Richardson Leao

Is it possible to get reversal stock telecined (HD). I was thinking about colorlab to do the job if that's possible. Happy New Year!

Apart from the mount of the k3 that can be m42 and the fact that the krasno 3 get spools with no cassette, are there any differences in the mechanics? cheers

sorry, misspelled stock in the title...

Dear experts, please look at the still, high cons, the wood is black, the ski totally burnt, the skin (a dark woman) perfect. First i thought it would be a blue filter, but that does not give nice contrast in the face. Not red as the ski is white...

Anyway, to get a similar effect, what should i use? Any combination (filter/stock/exposure) would be nicely welcomed. Many thanks!!!

i really like the f125 and f64. they are bost fine grained and very good contrast. it's a 'general purpose' film so, with the right color corr they are good for everything...

I just got 5 rolls of this to play with for my 16mm camera and was wondering what you guys and gals, who have shot this stock before, think of it?

 

Anything to look out for? The Good, the Bad, the Ugly?

 

THANKS!

 

ROB!

 

Check out the latest with "The Separation on State Street" at www.knowsaint.com

kodak reversal films are very rewarding, so it's likely you will get something. get a small piece and do tests, 5' 1st dev and fix and look how dense the neg is (or bleach and see how much milky white you can see - or red bits if you don't clear it)

Also, hidroquinone based developers (i like d19) will all work w/ trix (and remember that it's a fast film and my s8 keeps the diaphragm opened if there's no battery so maybe pushing is not what u need to do.

maybe use a fix with hardner (or add 4mls of formaline to 1 litre of fixer)?

i had that also with foma DS8 but after it dries it's quite resistant.

I recently solved this problem by radically altering the times, and turning the film very fast at approximately 3 rotations a second.

 

I made up a litre of solution and added all 8 packets of the B2 bleach, doubling the potency.

 

My times were:

 

Developer A: 12 min/~20ºC

Wash: 20 min /~20ºC

Bleach B: 12 min /~20ºC

Wash: 5 min /~20ºC

Clearbath C: 7 min/~20ºC

Wash: 10 min/~20ºC

 

Re-exposure:

 

I took the film off the reel and coiled it on around old drying rack and shone a 100 watt bulb from about half a metre away.

I turned the drying rack (see picture) around to ensure even re-exposure, but left the light blasting on there for well over 2 minutes.

 

Redeveloper (A): Stupidly I poured away the first developer ( I know you should never do this) so I could only mix the correct

solution for 600ml with what I had left, which was too shallow for my tank, so I mixed for 800ml with a weaker potency and

developed for longer (10 min/~20ºC)

 

Wash: 10 min/~20ºC

Fixer: 8 min/~20ºC

 

 

After a quick wash I opened the tank to check out the film. A perfectly exposed reversal image! This was a welcome sight after all that brown

nothingness or half reversal half negative images. I was chuffed!

 

However, I noticed when touching the film that the emulsion rubbed off, especially on the perforation

edges. I attributed this to not enough fixer and fixed with a higher concentration (500ml fixer + 500ml water)

for about 10 minutes. I then washed thoroughly for a good 20 minutes, even placing the under a showerhead

of extreme water flow.

 

Even after all that the emulsion rubs off when in contact with water. I dried the film, and when touching it dry it won't rub off, but if I wet

my fingers and run them over the image it rubs off still. Any ideas what went wrong here?

 

Hope this helps!

I used an earlier version of that software and it really screwed up the audio capabilites on my Mac. Hopefully they got the bugs worked out by now. And it may have no issues with PC's.

 

-Tim

the 1.2 version noise removal was not good too, was full of funny noises, but this one...

Hey all,

if you're trying to remove camera noise from the sound files... maybe it's worth trying it:

http://audacity.sourceforge.net/download/

The beta version 1.3 does a hell of a good job.

Hi,

 

First of all your image is too small to evaluate - you need to post a full resolution frame with little or no compression.

 

Secondly, I have found the firewire and DV handling on Linux to be very unreliable and buggy, and you may be having trouble there - particularly as you are in PAL world and the back-bedroom guys who write for Linux are invariably Americans. Have you tried capturing on more professionally-written software?

 

Phil

Hi Phil,

I am shocked! I used cinelerra before to edit NTSC and it was really good. In fact, I don't think it's cinerella's fault, but the ieee interface in linux (and maybe kino). I just captured the video with the same camera (sony dcr-hc21e) and adobe premiere in a friend's comp. and it looks fabulous (even parts I thought was fogged turned out to be good).

thank you!

Hi all,

I had some 16mm footage transfered to pal dvcam and i notice that during scenes of movement there were lines around the subjects that disappear once the scene starts.

look for example at the blouse.

I have used a normal cheap home camcorder (sony) to capture the images to the computer (using linux kino) and I am editing in cinelerra.

My question is, if I use a proper dvcam deck, would the quality be better? Many thanks!,

Well done Richardson.

 

This looks amazingly like the surviving footage of The Story of the Kelly Gang (1906) the world's first feature film, of which only a few minutes survive, but were recently restored by the National Film and Sound Archive . . . in Canberra.

 

You seem to have done well not only to do this, but to do it while moving around between Canberra, Stockholm and Brazil. You move around a lot - perhaps you are on the run like Ned Kelly :lol::rolleyes:

i heard they were screening it and i suffered heaps for having missing it. Maybe I should get my metal chest and bucket with eye holes for infringing commercial film-making laws... Thanks for the comments! and the running in and out of countries is more related to my wife than me... Though I think stockholm is more film-friendly than canberra.

Thanks for the kind words!

Yes Michael, the lack of options in Canberra make people to try to re-invent the wheel... But I am living in Stockholm now... but I am still aiming for a color stock (with green sens emulsion in one side and red in the other (both are off course BW, the only difference is that they are only sensitive for a certain spectrum then after developing, tone them). But before, I wanna build a coating machine because painting it with a brush in the dark sucks.

The film after fixing and harding is quite resistant. It was telecined at the colorlab (US). It was a problem though during filming... I was in brazil and the emulsion was melting all the time... then I had to keep the magazine in a cooler...

And John, I'll be writing an article to the small format magazine and I can send you a copy (once it's ready), if you want... Cheers!

Dear all,

Just for curiosity, here are a video using the film I made myself and applied to acetate base (cleared by brushing and fixing old ektachorme commercial film - brushed CLEAN).

Some of the emulsion was made from AgNO3 and the part with the dog (the hardest to see) was made by:

1. Silver extraction by electrolysis of old C41 blix and BW fixer

2. Reaction w/ nitric acid (all analytical grade) with pH control.

Then: AgNO3...

This is what I called ECO-Ogly...

The other one I baptised as Ogly 10 (iso 10 as I rated as iso 20 but it got underexposed)

Anyway, here is the video:

Rest of the pics.

i\d go for the canon 814

and today i'd avoid sound cams as they are extra bulky/heavy

if you wanna have a feeling on manual changing of aperture, zoom etc, there is also the quarz s8:

but

The normal reversal processing involves:

BW developer (such as D19 or D76 or whatever);

Re-expose

Color developer (based on CD3, generally used in paper development RA-4)

belach/fix

THat's the conventional E6.

You can also use c41 based chem, the difference is that the developer is based on cd4, so, bw dev, re-exp, c41 dev, c41 bleach/fix.

Actually, I just had a burst of excitement and I'll try this this weekend...

Sorry, nevermind. I was too quick to post that and did a search and got my answer from the beloved John Pytlak.

 

Anybody know of a camera that could handle the extra long perf pitch of this intermediate stock?

 

Cheers :)

I use still film stock in my Konvas 1. I believe that it's the same perf as print film (KS, i think).

Hi there,

do you guys know anyone who deals with short-ends/recans in any country of the European union? Many thanks!!!

Hi,

I found on the internet a 16mm projector that says: Royal projector a/b 16mm from 1950's

It looks like a silent projector and I wonder if a/b means that it's made to visualise prints? Does anyone knows what it would be? Many thanks!!!

richardson

Yes, I thought about the Kinor 16cx 2m and, like a large part of the russian cameras, the price is very attractive.

I think it's possible to get a good blimp for it but do you think I could have good possibilities for the lenses like for the ACL for example?

If you opt for s16 conversion with Rafael, he can also change the mount of the kinor for a PL mount on the same 'procedure'

True that it makes good point for the ACL... And the fact that I could "easily" make it S16 is also important.

They are pretty expensive too, but I'm sure it's better to spend all of my money in it than to buy an other camera, cheaper, but without all these qualities. I'll just have to work more for few months if I want to buy it!

A blimp for the arri 16s could work as well.

With lenses of the same quality, which camera do you think will provide the best, sharper pictures? For example, I worked with a Bolex H16 (and old lenses too...) and the pictures were nice, but really watched out.

Are they the only cameras possible for me?

 

Thanks a lot,

Anthony

Don't forget the Kinor 16CX

It makes 42db without a blimp and with a home made blimp (using sound proof foam) mine does ~29db.

It takes both 30m and 120m mag and the s16 conversion can be made by Rafael from Raf Camera way under 1000$.

Olexandr can also modify the motor to increase the precision (microprocessed and everything) (check previous posts).

Very tough camera, mags are very reliable. Never had a jam.

some people may prefer arris etc, but for the price, the kinor rocks.

I keep constantly thinking about changing my kinor to s16 but i really love my 6mm lens...

i know there would be a short thread but would it be possible to have a kinor converted to s16 with a m42 mount?

Also, is there any adapter for k16 lenses to pl mount?

Last question.

I know the 6mm is out of question, but the kinor 10mm, that also does not cover the film are, or does it?

Many many thanks!

old pentaflex also have interchangeable mags, but i remember somebody in this forum saying that's it's a pain to load them.

Also i found this one:

http://cgi.ebay.co.uk/Professional-movie-c...VQQcmdZViewItem

but have no idea about it.

Anyone in stockholm that is interested in share ideas, projects etc? I just moves to here and would like to get in touch with nonporfs 16mm lovers. cheers

richardson

PS: you can email me directly: cineguerrilha_mg<at>hotmail<dot>com

hi,

I recently moved to sweden. I was going to transfer to ntsc because swedish prices are a joke (like 5 times australian prices), in fact, many things in sweden are a joke, but that's not the right place to discuss it. Canberra does not have a telecine place (apart from the film archive). Colorlab is in the US. Cheers.

Hi Richardson,

Can I ask why you would have your footage transferred in NTSC and not PAL if you are in Canberra? Otherwise Im not sure I understand your question. I haven't heard of Colourlab, are they based in ACT?

Hi all,

I will be doing the scanning of a 1000ft of color and 800ft of bw 16mm film in which I'll need color correction of the bw part but not the color. I will have the short finalised in tape. I looked at the colorlab price list and basically, i was thinking in maybe, have the bw transfered in sd scene to scene correction and the color as 1 light.

are there any differences between

NTSC?One-lite overall color correction; 1:1 running time

and

NTSC Video Dailies?One-lite overall color correction

Many thanks!