Accessories
I've seen a lot of lenses without a rear baffle, or just with a matte black ring around the lip. It depends on the lens and how much space there is between the rear of the lens and the inside edge of the mount, but you could easily just velvet line the inside or even paint it with matte black paint. Or your suggestions. Light from the lens itself usually won't hit that surface (unlike say the inside of the lens barrel or edge of an element), it's just reflected light bouncing back off a sensor or film, which would then need to bounce back again to affect the image. So it's fairly low risk. -
https://www.indiewire.com/2019/11/cameras-lens-2020-oscar-contenders-best-cinematography-1202187839/ A round-up of the cameras and lenses used for 42 contenders for cinematography Oscars. Despite Steve Yedlin's assertion that "we are truly post-format these days, meaning our primary leverage point for designing a photographic look (the rendering of tones and colors) is the color pipeline, not the selection of camera", I still find it interesting to hear what people chose and why. Unsurprisingly, Alexa Mini is by far the most popular choice of camera, with nearly 40% of the films using it. The next most popular choice, at nearly 20%, is 35mm film, which should warm the hearts of our many member film enthusiasts. Panavision's DXL2 and the Alexa 65 both come in at around 10%, reflecting the shift to larger format shooting, and various shades of RED also make a solid appearance, while Sony barely gets a peep in with only one film using the Venice. It's actually quite a limited field, when you think about it. With lens choice, the overwhelming favourite is Panavision, with nearly half the films using the rental house behemoth to supply their glass. No doubt some of that is attributable to Panavision's dominance in the US film industry, which tends to be where most Oscar favourites come from, but I'd like to think it's also because of Panavision's excellent service personnel. 😁 A lot of the Panavision lenses are detuned, with the Primo Artistes (permanently detuned versions of the Primo 70 large format lenses) turning up quite often. It's an interesting development with modern lenses introducing aberrations and flaws rather than marching towards perfection, and evoking vintage lens qualities while incorporating modern and reliable mechanics. Quite a few films used actual vintage lenses like Panavision C series or Ultra Panavision 70s, Lomo anamorphics, JDC Xtal Express anamorphics, Zeiss Super Speeds or Cooke Speed Panchros. One film even used Bausch and Lomb Baltars from the 40s and late 19th century designed Petzvals and such - take a bow Jarin Blaschke! Master Primes were the next most used lenses, followed by the usual Angenieux zoom and Cooke prime standards, but the trend away from super sharp lenses meant very few appearances by Leicas or Arri's Signature Primes, and sometimes Master Primes being detuned, as was the case with Ad Astra.
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PL mount for 8 hole Zeiss ex Slomo Digital
Gregg MacPherson replied to Gregg MacPherson's topic in Lenses & Lens Accessories
It's hard to tell from those photos what the quality of the machining may be like. I'll have to see them and take some measurements. I don't know if there is a thread for the rear baffle yet. What do you think about having no rear baffle? Or a machined plastic baffle that clips into place rather than threaded on? Or a baffle fixed with hot glue, a small groove in the baffle and the mount so that it's a mechanical connection, not just glue in shear? -
F.O.M.O. Post-Film School Venting
Bob Speziale replied to Benjamin Guerrero's topic in Students and New Filmmakers
Work is a place where they pay you what you are worth, you are selling your skills. School is a place where you pay them to teach you, where you learn how to learn, but probably don't learn the skills you will need on the job. The diploma may get you an interview, but how you do on the job is mostly a function of how well you can manage the relationships with your bosses and co-workers, how eager and capable you are to learn and get up to speed quickly, and your overall attitude and enthusiasm. You can't count on getting many lucky breaks in life, but when they come, take full advantage of them and do whatever is required to make them work. If you can't get an MFA now, concentrate on getting that first job, on getting your foot in the door. You can always find out what is being studied in the MFA program, and study on your own. Doing that while you work will be more meaningful than doing it in a classroom. -
oh well thank you, Brian! That is MUCH appreciated! I only have a couple of stock lenses and I'm trying to do the best with what I got. Thinking that investing in a light meter will help me as most of the time it's just me running the cameras and lights.
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PL mount for 8 hole Zeiss ex Slomo Digital
Dom Jaeger replied to Gregg MacPherson's topic in Lenses & Lens Accessories
If you mean the screw-in rear baffle, I think the thread is always the same but the opening is variable depending on the size of the individual lens rear element. I'm not familiar with those PL mounts, but they look pretty good. - Yesterday
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With the added advantage you don't have to listen to the director .. 🙂 -
Jarin, Appreciate you taking the time to give me advice....you have articulated what I suspected of the film albeit I still appreciate the beauty of the stock in that sort of metallic tonality it has in the grey scale.....I’m looking into Tri-X as advised..... I’m asking Cinelab London if they would process it for me as a BW negative. They soup Double X in D96 I’m pretty sure so I’m wondering what they would do with Tri-x as D76 is the classic for that film.....I mean I have a Lomo tank but I daren't do 100ft of 16mm Myself haha
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Eastman Double-X 7222 16mm home processing
Stephen Perera replied to Marco Leoncino's topic in Film Stocks & Processing
I have all those films in my freezer too.....Fuji Acros...what a film.....fantastic modern film and great to scan.....and now Fuji are bringing out a new version.....I shoot Acros and develop in Xtol 1:1....what a great film....luckily I have my own Hasselblad Flextight 646 scanner which I bought off a friend here in Gibraltar for £1200 a few years ago.....easy to connect to a modern computer.....albeit with Mac OS Catalina I have to keep my MacBook Pro to be able to use the Flexcolor app....prior to that in the 90s I bought a ScanMate 5000 drum scanner second hand from a repro house in Madrid and I used to scan all the film I used for my design work from a photographer that I used to commission and my own work.....we used to shoot and scan mostly Fuji Provia II back in the day....sometimes Astia...a lot of the times as well Fuji Reala believe it or not...another great film.....then we went on to colour negative Kodak.....in the last decades its all about Portra....I still have 2012 expired 160NC and 400NC that shoots perfectly with no loss of sensitivity.... Fuji Provia II back in the day -
Came TV Wireless Follow Focus
Allen Achterberg replied to Allen Achterberg's topic in Cine Marketplace
SOLD -
Hey all, As the title suggests, I'd like to buy a CM171, DM250 or BM210 – a true 10 bit monitor with HD-SDI input. Ideally in London but EU would be great. Thanks all, Davo -
After any leads at all on a Aaton A-Minima package or just body. c.rodriguezfilm@gmail.com Cheers
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I can not help directly as we use Tom Pickard and they are on the pricey side but we get Certs issued via online services. I have reached out to a buddy that is freelance camera operator to see who he uses.
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I just got some PL mounts for 8 hole Zeiss off eBay from Frank, who works at Slomo Digital in Burbank. Supposed to be identical to the factory Zeiss, but I can't assume that yet. Just wondering if anyone else has tried them, and if there is any feedback. They come without the black painted light shield/ dust cover at the back. I'm wondering if anyone has tried 3D printing that part. Maybe Dom or someone knows if it is dimensioned differently for different lenses. https://www.ebay.com/itm/Zeiss-PL-Mount-8-Hole-for-Zeiss-lenses/223756070082?hash=item3418e6acc2:g:8DAAAOSw0j5dnRu1 May be a while before I get mine fitted, but I will post on how it goes. Cheers, Gregg.
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Eastman Double-X 7222 16mm home processing
Michael Carter replied to Marco Leoncino's topic in Film Stocks & Processing
Photoshop Elements 9 adjusted. -
I usually make a playlist of music that inspires me and brings out the "tone" of the film. This way I can listen to that while I shoot and I'm not distracted by writing or acting that may be disappointing. The music will keep me on track and make sure I don't compromise my work just because other areas of the production may be lacking.
