Kenny N Suleimanagich

It appears that the British Film Institute has completed and released a restoration of "Barry Lyndon," and is currently doing a wide theatrical release of the film in the UK.

I can't seem to find any information about the technical details on the web. I'm guessing it's a 4K restoration and DCP release. Any insights from the UK-based folks would be appreciated.

Gotta love that BL-1 tach!

Hey Greg,

Haven't seen the film yet but I was wondering, is FAST 8 shooting any 35mm? Or is the production now entirely digital?

Thanks!

Mono No Aware, a non-profit film education organization in Brooklyn NY, has an Oxberry optical printer that is fully functional and regularly used by the film community here.

I think I went a little overkill with the overexposure, but it was really just a small test and a way to spend an afternoon (with my grandfather!). It held latitude remarkably well. Some parts of the shade metered fine at 50 EI but were under at 12 EI.

Metropolis provides a best-light grade of everything they scan, alongside the ungraded PR 444 master (or whatever other format you request). I told them the film was decades old. What you see here is basically their grade with some small tweaks.

I can't wait to share th Reala footage. Unfortunately for viewing/posting purposes that was for an actual production and they are currently in post.

I remember, years ago, Kodak had something called ICE that they were marketing to remove dust and dirt during the scanning stage that detected these flaws.

Thanks for the love!

The stock was purchased at a yard sale in maybe 2008, then sat in a fridge since then. The little white and green blotches that you might see towards the end are indicative of that. You essentially get no information since light can't pass through the negative. It is possible to manually clean this off though, I hear. It was only on the last 30 feet. I had it happen recently with some Reala 500D that I shot.

It was scanned on the Lasergraphics Director at Metropolis in NYC

I shot a roll of 7245 a few months ago. Rated it 12 ASA. Besides some of the film's carbon backing sticking to the emulsion, the grain and colors gave me a really nice look.

The thing about the 16BL is you need to use the lens housing, and even then you need the 3x3" Optical Flat filter to keep everything blimped. Conversion to PL and S16 is near impossible, and the camera also needs to be periodically lubricated. Not to mention spare parts are next to impossible to come by and technicians don't really work on them anymore. I sold mine in 2012 for $600 with the Angenieux 12-120.

I've owned a CP-16R, it was great for what I needed it to do. I had the amazing Canon 12-120 zoom with macro and fluorite coatings. Those are seriously underrated.

The threading was a pain, and the bow tie shutter wasn't the greatest in a world where everyone was used to half-moon when it came to motion blur. Eventually I got a 16BL, then Eclair NPR. When the film camera market essentially collapsed two years ago, I bought the 416 I own now. The main thing that pushed me away from these older cameras was the increasing difficulty of maintenance. My go-to Optical Electro House closed.

I think if you like it and it works, just hold onto it. You might do well finding a nice Aaton XTR or SR3. Those go for pretty low prices these days. And the cameras themselves really do have noticeable refinements over the decades that you come to appreciate. But ultimately I would just do what makes you most comfortable, both from a financial point of view and one of what your production would need.

I do it often with my 416. It's far easier to do with HDMI and cheaper you can get a BNC to RCA adapter and run it into a composite video to HDMI box(these are very found online easily), powered by a USB battery. Unless you're willing to monitor in the analog world, many rental houses have Transvideo TX/RX for these cameras.

Shoot a color chart at the head of each setup, you'll save a lot of time in post and have a good starting point

I saw it last night. Storaro's expressionistic and moody lighting is superb, particularly his use of the red/yellow spectrum to create separation. Some very daringly lit scenes.

The color was very pretty and well done, but I couldn't help but be a bit shocked by how extremely sharp it all looked.

I'm sorry, but I have to disagree. The ever-changing inventory of rental houses these days is only a sign of that, and the current rate of it is about three years.

Panavision is a very very small part of that. I'm not saying you're wrong, but the manufacturing process for digital cameras is not really an environmental boon.

10 Panavision DXLs is very different from 100 Sony/RED/Panasonic cameras every few years.

Not to derail, but that's an interesting point you raise about the "boom that never happened."

Besides a handful of productions, no one really took advantage of the 765 and System 65 on a massive scale. Was it a question of cost? Or just availability of exhibition?

They'll catch you pretty quickly if you pour chemicals down the drains without recycling. One small NYC lab closed a few years ago because of this.

While I tend to steer clear of these debates, I beg to differ on the point that digital is more environmentally friendly than film. Cameras are mass produced and succeeded constantly by new models. Lots of circuitry that perpetuates e-waste. The great thing about film is that the cameras can be 50 years old and do the exact same thing as one that is 10 years old.

Threw some money your way. Hope it works out!

I keep all of the "like" colors together, stack them all up, and roll them into a PVC mailing tube. Write on tape what you have inside and stick the tape onto the tube so you know what's inside.

Actually that's a bit misleading - the FS5 internally records UHD at 8-bit color. Only HD is 10-bit. You can now get the update for DCI 4K 10-bit out though.

You should contact Reel Good Film in Los Angeles. They sell short ends and recans at great rates.

I recently shot a short with Alexa Mini at 3.2K Log to 4444 XQ and as we were dumping footage the director was importing the backed up camera originals straight into Premiere Pro on a 15" MacBook Pro and working with them in there. I think Adobe came out with an update that supports it natively? We were even able to throw the basic "Looks" that premiere includes just for reference. Played back just fine.

Not trying to contradict you but I believe there was an update that allows for that now.

I do remember Paramount had a press release stating that they would cease shipment of film prints in 2013, which they made an exception for with "Interstellar" – but I really think that the double-blow of "Avatar"/subsequent 3D films (which saw the initial mass-push towards digital projection) and the SAG dispute were all it really took to deal that blow.

Maybe the biggest upset to me is the decline in repertory films being shown on film. Very often, a great rep house I used to frequent in NYC, will be showing a DCP of a film. Even if it's restored, I'm simply not interested in paying $14 to sit in a cramped theater if it's something I can get pretty close to at home on my 1080p projector. Watching the restoration of "The Third Man" last year was an instance where I was bit bummed, having seen a 35mm print of the photochemical restoration (from the 90s?) not long prior with lush blacks I remember from Robert Krasker's photography.

Metrograph has sort of addressed this head-on. They almost exclusively show rep films on 35mm or 16mm. Museum of the Moving Image, which does a great job at programming and sourcing prints, had one instance in which they showed the Godfather Parts I and II on a 35mm IB Print – a sold out screening with a line out the door. They had an encore showing of the film on a DCP a couple of weeks later and the house was half empty.

I'm all for shooting on whatever you want. I work with digital every day. But after reading a writeup in "Artforum" by Tacita Dean who cites medium specificity as an important part of her filmmaking, I'm very conscious about how I watch films I'm paying for.

Looks dope Kenny! Love the colors.

Thanks man, wish it could have looked as cool as yours :)

I keep an X-Rite Passport in my bag and shoot it at the head of every setup. Makes it a lot faster in post and especially with getting dailies back. Though the dailies timer I work with tends to get things the way I aim shoot them anyway. I try and keep it a few feet away from the frame in whatever lighting I’m going to be shooting in primarily. If anything it makes scenes match better, especially if it’s run-and-gun doc work.

My friend and I shot this using one in every setup. The artist, who also directed it, wanted a very specific look referencing documentaries from the late 1980s, which were often 16mm and have lately experienced new HD revivals from their original VHS releases. For the rooftop material, we switched from Daylight to Tungsten, taking care to also shoot a chart at the tail of one stock and head of another.