All Activity

No problem.....so it will take just one major director/DP to use it in a big film and it will start selling 'properly' I assume.....

no worries thats sufficient and thanks for your time Im sure many people here will find this interesting.....

I'm sorry I can't post more footage from the test. I do not own the footage.

Your wish is my command.

well I think it looks great - notwithstanding the way YouTube tries to 'correct' film grain etc - it bodes well that we have an alternative to Kodak out there albeit I can only go to 16mm format (one man band) thus this test for me is simply my subjective appreciation.....perhaps you could make the footage available or visible in a way that none of these platforms screw with it? Vimeo perhaps?

That's my impression as well..

Yes. I deffinately say NC400 is 250 iso. NC500 is a bit faster I think so 320 iso. Also, NC500 has warmer skin tones than NC500.

Our film lab network members have made some video tutorials for the Matipo: https://vimeo.com/showcase/7866728 There are a lot of resources on film printing on the filmlabs website as well (but mostly in french): https://www.filmlabs.org/technical-section/film-printing/

Memochrome is an additive RGB system for intermittent printers. It works with high-intensity LEDs, a control box, and an open Excel-based CSV data software. I have first used it in 2007. You have 50 points or steps for each light colour, freely programmable. One frame can get 25-25-25, the next 47-11-38, then 0-0-0, whatever. Limit is 32,000 sets. Maximum working speed is 25 frames per second. The system is available in three variants, variable intensity, variable duration, variable distance. Print and intermediate film stocks react differently to increasingly short exposure, so variable duration is perhaps not everyone’s favourite, densities diminish exponentially with shorter flashes. A glimpse at the innards of the prototype control box

If you search on "Bell & Howell Model C" a lot comes up. brianpritchard.com is also a good source. Brian is ex-Kodak. He may chip in here if he's still around.

would be great if anyone have any more photos or whatever to add to this thread of perhaps stuff they have done themselves...thanks to everyone for the message much obliged

now I see how its done physically thank you very much

Printer lights are used in additive colour systems. The white light of a halogen lamp is split into red, green and blue channels, using mirrors and dichroic filters. In each channel there is a light valve, which is nothing more than a mechanically actuated diaphragm controlling the light output of each colour channel. here is a drawing by Brian Pritchard. The lights go from 0 to 50 with 0 being completely closed. During colour timing, the best value for each channel is determined. 25-25-25 is the middle setting, 31-31-31 would be printed one stop darker, 20-30-30 would be more red, etc.

Stephen, here is a quick rundown of the how the Matipo at our lab works: https://www.l-abominable.org/en/tools/contact-printer/

I have no idea nor can imagine anything of what you have just said hahaha...but I am sure its accurate and correct and I thank you for your message

The first shot-to-shot grading cues were Debrie clips- metal staples attached to the film just before the cut, detected by contacts on the printer. Later, the edge of the film was notched to activate a microswitch. By the 70s, the grader created a punch tape with the printer commands and the cueing was by frame count.

Yes, it’s the same thing as the RGB-filters on your enlarger. But the device itself can a little bit more complex as the color correction/grading (via the filters) might have to be adapted scene by scene. (That is unless you choose „best light“ aka „one light“ aka „work print“.)

...and this is when making the contact print to project right? so like colour grading before computers.....

Yes.

Ω λευκὰ Γαλάτεια T. S. Eliot, “The Love Song of J. Alfred Prufrock” there will be time To prepare a face to meet the faces that you meet * et spectare feros in aqua et componere vultus. and inspecting your roughness in the water, and composing your face. Ovid, μεταμορφώσεις, 13.767 * * * I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. * Quam, dum pectendos praebet Galatea capillos, talibus adloquitur, referens suspiria, dictis: combing hair

Hi all, obviously, as a 'nobody' in this world my experience in motion picture film is simply that it's scanned once processed for me......in stills I shoot, process film and print myself in the darkroom if I want or else scan the negatives but I really dont know much about what the 'printer lights' system, can someone give us the definitive 'printer lights' for dummies guide in this thread complete with images or videos or whatever? Is it kind of like printing colour in the darkroom where you adjust the RGB 'filters' on the enlarger...for example, setting it at 70 yellow, 50 magenta and 0 cyan.

Cinelab have an Arriscan yes.....

Cinematic poetry What follows are two lines commencing a new tale in Ovid, μεταμορφώσεις. Please, kind reader, recall the two-note motif in Spielberg’s Jaws. Quam, dum pectendos praebet Galatea capillos, talibus adloquitur, referens suspiria, dictis: (13.738–9) Quam, dum (p)ectend(o)(s) (p)raebet Ga(l)atea (c)a(p)il(lo)(s), ta(l)ibu(s) ad(lo)quitur, referen(s) (s)u(s)(p)iria, di(c)ti(s): (c) (lo) (p) (s)

erasing the drive clears the partition table so that the data on the drive is not fragmented anymore and it can potentially record faster data rates. So a formatted drive is usually a little bit faster than a drive which has something on it (especially compared to a drive which has clips recorded, then some of them removed without full reformatting, then recorderd more on the same drive. this causes lots of fragmentation on the new data), depending on if the storage space is "continuous" or if there is only fragmented free spots available to store more data for the existing files taking the rest of the space, then the "drive needing to continuously jump from one spot to another during recording" which slows it down. This is very common and if formatting seems to partially help with the footage problems then it may indicate that your ssd is not fast enough and you need a much faster one. I personally use Angelbird drives for 5.8k and 60fps 4.1k proresraw recordings and for under 30fps 4.1k I use WD blue line 3dnand drives, don't remember the exact model but they are often just fast enough to store 4.1k raw at normal framerates and sometimes 60fps 4.1k might work if the drive is newly formatted and one dares to risk one or two drops every now and then. About the clip test, are you sure your interpret footage settings are correct and the editing software is not doing any pulldown on it? I can't imagine the camera adding pulldown on 120fps footage, there is something else going on. When importing slow mo material which is meant to be played back at the "native slow motion rate", you should set the project fps to your final output delivery fps (like 23.976 or 24.00) and then in the interpret footage settings of the clip select that same framerate for the clip's playback speed and ensure there is no additional settings anywhere else which could mess up the footage.

Be nice to edit posts 🙂 I did just try a new ZILR cable and no difference.