Aristeidis Tyropolis

Ah - haha, my mistake was confused by:

Look at this: And look at what you posted - which is I presume some A.I video + the plugin. One is a process that starts within the camera and then the photochemical process that happens afterwards - yours is a plugin that sits on "top" on some video. They will never look alike. I actually think that if you feed clips and/or images for training to modern A.I tools and then some "other" clips the result will be pretty much consistent but obviously not original. There, it's a lot gibberish talk but took me five minutes and was created locally using Minimax H3. james-01.mp4 In other words you need all ingredients to make a soup.

I appreciate the effort taken but looks nothing like Technicolor.

This is wonderful! Loving the socks too 😀

I can attest to Aapo's work! I am already around three thousand feet in on my K3 documentary progress - the camera was went to freezing temperatures already and scorching heat - he did send me a replacement board (just in case) but it has operated flawlessly. He even tested it beforehand and found a small issue which he corrected prior to shipping - it really can't get better than that.

I love this thread - and I am genuinely benefiting by the excellent 16mm 4K scans I get from the Lasergraphics ScanStation Dejonhge uses. Out of curiosity, if anyone knows, what was LOTR scanned with? I know it was 2K (I think, and that it was on an ARRI?) but what happened afterward? Did they ever re-do the whole thing at higher-res or did they blow up the old file for the 4K blu-rays?

If it's the plastic - it has nothing to do with the camera, you can replicate it on a table - it has a tendency to "catch" on its outer segment and that causes spaghettification - lost a roll of 500T sadly because of that. I use mostly metal ones but some of the plastic ones if I am forced to use them (I forgot to bring metal) did work but I burnt some extra film to be 10000% it's not taking up weirdly. It has happened to many different cameras/people at this point.

Nolan's lack of appreciation in depth is quite well known, even the lenses were left wide-open. For us Greeks, the Odyssey is understood to be a legend or "Μύθος" (without necessarily what we read, being the one and only accurate version) but I guess the overarching point of our teachers in high school (and of course the scholars) was that there was alot more nuance, meaning and undercurrent in this story that meets the eye. Isn't this the case with the Lord of The Rings? I hardly expected Nolan to catch any of those things. I am actually surprised he didn't show Oppenheimer being a D.J playing techno music. But... a) He started making people care about the book and people did look for it and bought it. b) He did manage to put people in theaters, promote the medium - make people think and enjoy the theatrical experience. There's youtube videos showing the "projectionist experience" for IMAX - when was the last time anybody cared about those things? For that, and the fact that he helped\still does keep film alive, he deserves ALOT of credit. But an elaborate, philosophical, deep, insightful, artistic film maker - he is not.

Which is why I am often times put-off by the "story is king" clichés and the recent Deakins comments about not caring what "one uses". Of course we care, everyone cares in some fashion. There is little in life that doesn't require alot of contextual discussion and deep thinking to produce some kind of outcome, I honestly don't understand following empty maxims or quotes. What about the movies of Jacques Tati? What are they exactly? Buster Keaton? It's such an open medium and really I kind of resent everything necessarily falling into the "hero enters a cave journey" paradigm. Kubrick's Space Odyssey was highly profitable and commercially successful even but hardly a real narrative.

I actually think that a large portion of people who shoot digital, actually prefer it as a medium irrespective of whether it can be readily seen after capture. In any case, modern, large scale productions, have data pipelines that are very far removed from the word "easy" and take TB's of storage anyway.

I don't think anyone should support any kind of business that one has absolutely no way to reach out, other than facebook and no phone number, email etc. From what I have seen his work is way overpriced and + the reputation you mentioned Dom + the scratches are even known to reddit. I had similar issues with the flange focal distance with my K3 from another "seller" but that was ebay and I got protection from that event. I am quite biased with the quality and approach that Aapo did with my camera in the best possible way, and FFD was fixed of course + the motor modification, CLA - but at the same time I feel many of the members that offer services here follow similar standards like you Dom and Tyler and others. We should support that model.

My gate is a "catch-all" for S16 and U16, but it's centered for N16, probably for the best so I "ballpark" my frame. Oh, for the life of me I hated winding the camera with a vengeance. In general, I hated that half the time I forgot to fully wind it because it was annoying, but even when I didn't forget, I hated the 20sec limitation - the Bolex winder (and all of its other mechanisms really) is/are a piece of art and elegance compare to that utter crap that would have eventually broken anyway. Aapo's crystal motors are really a great way to make the camera much better even in stock setup (I'd say even more so the case). Also didn't really like the Meteor lens really or the wide-angle limitation of the mount and the Peleng 8mm is not priced good. The motor and the EF mount really freed me up and the noise can be handled as it's really salvageable in post for my interviews.

As if there's any modicum of "reasonability" in the age of multiple "k's" of resolution, lightning fast solid state storage and exceptionally sensitive sensors nowadays. I for one am thousands of feet in shooting my documentary with my K3, it was one of those "misses" that became a "hit" eventually after Aapo's motor modification and a CLA. Sending another 1k feet roughly of shot footage this week for dev/scanning, the photo below is from footage already in the can. And this is with a fresh roll of Verita for a shoot this week (annoying plastic spool on take-up). And here it is shot on an evidently underexposed scratched frame of Foma Ortho 400 on my Minolta x700 Yeah, none of this makes sense and it wouldn't even if the camera was a 416. But I'd love me an Aaton XTR Prod, which would made even more minus sense to own (forget renting).

Hi Dave, You are generalizing alot - the problem is that you are exaggerating the impact that youtubers and instgramers/titokers, have on the discussion and usage of 16mm film, these people don't shoot much, but like to talk about it - nobody reasonable wants light leaks and splotches on their footage, There's plenty of people that shoot and respect the medium that are many times not as vocal - the same is in the stills world - there's really alot of people that literally shoot hundreds (some even thousands) of rolls per year using proper professional film SLR's today and not shooting expired film or using disintegrated point and shoots. From my part I may not be as impactful but I am 3K feet in this year already for my documentary and my shooting schedule continues. For stills I am already ninety rolls in. No you can't fake film, at least not today in terms of cameras and post pipeline, but you can use A.I to replicate or "extend" a scene to show nonsense motion, with some added "plastic...ness" to the image - that's the era we live in. As for people being attracted to the gear first, yes many are like that, who cares. I personally like gear in the sense of being fun to work with, learn and first and foremost an object that does things for you, but that's it.

This looks like Panavision's younger (or older) cousin with a solid build - fascinating!