Jump to content

Alessandro Malfatti

Basic Member
  • Content Count

    153
  • Joined

  • Last visited

  • Days Won

    2

Alessandro Malfatti last won the day on November 8 2018

Alessandro Malfatti had the most liked content!

Community Reputation

2 Neutral

About Alessandro Malfatti

  • Rank

  • Birthday 10/02/1989

Profile Information

  • Occupation
    Other
  • Location
    Barcelona, Spain

Contact Methods

  • Website URL
    http://
  1. I subscribe this 100%. I've had a great experience with the Scoopic, as far as compact and affordable 16mm cameras go it's likely one of the best. I recently intercut some Scoopic (standard 16mm cropped to 16:9) with some SR3HS footage (Super16) and the difference is barely noticeable. It's also silent enough that I wouldn't be afraid of taking sync sound for a non-fiction project, so long as the location isn't too quiet (like an exterior). The main downside is probably that it can't really be practically converted to Super16, but then again that probably helps keeping its price low. There's also the thing with the fixed lens, this may not be everyone's cup of tea. I'm fine with it, opening to 12.5mm is fine for my needs, and for anything better I'd rent a proper Arriflex right away (hell on my last project I got the Arri with a zoom anyway because primes were too expensive and would have slowed production down too much, we had a tight schedule as camera rental is hella expensive). For me it was either a Bolex or a Scoopic, but honestly I just didn't want to keep winding the damn camera like I used to do with the K3, and the Scoopic was much cheaper than a well-equipped Bolex with a motor. tl;dr the Scoopic isn't a perfect camera, but if it fits your need it does its job quite well.
  2. I have to agree with the idea that ever improving technology is hurting the movie theatre, which is ironic. We all know that classic Renoir quote, about how perfect realism brings on perfect decadence. I don't know if I'm being subjective and/or nostalgic when I say that film quality has, on average, continually worsened since the onset of digital, but sometimes I fear I may be right. Film as a production format in its latest iterations before r&d was discontinued some years ago is really at an ideal point of being of enough quality that it can be watched with great visual pleasure, but imperfect enough that it still invites artistic quality. Perhaps the issue is not so much of how cinemas project, but what they project, and how films are shot. And that shooting on film, with its inherent qualities and difficulties is essential to the artistic challenge of filmmaking. So for all those reasons though I agree that it's unrealistic to consider cinemas to go back to film projection, it's quite the contrary in matters of shooting on film, and that maybe the little push that would be needed is not of discouraging digital projection but discouraging digital cameras, just like back in the day where any minimally serious effort had to shoot on film, even if just 16mm film. Many countries like the US, Britain and Germany kept shooting on film, 16mm or 35mm, for television even long after video cameras had become much more practical, I'm talking into the 90's and 00's. Video was just video, in a despective manner. It wasn't a serious format for most proper fiction or documentary, let alone TV movies, even though in the end it would go out onto regular analogue SDTV. Only poor countries like Spain switched to video right away. In Spain, video took over television production in the 80s, in the 90s even TV movies were being done on video, while any self-respecting US sitcom shot on 35mm well into the 00's, Michael Palin travelled to the Himalayas with 16mm equipment in 2003, and the german Tatort only ceased shooting on 16mm in 2011 (iirc). Because video was just, well, video. If opinions could be skewed back into appreciating the visual quality as well as the effort involved in shooting on film, I'm sure that the current panorama would be somewhat different. Many of us here might know how a shoot with film cameras acts as a sort of filter, the investment required eliminates the bottom-of-the-barrel films (in this supposed scenario relegating them to second-grade digital productions), the necessary know-how keeps amateurs at bay, and in general it demands a certain respect from the cast and crew. I finished shooting my second short film about three months ago on 16mm, apparently the first 16mm production this year in the Barcelona area as there's only one rental house left here with 16mm cameras and I was told it was the first 16mm rental they'd had so far (interestingly, they also told me they had no plans of discontinuing film camera rentals, since the equipment wouldn't go out of date; btw the camera rental was also somewhat cheaper than a top-tier digital so there's that). Mainstream opinion is so obsessed with technical quality, and I guess it makes sense since for the last 100 years there's been a continuous race for technical improvement, sound, color, wide-screen, large-format, better emulsions, and finally digital technology. I think it's hard to change the mindset from this constant improvement to a more settled perspective, were technology has reached a certain peak to the point of dangerously invoking Renoir's suggested "perfect decadence". More than ever I think the comparison film-digital and painting-photography is adequate, and should be promoted as a way of recognizing the value and effort of shooting on film as a basic necessity to, let's say a certain way of filmmaking, as in not excluding digital video completely, but relegating it to a completely different position, just as photography and painting are two wholly different disciplines. Hell even Lloyd Kaufman of the ever-cash-strapped Troma insists on shooting his own directorial projects on 35mm on shoestring budgets. It's difficult that this may happen, but I don't think it's impossible. I like to think that the film medium has passed its worst moment, and assumed its niche positions, with centralized film labs somewhat firmly established (centralized as in few of them concentrating lab services for larger regions) and the more or less secured continued availability of film stock. The whole thing just needs a final push toward that sort of technical "discrimination" that will give film as a support the added value that it deserves, and situates it similar to back in the day as the dividing line that separates the grain from the chaff, the novices from the pros.
  3. I dislike Rolf Lyssy's self-hating rhetoric, which he expressed quite well in Die Schweizermacher. Ironically, in the conclusion of said film he sort of advocates for emigration and travel, for getting to know other cultures. When, however, you get to actually know other cultures you learn that all cultures that have some ambition to them tend to be critical with themselves, and that they all share that very idea that the grass is always greener on the other side of the fence. Lyssy has that 1960's-counterculture idea of cinema as an art form defined by elitist arthouse production (which I'm familiar with from having had an established long-time film critic as a teacher during my studies), hence why he mentions Denmark, Sweden, Netherlands and Belgium, yet not Germany which is one of the main producers of cinema in Europe. Cinema is by definition a massive medium, it's the popular productions which won't garner praise from snobby film critics which create the industrial basis from which arthouse cinema emerges, and small countries have a difficult time keeping up with an industrial production since they simply lack the spectators. Cinema as a cultural phenomenon is largely a game of numbers, the more films are produced, the more likely it is that excellent films will be produced. Inversely, the more excellent films a country produces, the even more mediocre and bad films it will produce. Cinema is a very complex craft that matured very quickly, there's still a lot of practice and trial and error involved. Collectively, advancement of cinematic culture requires the production of many inconspicuous or even infamous films as the "mistake" from which to learn. If there isn't a continuous industrial production, cinematic talent won't be promoted, because it can hardly find a chance to express itself. Translating that into saying that a society is mediocre is laughable, as if the cinematic output of a society or culture were a defining element to its supposed mediocrity. Switzerland excels at many disciplines, just not cinema. It may yet master this craft eventually. Many countries with renowned cinematic production started out relatively late, such as Japan, India, China, Spain. On the other hand, the great cinematic pioneer that was France is nowadays generally said to be falling short of what it once was. I think what bugs me most about Rolf Lyssy's statements it's that you could take like 90% of it and put it in the mouth of some spaniard cultural snob and it would fit perfectly. The same pretentious discourse about mediocrity, the same jealousy of foreign culture. One thing that largely holds back cinema culturally is the obsession with other countries and cultures, and the resulting incapability of evolving by itself, instead plagued by envy and inferiority complexes. Of course cinema, unlike previous art form, was a relatively globalist art form from the start, so those cultures that had the strength repressed the weaker once, hence the US's global hegemony, and in Europe relating to Switzerland there were three relatively important cinematic powers surrounding it: Germany, France, Italy. A similar situation arose as with the US and Great Britain, that a related culture is taken over by its more massive cousin. British films have always had a hard time competing with american films, as unlike in other countries the cultural barrier was much weaker. Same goes for Switzerland and its neighbours. I think that just with Britain and the US, Switzerland needs to accept that it must be a cultural satellite of its neighbours, but there's nothing wrong with that and it doesn't negate an own cultural identity. I think people who think like Rolf Lyssy are one of the great obstacles that hold back cultural advancement and maturity.
  4. You asked for "Filmer", like Jack Benny said 'you ask a question and I answer'. ;) I've been active as independent writer-producer-director lately, which is like a fancy way of saying that I'm producing my own stuff because noone else will. Just finished my second short film (shot on 16mm btw). I just hope that and my film studies will make for a reasonably interesting CV...
  5. The cost of Super8? You wanna know about the cost of Super8? Well lemme tell you somethin'. The bill just arrived for my latest lab order at Andec. Developing of 8 cartridges of neg, plus 2 of b/w, and HD telecine. Cost me no less than 566,20€. And that's only lab costs, it doesn't even include film stock. This is getting expensive as hell. If I don't find me a better job I can forget about keeping up the ritzy lifestyle.
  6. I think it might be that it's just the lightmeter battery, and that the manual aperture adjustment depends on said battery. When you do the lightmeter battery test (using the aperture knob, not the power switch), the needle is supposed to go to f8, if it was at 1.8 like you wrote then clearly the lightmeter batteries are low, and most likely that's the reason why your aperture isn't working. Try the new lightmeter batteries, maybe it's as simple as that. Here's a link to a user manual for the 801 http://imperfectcinema.com/wp-content/uploads/2011/02/Nizo-801-Macro-Manual.pdf
  7. I recently bought a Canon Scoopic from Du-All Camera, it cost me just about 1K€. Fully serviced ofc. So far I've only run two test rolls, and the results were quite good. Downside is it's standard 16mm and it's apparently almost impossible to modify for Super16. Registration is excellent and as far as I can tell running speed is quite accurate and stable, though I haven't tried synching sound to see if it would maintain sync for longer periods of time. It's comfortably handheld and easy to operate. Again downside, the fixed zoom lens, which is a very good lens, but it is fixed. Also it only takes 30m rolls and has no interchangeable mag. My two cents, make of it what you will. Cheers and good luck in your endeavours!
  8. Super 8 has become expensive as hell, but I guess that's what happens with such niche markets. Nowadays I'm paying per roll 35€+17.50€ developing at Andec+15€ telecine + shipping. That's 67.50 plus shipping which comes to about 10-20€ more per order. That's quite a price alright. However I'll say that it's still noticeably cheaper than 16mm, which would be 50€ + 25€ developing + 30€ telecine, comes to 105€ plus shipping, and shipping will be more expensive because of more weight. That's almost twice as expensive. Within the expensive world of film, Super 8 still has the price advantage. I for one don't much care for the enthusiast aspect of Super 8. I mean, I get that some people look for that, and that's cool, but I don't, I just want to shoot on film, whatever format it may be. If I shat money I'd shoot on 65mm ffs. For now Super 8 is the most economic, so it makes sense. If prices were to keep going up I'd might consider exclusively using 16mm, since I recently got me a Scoopic, which is much comfier than the old K3. There is the issue about the weight and size of Super 8 gear vs 16mm, but it's mostly the price for me.
  9. Of the common brands, Bauer, Elmo and Eiki are usually a safe bet, always CAREFUL with Bell & Howell since 90% of them have the famous cracked worm gear. Slot-loaders are a bit more maintenance intensive than auto-loaders. Manual load is theoretically the most gentle on film, but since the 1970's almost everything is auto or slot. I'd say go with auto, they have fewer moving parts, and if you keep them clean they shouldn't damage your film. I have a Bauer P8 that runs pretty good, bought it as-is some 15 years ago off eBay, never maintained it except for amp that was defective which I had fixed. Still runs all right. Pressure plate is giving out, I've diy fixed it with a little spring, but Wittner has a lot of these basic spare parts, I'm thinking of getting a replacement. Wittner also has a holder for anamorphic lens on Bauer projectors, which is a rare thing and useful if you're going to project scope. The only bad thing about the P8 is that it has that weird 5-point DIN output. I'm sure there's an adaptor for it somewhere on the internet, but it is easier when it's a standard jack or minijack output. I also have an Elmo CL slotloader, also bought it some 10-15 years ago. Works, but harsher on film, has scratched it sometimes, I never manage to get it completely clean I think. Also the rear takeup system is very primitive, the belt simply slips off the hub, and as the film is taken up it weighs down and supposedly causes more friction on the belt... when I bought it the rear belt had dissolved, I bought a new one, it works but it doesn't take up the film tight and I fear that the belt won't have too long a life. my two cents
  10. I'm just going to dig up this 5 year old topic and ask, did this pilottone experiment work out? Because just today I was thinking about doing exactly the same, using the pilottone signal connected to the digital recorder to easily synch up the footage.
  11. I'm swiss and I'm a filmer. But for inexplicable reasons I live in Barcelona. I love shooting on film, but now I'm trying my luck as a screenwriter. It's not going too well. Would it be worth it to return to Switzerland? Is it hard to get any sort of job in television that'll pay the bills?
  12. awww yiss, it'll be great to be able to project again :lol:
  13. Would a print off a 4k or 8k master be an improvement over blu-ray image?
×
×
  • Create New...