Nick Norton

I am shopping for a fisheye to fit my 7D, and am confused on the claims of some lenses.

Comparing a 7mm with an 8mm fisheye, they both claim to have a 180 degree diagonal angle of view.

How can this be if the focal lengths are different?

How can i determine which fisheye is widest?

http://cgi.ebay.com/2-5mm-C-MOUNT-Lens-CCT...#ht_8273wt_1167

Would this lens cover the 16mm format?

Or even screw into a traditional C Mount?

Thanks-

Nick

The film was bought from raw-stock.com

I was told it was stored in a fridge/freezer, and i believe he recommended i open up one stop to compensate.

I'm traveling, and therefore unable to have the film clip tested.

Any suggestions? Do you think opening one stop is enough?

-Nick

I have 400' of Vision250D, which i assume is a number of years old.

How many stops should i open up to compensate for the old stock?

Thanks-

Nick

http://cgi.ebay.com/Eclair-NPR-16mm-Film-C...7#ht_674wt_1167

What is up with this NPR?

Never seen one in that color.

-Nick

Better Quality:

thenewhighlife.com/flick.html

Lower Quality:

http://vimeo.com/7993616

Shot on Eclair ACL.

Some super 8 in there too.

-Nick

Good stuff Jason.

Thanks guys.

Does prepping the film do anything to the image?

I understand it cleans the film, but does this just eliminate dust/etc?

Does it make the image sharper or anything like that?

My lab charges extra for prepping the negative to be transfered/telecine, and i was wondering if this was really necessary.

What does the prep do for the film?

Why not just take the film straight from processing and telecine it?

Thanks-

Nick

Nick,

 

I could be misreading his post, but I think what Chris is trying to point out is that when you shoot footage at 50 or 75 fps, your frames of footage have little to no motion artifacts, those little blurs that surround moving objects when they're shot at 24 fps. The frame rates your footage was shot at freezes moving objects frame by frame, so if say you remove every third frame from the 75 fps footage, it might be running at 25 fps, but the motion will be pretty choppy because you won't have the natural blurring (motion artifacts) that the same scene would have had it been shot at 24 fps.

 

Make sense?

 

Best,

-Tim

Yeah, thanks.

Basically you're asking for information that wasn't recorded in the first place...

I'm trying to take 50 and 75 fps footage and realistically play it back at 24 fps.

All of the necessary information is there... i'm just trying to take some of it away.

-nick

Why would Ultra 16 cost so much less than Super 16?

... Especially if it's 90% Super 16.

-nick

I want to see a photo. I would be surprised if this thing ever existed.

Audio doesn't look synced up correctly.

Also, a wider variety of shots might have helped.

-nick

I remember reading on one of the forums about a good program to convert, say, shots photographed at high frame rates (slow motion) into natural looking shots at 24fps.

I don't want to simply ramp up or down the speed in Final Cut, but am looking for a way to get a very realistic, natural look or freedom to produce the desired effect.

Thanks-

Nick

Anyone else with an opinion on the topic of storing processed and unprocessed film?

Sorry, i should have mentioned i am traveling to FL from Chicago... so i won't be able to take meter readings of the actual scenes until i get there.

Has anyone shot the new Vision3 stock in bright exteriors? Apparently, this film gives you more forgiveness in overexposure... but was curious to see how the grain would hold up compared to the 50D.

-nick

For an all exterior in bright, sunny FL... i was considering shooting either 50D or the new 250D, which i would have to use ND gels in the filter slot of my Eclair ACL.

A shallow depth of field is not something i would absolutely need, although i will be shooting higher frame rates occasionally (50 or 75fps.)

This is a documentary, although all outside, but scenes entirely in shadow may be unavoidable.

I would assume it would be more simple with the 50D and minimal filters, however i'm not sure if the 250D would be more versatile... or just how nice the image is in bright exteriors with the new stock.

Any help would be appreciated.

-nick

I'm aware it is a common practice to refrigerate raw film stock, and then process the stock ASAP after shooting.

However, i cannot afford to process some color negative i recently shot... and was wondering how long i could wait to process it before degradation to the image would occur.

Also, i have some stock i bought close to 8 months ago and have not refrigerated it. Is there any point to putting it in the fridge now even though i'll be shooting it this summer?

Does anyone have any experience processing film after waiting a while after shooting it?

Thanks-

Nick

Looks good.

Be sure to upload a link to the finished film. (if possible)

-Nicholas

I'm aware there are a lot of steps in getting the 16mm medium onto a computer to edit/distribute which is totally out of the filmmaker's hands.

Processing is one of those things, and it is not something i want to chance.

I usually send all my film out to AlphaCine in Seattle, but i shot some film for school here in Chicago and they have it sent out to AtroLab locally.

Am i being ridiculous to think that one lab might perform better processing than the other?

Thanks-

Nicholas

I just got through a demanding weekend shooting a few 100' daylight spools, and i unfortunately forgot to label a few of the daylight boxes after cutting some short ends, etc.

To be 100% sure i don't send the wrong rolls to the lab, how should i go about doing this?

I figure i could put the rolls in my changing tent, cut off a few frames, and check to see if the emulsion is in or out... to see if it went through the camera or not. The footage was shot with an Eclair ACL.

Would the emulsion be on the outside, or inside, after having been run through the camera?

Thanks-

Nicholas

Hi, quick question here...

I was wondering if i would be able to use a 750 Watt EHF Lamp in my Mole Richardson 1000 Watt Fresnel. I usually have an EGT Lamp in the Mole, but all i have available at the moment is the EHF.

Will my light only accept EGT lamps?

Thanks-

Nicholas

Quote from Mike Welle here on the forum:

"If you look at the manuals the Eclair ACL was originally designed to use 200 foot mags. And the great thing about it is you can use A-Minima loads. I have used them before. Its important to have several standard spare cores on hand because the replacement core in the A-Minima load does not have a slot (it's non-standard). You need to remove the flanges in a black bag or tent by turning them counter clockwise. Load it exactly the way it shows in the ACL I manual."

This is the first time i have heard of this, but does anyone else have experience using 200ft A-Minima loads?

I love the 200ft mag because of the size, but i just had a 400ft mag serviced by Bernie because i hated changing 100ft rolls all the time. A consistent ability to load 200ft loads in the smaller magazine would help me enormously!

Thanks-

Nicholas