Nicholas Kovats

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. :)

Hi Steve, Thank you. If you log onto your Vimeo account you will see the download link under "About this video". What do you mean by your reference to "server scripts"?

John, I assume you are going to edit your transferred footage with a digital NLE. Use the belt driven Nizo 6080/6056. You may or not use a cheap clap board to mark the start frames visually (clap board scene description) and audibly (clap board sound). However synchronization of visual and separate audio recording is not really an issue nowadays and is actually quite easy with plural eyes software which matches up the audio waves. It works and it is used professionally. http://www.singularsoftware.com/pluraleyes.html That being said you could construct a barney for the Nizo. Run some tests. Do you have access to an Aaton 16mm camera which is an excellent reference for a sound sync camera? Run an audio test. In fact I literally had to put my ear next to the Aaton Super 16mm cam I was testing last evening to make sure it was running at 24 fps. You may need to change the belt on the Nizo due to age. What are the environmental acoustic requirements for your piece? Large empty rooms or chatty loud cafes? There are no real technical limitations nowadays. Just tap into the will to execute. Cheers! Nicholas

Thanks, Will. I cannot "officially" endorse the utilization of "natural substances" but users are encouraged to independently verify methods of elevating their conciousness in a safe viewing environment. Headphones are recommended. Volume set to "11".

Inspired by Fred Jenne's wonderful Chocolate Inspirational Experience and the beautiful space/grounds of The Yoga House here in Toronto, Canada, i.e. Camera used was Bolex UP8 camera# 1. Film stock is reversal Ektachrome 100D and Plus X. Lenses used were Som Berthiot Cinor P 25mm and Angenieux 5.9mm. lovegrows.ca/ theyogahouse.ca/

Inspired by Fred Jenne's wonderful Chocolate Inspirational Experience and the beautiful space/grounds of The Yoga House here in Toronto, Canada, i.e. Camera used was Bolex UP8 camera# 1. Film stock is reversal Ektachrome 100D and Plus X. Lenses used were Som Berthiot Cinor P 25mm and Angenieux 5.9mm. lovegrows.ca/ theyogahouse.ca/

Inspired by Fred Jenne's wonderful Chocolate Inspirational Experience and the beautiful space/grounds of The Yoga House here in Toronto, Canada, i.e. lovegrows.ca/ theyogahouse.ca/ Filmed in the new motion picture format called Ultrapan8. Camera used was Bolex UP8 camera# 1. Film stock is reversal Ektachrome 100D and Plus X. Lenses used were Som Berthiot Cinor P 25mm and Angenieux 5.9mm.

Here is my latest Super 8 film dedicated to Darcy Allan Sheppard running up to the Michael Bryant demonstration this evening at the ROM (Royal Ontario Museum) set for 5pm, i.e. vimeo.com/m/39320829 Michael Bryant was our former provincial Attorney General (Ontario Liberal Party) and also former Aboriginal Minister who killed Darcy, a cyclist and courier....back in 2009. Darcy was Aboriginal. Metis I believe. If your on Facebook and reside in Toronto, tomorrow's demo is located here, i.e. facebook.com/events/394907670519688/. The case was never brought to trial, evidence was never tested and Bryant walked free, And still maintains political ambitions. As per bryantwatch.wordpress.com/ "On March 29, 2012, Michael Bryant, champion of the 1%, will once again seek the spotlight. He will be speaking at the Royal Ontario Museum, RBC Foundation Glass Room discussing policy options for the Liberal Party of Canada followed by an opportunity to mingle and have drinks at the exclusive Bedford Academy, 36 Prince Arthur Avenue" One of the best commentaries and actually written by a lawyer no less, i.e. bicycling.com/blogs/roadrights/2009/09/16/when-worlds-collide/. A 2010 UK media perspective , i.e. guardian.co.uk/commentisfree/cifamerica/2010/may/28/toronto-cycle-courier-death?commentpage=all#start-of-comments

Presenting my friend Dwayne Hill's 35mm 2 perf Lomokino film called "Lomokino Cat". Edited by yours truly. It's all in the leather...