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  2. It's a great film visually at the very least. Probably his best in terms of cinematography in my opinion. The mix of Kodak Vision3 colour stock and Kodak Eastman Double-X is superb. The framing is superb. It all confirms how great the 4:3 framing is so great with faces....and if in doubt watch Ingmar Bergman Persona
  3. I would say the trailer and BTS videos have left me speechless 🙂 Every frame looks like a painting. Looking forward to the movie.
  4. Today
  5. I'm very hopeful for film in general. Having worked in the film restoration industry in France, all the state-funded restorations are required to be printed back to film for long term archival purposes. Hiventy, the biggest commercial film lab in France makes a large percentage of their business only with restorations. The CNC (France's national film organisation) estimates to have spent 13.5 billion euros to restore about 15000 films since 1990 (average 90,000 € per film x 15,000 films). This is all tax-payer funded and this is only France- I'm guessing at least Germany, Austria, the Netherlands and most Scandinavian countries have similar restoration policies and budgets. A lot of recent digitally-shot productions are going through an "analog intermediate" to add texture and natural grain to the final image. Dune is the best example. Guava Island is a smaller production example- both look fanstastic. FotoKem has their new SHIFTai service which does this as well (https://shiftai.fotokem.com/) And the fact that filmmakers like Chris Nolan, Quentin Tarantino, PTA, Wes Anderson, Steven Spielberg, David O'Russell, Darren Aronofsky, Pablo Larrain, etc shoot a million feet of film for every project... All of this is Kodak. I think they're ok for now even if they're no longer propped up by the studios. We need companies like Orwo, Ferrania et al to step up for the small guys. It's a wonderful opporunity to grab this part of the market and it surprises me that no one is doing it. Ilford does 100ft bulk rolls already for their B&W stock, why not do the B&H perfs on them and sell 400ft and 1000ft rolls? Especially considering that there are only 7222 Double X and the two Orwos on the 35mm BW motion picture film market.
  6. Thanks Tyler, Frank and Aapo for these interesting points. Frank says we're lucky to have film at all, and I guess he's right when you consider the effects of the pandemic, and the fact as Tyler says, Kodak has now finished being propped up by the studios. Re the current manufacturing of film, a good summary here from 2015, not sure if it's the same now: https://eu.democratandchronicle.com/story/money/2015/03/14/kodak-makes-film-rochester/70299168/ Yes a complicated process. Yet about the same time I recall a lady from Kodak giving an optimistic plan on introducing small compact machines that can make almost any emulsion from the past (?) ie. in small quanitities, presumably on special order. Does anyone remember this ? Orwo then looks hopeful for a new colour movie film. Or as Tyler suggests, working with them maybe and concentrating more on their wonderful Vision stocks. It would be a shame indeed if Vision went the same way as Kodachrome. (It was a relief when the new Ektachrome appeared. Thanks Kodak.) Aapo's ideas on monochrome interesting, and hopeful. Though a future without colour movie stock is truly unthinkable. We need Mr Bezos or Mr Musk to take up analog movie-making 🙂
  7. Thank you so much for your answer. You're right, it was my mistake, I haven't studied thoroughly the lenses specs nor the sensor specs. I didn't know they were S35. Thank you for clarifying that and for explaining this to me. Silly of me, I forgot some years ago I produced a short film with the Alexa Mini and the Atlas Orion and there sure was vignetting. I'll prepare and we'll do some tests and let you know how it goes. Thank you again.
  8. Howdy, Two questions plague me this evening: 1) Does anyone know where to get original Bolex eyecups? I was going to order a couple from Jesse Chambless, but he has passed away. This is very bad news. He knew everything and was very generous with his time. The eyecups that Calkovsky sells aren't the right shape (they're not cup-like at the eyepiece) and I wouldn't buy anything from him even if they were. 2) Has anyone ever tried 3383 as a camera film? I have 3000' of it perfed double 8 and was thinking of trying it in an H8. Thanks in advance for any responses. Dennis
  9. I just learned about this today. I will miss Jesse. He was always very generous with his time and knowledge. Nobody will fill his shoes.
  10. Bump Had one lined up but ended up falling through, So here is one more attempt. Any one have an SP-16 for sale? anyone know if there is one available to rent in LA?
  11. Check out the Venice sensor mode specs: https://pro.sony/ue_US/products/digital-cinema-cameras/venice Your main issue will be whether the Orion lenses cover 4K 6:5 anamorphic mode, let alone wondering about 6K options. Orions officially cover a 31mm image circle (S35), but some lenses will cover more, you’d need to test. The 4K 6:5 mode (which desqueezes to 2.40:1) on Venice is 24.3mm x 20.4mm which is a 31.7mm diagonal. I’m not sure what you mean by “crop factor” in this circumstance. These are S35 lenses designed for a S35 sensor. Crop factors are usually given to describe a field of view relative to a full frame focal length, which is not applicable here. If you just mean does 4K crop into the Venice sensor, then yes. But as mentioned, these are S35 lenses so you need to use a cropped in sensor mode. The field of view will actually still be larger than you would get using these lenses on something like an Alexa Mini, providing the individual lens actually covers the 31.7mm circle required for the Venice 4K 6:5 mode. Normally Orion recommend using an extender to cover full frame sensors.
  12. Yesterday
  13. BTW I'm also interested in R16 cameras - Arriflex SR, SRII, Aaton LTR, Eclair, Thanks,
  14. Hello guys, I have a similar yet simpler problem: I'm a 1st AC, prepping a movie with a DP in Rome. He wants to shoot with the Atlas Orion Anamorphic lenses on a Sony Venice camera. What would be the difference between shooting in 4K and 6K anamorphic? Is there a crop factor when using those lenses in 4K on the Venice? Thank you in advance!
  15. That's a good solution, I'll message him and see if he accidentally mixed them up. He mentioned it ran fine when the electric motor had battery, but since the battery died he hasn't been able to test it. I bet since it came with the motor attached it didn't even come with the long winder at all, just the small film rewind crank.
  16. Hello Frank, Thank you for getting back to me. Unfortunately I’m working away at the moment, I have this photograph but at the weekend I can take more. I saw one image.
  17. I suspect that even if they had, the results would not become public until after any associated legal action was complete - which could take months or years.
  18. Wish your photo was larger... How about a larger photo of the top along with a shot of the Steenbeck tag on one of the rear legs; that will give us a model number and series. This looks like a modified Steenbeck for... not sure. It might be a very rare beast. Do you see just one frame projected in the viewer? Wondering if it might be a Vistavision flatbed; if you see two frames, it might be...
  19. No problem! There is no rush once you start talking about analogue film 😎
  20. Kodak could work with Illford or Owro and simply re-brand their B&W stocks. Then they could focus on color only. I would see that happening for sure, but I would not see them canceling B&W stocks.
  21. Hello, This is my first topic so hopefully I have done it right. I am restoring a 35mm Steenbeck and have hit upon a problem, the image on the screen is vertical. As you can see from the photograph there is the rotating prism, standard lens and an anamorphic lens. There is no other prism/mirror arrangement other than the two mirrors in the shroud which bounce the image to the screen. I think I am missing a part or am I being dumb and missing something else? Can anyone help or has an image/description of what rotates the image to horizontal?
  22. $21K Includes DNxHD, Pro Res, Quicktime, Hi Speed, Anamorphic De-Squeeze License 1 x Camera Body S/N: 6810 Firmware SXT V 2.0:39 120 Hours-903 3x 512GB Arri/Codex XT Capture Drives 1x CDX-7513 Arri/Codex XT Thunderbolt Dock 1 x SXR Adapter 1 x XR Adapter 1 x SxS Adapter 1 x CFast Adapter 1 x A/B Battery Plate 1 x Antenna 1 x EVF-1 2 x EVF Cables 1 x BP-12 19mm Base Plate 1 x WA-1 Wedge Adapter 1 x LB-1 Leveling Block 1 x SP-4 Shoulder Pad 2 x 2-Pin to 3-Pin XLR Power Cables (6’) 1x Shipping Case
  23. Hi all, I just purchased a Sekonic Elmatic 8 movie camera, it was cheap so I expected problems and I’m a still photographer so it’s more for my collection, but if it could potentially work I would be thrilled. On winding the key, instead of staying set in place it will violently snap back to its original position and the camera will not run at all. Could this just be a problem with a catch on the spring? I can’t locate a repair manual for this camera (usage manual has no info on getting inside) so if anyone has any ideas or leads let me know. Thanks!!
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