Pressure Plate Again

[Gary Lemson]

Hello,

 

I was wondering if there might be any chance of reflections occurring with the Frame Master device. Wouldn't it be more desirable to have a black anodized finish instead of chrome?

[Olex Kalynychenko]

Hello,

 

I was wondering if there might be any chance of reflections occurring with the Frame Master device. Wouldn't it be more desirable to have a black anodized finish instead of chrome?

 

Yes, the theoretically, the chrome surface of pressure plate will have more high reflection.

The professional cine films have special black layer - protector layer from reflection.

Super 8 films have not this layer.

That's why, the ORWO ( old ) style of Super 8 film cartridges have black ( black plastic ) pressure plate with

grooves.

The russian Super 8 reloadable film cartridges have pressure plate with deep grooves and reflection surface will outside of focus and will not have reflections.

 

The black anodize can be not good idea, because, the black anodize can have rough surface and you can sratc of film.

[André Bacher]

Hello!

 

I checked some pressure plates:

Metal-blank, not black (with vertical "reliefs"):

- ARRI-SR

- ARRICAM

- Cinema Products GSMO 61M

- Aaton XTR

 

Black (no structur):

- Arriflex 16m

 

 

i am still thinking about it, why black or not. :blink:

 

greetings,

André

[Olex Kalynychenko]

Hello!

 

I checked some pressure plates:

Metal-blank, not black (with vertical "reliefs"):

- ARRI-SR

- ARRICAM

- Cinema Products GSMO 61M

- Aaton XTR

 

Black (no structur):

- Arriflex 16m

i am still thinking about it, why black or not. :blink:

 

greetings,

André

 

I can add:

Metal-blank, not black (with vertical "reliefs"):

- Krasnogorsk-1, 2, 3

- Kiev-16 U

- Alpha-16

 

Metal-blank, polished surface without vertical "reliefs"

- Kinor-16 SX-2M

 

 

I wish underline again.

16 mm professional color negative films have rem-jet backing ( black carbon protective layer from rear side of film).

This is rem-jet backing black carbon layer make anti-reflection function.

The 16 mm color negative film base type of film for use at professinal film shooting now.

That's why, professional 16 mm cine cameras have pressure plates with polish surface.

 

From other side, The professional 35 mm cine films have rem-jet backing too, but, the pressure plate of a some a 35 mm professional cine cameras ( Konvas for expamle ) have polish surface on perimeter and black cavity inside.

 

I think, this is black cavity inside of presure plate of 35 mm cine cameras use for B&W negative films, because, this is film have not rem-jet backing.

[André Bacher]

Hello,

 

have polish surface on perimeter and black cavity inside

 

i think you discribe here (better) what i mean with "Metal-blank, not black (with vertical "reliefs")" :rolleyes:

 

Today, i asked Mr. Klose why the FrameMaster is chrome silver and not black.

He said, a chrome silver pressure plate is much more slippery than any kind of black painted plates, that is the reason why it is made by brazen chrome.

 

 

greetings,

Andre

[Gary Lemson]

I read an article about an S8 filmmaker that used digital stabilization in post production, rather than a hardware solution like the Frame Master. Have any of you tried this?

 

 

Great insights here from everyone, like usual.

 

Thanks.

[André Bacher]

I read an article about an S8 filmmaker that used digital stabilization in post production, rather than a hardware solution like the Frame Master. Have any of you tried this?

 

I never used digital stabilization in post production on my Super-8 projects, for me it is too expensive ;)

 

Franka Potente used the SMOKE system in her movie called

Der die Tollkirsche ausgräbt to stabilize the scanned Kodak Vision2. This movie is complete shot on super-8, after the DI process printed to 35mm for theatre release by an ARRI-Laser system.

By the way, the DoP was Frank Griebe who shot Perfume: The Story of a Murderer or Lola rennt

 

Link to the movie: http://www.imdb.com/title/tt0496272/

There is an article about Tollkirsche in the german edition of schmalfilm 3/2006 which describes in detail the workflow.

 

If i can choose, i would use all possible systems i can get to stabilize the film when shooting on S8mm!

 

greetings,

André

[Gary Lemson]

...Franka Potente used the SMOKE system in her movie called

Der die Tollkirsche ausgräbt to stabilize the scanned Kodak Vision2.

There is an article about Tollkirsche in the german edition of schmalfilm 3/2006 which describes in detail the workflow.

 

That's the article I was referring to. Inspiring stuff.

I know that my NLE doesn't have a stabilization filter. I thought maybe one of the other top NLE's might have it. I just haven't investigated that yet.

 

Thanks again.

[Gary Lemson]

i have observed that it is usual for4 all super 8 makers to observe no significant issues with beaulieu cameras that are serviced and working or with leicina special cameras.

 

I have heard this too. However, it is not clear to me how those cameras would allow for a more stabilized image since the pressure plate is an integrated part of the S8 cartridge.

Edited November 1, 2006 by Gary Lemson

[Richardson Leao]

I have heard this too. However, it is not clear to me how those cameras would allow for a more stabilized image since the pressure plate is an integrated part of the S8 cartridge.

 

I wouldn't expect an important halation if using a metal plate and i believe the stabilisation effect would overcome the minimal halation. S8 is small, no reg pin and cartridges have floppy plates, so, all prone to uninstability. Adding the metal plate does improve it, that's why I love the reloadable cartridges (also they are more ecologically sound).