Nicholas Kovats

Local Toronto filmmaker, Chris Boni, has just released a new experimental UltraPan8 2.8 R8 film titled "Mental Margarita" showcasing his fluid camerawork and beautifully exposed Ektachrome 100D. Music by HVYWTR 4EVR (Healing Power Records). Scan by John Gledhill (Bitworks.org). Camera = Bolex UP8 2.8 R8 Lens = Angenieux 5.9mm (Cameflex mount) View on Vimeo Shoot film! facebook.com/UltraPan8WidescreenFilm

My apologies, Kip. Indeed you did give credit. That piece still sends shivers down my spine.

Lets try that again and hopefully this forum will not compress the typography, i.e. "Nice, simple and effective, Kip. Thanks for shooting on film. However you should give credit where it is due. This is a fine example of the great Russian composer Eduard Artemyev's work on Andrei Tarkovsky's "Stalker". I am known to enter a dream state when I hear this ambient piece as Andrei pans through derelict Soviet industrial sites not knowing that half his my crew will die of cancer from this shoot. Including the Master.

Nice, simple and effective, Kip. Thanks for shooting on film. However you should give credit where it is due. This is a fine example of the great Russian composer Eduard Artemyev's work on Andrei Tarkovsky's "Stalker".

Plans for global ultrawide UP8 film domination have finally launched! Well, almost. :) You can now check out the UP8 Facebook page here, i.e. http://www.facebook.com/UltraPan8WidescreenFilm. Please feel free to bring to my attention any typos and/or omissions. Contributions are welcome! Regards, Nicholas Kovats Toronto, Canada

Read this and weep. Apparently they had designed a variable gate switchable between Standard 16 and Super 16, i.e http://eclair16.com/eclair-ex16panoram/. Aaton subsequently bought the technology and patents. IMHO, the Aaton camera is a very worthy successor to the Eclair line.

Plans for global ultrawide UP8 film domination have finally launched! Well, almost. You may check out the UP8 Facebook page here, i.e. http://www.facebook.com/UltraPan8WidescreenFilm. Please feel free to bring to my attention any typos and/or omissions. Contributions are welcome! Regards, Nicholas Kovats Toronto, Canada

Plans for global ultrawide UP8 film domination have finally launched! Well, almost. You may check out the UP8 Facebook page here, i.e. http://www.facebook.com/UltraPan8WidescreenFilm. Please feel free to bring to my attention any typos and/or omissions. Contributions are welcome! Regards, Nicholas Kovats Toronto, Canada

Local Toronto cinematographer, Chris Boni, has debuted his second impressive experimental work on Vimeo shot with the Bolex UltraPan8 2.8 camera system, i.e. Moody ambient sounds supplied by Healing Power Records, i.e. http://healingpowertoronto.bandcamp.com/

Local Toronto cinematographer, Chris Boni, has debuted his second impressive experimental work on Vimeo shot with the Bolex UltraPan8 2.8 camera system, i.e. Moody ambient sounds supplied by Healing Power Records, i.e. http://healingpowertoronto.bandcamp.com/

Local Toronto cinematographer, Chris Boni, has sent me a link to his new and haunting ambient film showcasing UltraPan8 2.8 R8. This is the first scanned example that showcases Chris's camera work and the recent modifications by Jean-Louis Seguin of the original 2011 camera prototype. The mods include a sumptuous 13x viewfinder, a more robust Bolex Bayonet Mount and a custom Cameflex to Bolex Bayonet Mount adapter. He also collimated the 5.9mm Angenieux lens (Cameflex mount)on his Bolex optical bench. Scan by John Gledhill of bitworks.org. Great piece, Chris!

Local Toronto cinematographer, Chris Boni, has sent me a link to his new and haunting ambient film showcasing UltraPan8 2.8 R8. This is the first scanned example that showcases Chris's camera work and the recent modifications by Jean-Louis Seguin of the original 2011 camera prototype. The mods include a sumptuous 13x viewfinder, a more robust Bolex Bayonet Mount and a custom Cameflex to Bolex Bayonet Mount adapter. He also collimated the 5.9mm Angenieux lens (Cameflex mount)on his Bolex optical bench. Scan by John Gledhill of bitworks.org. Great piece, Chris!

Gautam, You can utilize your 50ft daylight spool of 2R-1497 perforated Regular 8 film with the 16mm pulldown of your K3. However your total runtime will be halved. But you cannot do the inverse. That is, use single perf (1R-2994) 16mm in a Regular 8mm camera. The 8mm pulldown will "re-perforate" your 16mm film and will potentially damage your 8mm transport. Take a look at what Regular 8mm film is capable of. Specifically Ektachrome 100D color reversal film, e.g.http://vimeo.com/39417454. Regards, Nicholas

Hi Joel, Can you please post a link to your evidently superior cinematography? Your arrogance notwithstanding there many people shooting E100D which happens to be one of the most common Regular 8 and double Super 8 film stocks available. My V3 50D test footage is forthcoming but it may be too late as I appear to have been "outed" by the old guard. But hey. It has been getting rather stale in here. En garde! Nicholas

Thanks, Steve. No I haven't but from a practical standpoint it does not interest me in terms of ease of conversion. Are Canon Scoopic Super 8 and 16mm parts interchangable? That is a key consideration. Plus the Scoopics do not have a factory interchangable lens mount. I suspect the Scoopic was designed by Canon's Super 8 engineers as it reflects it's pedigree.

We have diverged the UltraPan8 system into two systems. The initial prototype using the full 16mm width of Regular film stock with 8mm pulldown shall be referred to as UltraPan8 2.8 which now includes the specific aspect ratio (2.8) as per the nomenclature. The new variation shall be referred to as UltraPan8 3.1 which utilizes the full 16mm width of Double Super 8 film stock with Super 8mm pulldown. The imaging area has been increased by 39% due to the smaller Super 8mm perforation dimensions relative to UP8 2.8 R8. The UP8 3.1 DS8 frame width is greater than Super 16mm, i.e. 1. UP8 2.8 (Regular 8) AR = 1:2.8, FRAME = 10.52mm x 3.75mm, AREA = 39.45 square mm 2. UP8 3.1 (Double Super 8) AR = 1:3.1, FRAME = 13.00mm x 4.22mm; AREA = 54.86 square mm The resultant frameline is thinner. Mechanical interplay between transport components such as claw, pressure plate and sprockets are more critical than UP8 2.8. The base camera conversion relies on the original JK Camera Double Super 8mm conversions of factory Bolex H8 cameras. Bolex H16 optical components and aperture are also used. A new milled gate is part of the conversion as with UP8 2.8 Bolex cameras. This is a true hybrid system in the sense that no native 16mm wide Double Super 8 projectors are known to exist with the possible exception of special contact printers. This is a genuine "originate on film and finish on digital" camera system. Relative to the image sequence JPEG deliverables...actual overscan pixel density has been increased to 2,440 x 880 from 2,080 x 780 (UP8 2.8) Here is the inaugural scanned test footage with Ektachrome 100D reversal film and a Carl Zeiss 10mm f2.0 Tevidon lens, i.e. The smaller Double Super 8mm perforations are very evident in the overscan verison, i.e. https://vimeo.com/45622450. Compare this to the UP8 2.8 R8 overscan example,i.e. https://vimeo.com/27492482. Here are some frameshots for your examination, i.e. http://picasaweb.goo...&psc=G&filter=0 Thanks again to Jean-Louis Seguin (bolextech@gmail) for another excellent implementation and to John Gledhill at bitworks.org for another outstanding scan. Processing was by Niagara Custom Labs here in Toronto. I would like to point out some key concepts. The UltraPan8 system is about maximizing the image area to provide the best small format experience from our admittedly ultrawide bias. Irrespective of film perforation specifications. A native spherical film format that uses the best part of standard 16mm optics (center) and doubles the magazine run time relative to 16mm. We love large screen cinema and I suspect we have minimally provided an excellent extraction process for the classic and smaller Cinemascope aspect ratio of 1:2.4. As our beloved Super 8 camera crumble to dust...our decision to use plentiful, all metal and robust Bolex cameras is indicative of our longterm intentions. Regards, Nicholas Kovats Toronto, Canada

We have diverged the UltraPan8 system into two systems. The initial prototype using the full 16mm width of Regular film stock with 8mm pulldown shall be referred to as UltraPan8 2.8 which now includes the specific aspect ratio (2.8) as per the nomenclature. The new variation shall be referred to as UltraPan8 3.1 which utilizes the full 16mm width of Double Super 8 film stock with Super 8mm pulldown. The imaging area has been increased by 39% due to the smaller Super 8mm perforation dimensions relative to UP8 2.8 R8. The UP8 3.1 DS8 frame width is greater than Super 16mm, i.e. 1. UP8 2.8 (Regular 8) AR = 1:2.8, FRAME = 10.52mm x 3.75mm, AREA = 39.45 square mm 2. UP8 3.1 (Double Super 8) AR = 1:3.1, FRAME = 13.00mm x 4.22mm; AREA = 54.86 square mm The resultant frameline is thinner. Mechanical interplay between transport components such as claw, pressure plate and sprockets are more critical than UP8 2.8. The base camera conversion relies on the original JK Camera Double Super 8mm conversions of factory Bolex H8 cameras. Bolex H16 optical components and aperture are also used. A new milled gate is part of the conversion as with UP8 2.8 Bolex cameras. This is a true hybrid system in the sense that no native 16mm wide Double Super 8 projectors are known to exist with the possible exception of special contact printers. This is a genuine "originate on film and finish on digital" camera system. Relative to the image sequence JPEG deliverables...actual overscan pixel density has been increased to 2,440 x 880 from 2,080 x 780 (UP8 2.8) Here is the inaugural scanned test footage with Ektachrome 100D reversal film and a Carl Zeiss 10mm f2.0 Tevidon lens, i.e. The smaller Double Super 8mm perforations are very evident in the overscan verison, i.e. https://vimeo.com/45622450. Compare this to the UP8 2.8 R8 overscan example,i.e. https://vimeo.com/27492482. Here are some frameshots for your examination, i.e. http://picasaweb.goo...&psc=G&filter=0 Thanks again to Jean-Louis Seguin (bolextech@gmail) for another excellent implementation and to John Gledhill at bitworks.org for another outstanding scan. Processing was by Niagara Custom Labs here in Toronto. I would like to point out some key concepts. The UltraPan8 system is about maximizing the image area to provide the best small format experience from our admittedly ultrawide bias. Irrespective of film perforation specifications. A native spherical film format that uses the best part of standard 16mm optics (center) and doubles the magazine run time relative to 16mm. We love large screen cinema and I suspect we have minimally provided an excellent extraction process for the classic and smaller Cinemascope aspect ratio of 1:2.4. As our beloved Super 8 camera crumble to dust...our decision to use plentiful, all metal and robust Bolex cameras is indicative of our longterm intentions. Regards, Nicholas Kovats Toronto, Canada

We have diverged the UltraPan8 system into two systems. The initial prototype using the full 16mm width of Regular film stock with 8mm pulldown shall be referred to as UltraPan8 2.8 which now includes the specific aspect ratio (2.8) as per the nomenclature. The new variation shall be referred to as UltraPan8 3.1 which utilizes the full 16mm width of Double Super 8 film stock with Super 8mm pulldown. The imaging area has been increased by 39% due to the smaller Super 8mm perforation dimensions relative to UP8 2.8 R8. The UP8 3.1 DS8 frame width is greater than Super 16mm, i.e. 1. UP8 2.8 (Regular 8) AR = 1:2.8, FRAME = 10.52mm x 3.75mm, AREA = 39.45 square mm 2. UP8 3.1 (Double Super 8) AR = 1:3.1, FRAME = 13.00mm x 4.22mm; AREA = 54.86 square mm The resultant frameline is thinner. Mechanical interplay between transport components such as claw, pressure plate and sprockets are more critical than UP8 2.8. The base camera conversion relies on the original JK Camera Double Super 8mm conversions of factory Bolex H8 cameras. Bolex H16 optical components and aperture are also used. A new milled gate is part of the conversion as with UP8 2.8 Bolex cameras. This is a true hybrid system in the sense that no native 16mm wide Double Super 8 projectors are known to exist with the possible exception of special contact printers. This is a genuine "originate on film and finish on digital" camera system. Relative to the image sequence JPEG deliverables...actual overscan pixel density has been increased to 2,440 x 880 from 2,080 x 780 (UP8 2.8) Here is the inaugural scanned test footage with Ektachrome 100D reversal film and a Carl Zeiss 10mm f2.0 Tevidon lens, i.e. The smaller Double Super 8mm perforations are very evident in the overscan verison, i.e. https://vimeo.com/45622450. Compare this to the UP8 2.8 R8 overscan example,i.e. https://vimeo.com/27492482. Here are some frameshots for your examination, i.e. http://picasaweb.google.com/lh/view?q=ultrapan8&psc=G&filter=0 Thanks again to Jean-Louis Seguin (bolextech@gmail) for another excellent implementation and to John Gledhill at bitworks.org for another outstanding scan. Processing was by Niagara Custom Labs here in Toronto. I would like to point out some key concepts. The UltraPan8 system is about maximizing the image area to provide the best small format experience from our admittedly ultrawide bias. Irrespective of film perforation specifications. A native spherical film format that uses the best part of standard 16mm optics (center) and doubles the magazine run time relative to 16mm. We love large screen cinema and I suspect we have minimally provided an excellent extraction process for the classic and smaller Cinemascope aspect ratio of 1:2.4. As our beloved Super 8 camera crumble to dust...our decision to use plentiful, all metal and robust Bolex cameras is indicative of our longterm intentions. Regards, Nicholas Kovats Toronto, Canada

Contact Jean-Louis Seguin in Montreal at bolextech@gmail.com. Here is an example of his excellent work regarding his conversions of Bolex cameras to the new UltraPan8 2.8 format, e.g.

Hi Everyone. I have added additional UltraPan8 footage from 2011 and 2012 to my prior Super 8 film called "I Felt Your Pulse". This is evolving into a ongoing record dedicated to Darcy Allan Sheppard. An event has been organized scheduled for 5:00 pm tomorrow evening on Friday, May 25, 2012 at Old City Hall in downtown Toronto called "Sit In For Michael J. Bryant's Lack Of Due Process". The Facebook organized event can be found her, i.e http://www.facebook.com/events/418255131531952/. Michael Bryant was our former provincial Attorney General (Ontario Liberal Party) and also former Aboriginal Minister who killed Darcy Allan Shepard, an Aboriginal cyclist and courier back in 2009. The case was never brought to trial, evidence was never tested and Bryant walked free. Bryant still maintains political ambitions, i.e. http://bryantwatch.wordpress.com/ One of the best commentaries and actually written by a lawyer no less,i.e. http://bicycling.com/blogs/roadrights/2 ... s-collide/. A 2010 UK media perspective , i.e. http://www.guardian.co.uk/commentisfree ... f-comments Regards, Nicholas Kovats Toronto, Canada

Hi Everyone. I have added additional UltraPan8 footage from 2011 and 2012 to my prior Super 8 film called "I Felt Your Pulse". This is evolving into a ongoing record dedicated to Darcy Allan Sheppard. An event has been organized scheduled for 5:00 pm tomorrow evening on Friday, May 25, 2012 at Old City Hall in downtown Toronto called "Sit In For Michael J. Bryant's Lack Of Due Process". The Facebook organized event can be found her, i.e http://www.facebook.com/events/418255131531952/. Michael Bryant was our former provincial Attorney General (Ontario Liberal Party) and also former Aboriginal Minister who killed Darcy Allan Shepard, an Aboriginal cyclist and courier back in 2009. The case was never brought to trial, evidence was never tested and Bryant walked free. Bryant still maintains political ambitions, i.e. http://bryantwatch.wordpress.com/ One of the best commentaries and actually written by a lawyer no less,i.e. http://bicycling.com/blogs/roadrights/2 ... s-collide/. A 2010 UK media perspective , i.e. http://www.guardian.co.uk/commentisfree ... f-comments Regards, Nicholas Kovats Toronto, Canada

Beautiful color saturation and skin tone renditions, Ignacio! What software did you use to color grade the negative? And sync sound! Are you sending a reference 1000Hz tone to your Walkman Pro? You are the consummate practitioner of the legendary ZC1000. Bravo!

Double post.

Bitworks deliverables are overscanned edge to edge image sequence jpegs approximately 2300 x 780 x 24 bit depth (8x8x8 RGB). :)

Steve, Confirmed as per Jean-Louis regarding the gate edge reflection. No post productiion nor scripts were used in the final edit! Another clean transfer by bitworks.org. I am curous about Avisynth though. A test DCP file has been projected 40ft across in a US based ommercial theatre and apparently it looked great. Your late model H8RX4 is an excellent starting point for conversion by the way. Let me know how the home screening goes. And yes I am way too busy shooting UP8 to send the prototype in for examination. I am shipping another 200ft of E100D for scanning as of today. One of the reels is the debut of my Bolex UP8 Tobin Motorized Cavision shoulder pad system shot with the gorgeous 5.9mm Angenieux. We now can convert Specto 500 8/16 projectors for UP8 projection. Single perf 16mm acetate stock can now be reperfed for the 1R-1497 UP8 format also. We ae busy UP8 worker bees. :)