Nicholas Kovats

Good job, Will. And definitely steadier and more consistently exposed than the average Lomokino film. I will unwrap mine sometime in the new year and give it a go.

Hello People of the Forum. This question is in regards to some newly scanned scene by scene color corrected UltraPan8 footage. Scanned deliverable# 1: The custom sprocketless 16mm transfer bay used preserved the 1 to 1 relationship between 24fps film frames and overscanned 2080x870 pixel x 24 (bit depth) sequential jpegs, e.g. Here is an example of a completed UltraPan8 "sketch" cropped and edited in Sony Vegas 10c. Stock is Ektachrome 100D color reversal. This particular service only provides scripted "batch" color correction (one light), i.e. Scanned deliverable# 2: Also a custom 16mm transfer bay but sprocket based. This setup does not preserve the 1 to 1 relationship and instead outputs 2x stacked UltraPan8 frames per 16m frame. The relationship is now 2:1. Media playback is 12 fps as opposed to my original shooting speed of 24 fps. This service also provides excellent scene by scene color corrected files (AVI/MOV). I do not have an uploaded example of this file for your analysis at this time. Can someone provide the exact steps in Sony Vegas 10C (Win7/64 bit) required to "crop and stitch" deliverable# 2? In other words restore the original 1:1 relationship with my original film 24fps shooting speed and final digital file output, e.g. MPEG4 24fps progressive. Thanks for reading. Nicholas

Hello People of the Forum. This question is in regards to some newly scanned scene by scene color corrected UltraPan8 footage. Scanned deliverable# 1: The custom sprocketless 16mm transfer bay used preserved the 1 to 1 relationship between 24fps film frames and overscanned 2080x870 pixel x 24 (bit depth) sequential jpegs, e.g. Here is an example of a completed UltraPan8 "sketch" cropped and edited in Sony Vegas 10c. Stock is Ektachrome 100D color reversal. This particular service only provides scripted "batch" color correction (one light), i.e. Scanned deliverable# 2: Also a custom 16mm transfer bay but sprocket based. This setup does not preserve the 1 to 1 relationship and instead outputs 2x stacked UltraPan8 frames per 16m frame. The relationship is now 2:1. Media playback is 12 fps as opposed to my original shooting speed of 24 fps. This service also provides excellent scene by scene color corrected files (AVI/MOV). I do not have an uploaded example of this file for your analysis at this time. Can someone provide the exact steps in Sony Vegas 10C (Win7/64 bit) required to "crop and stitch" deliverable# 2? In other words restore the original 1:1 relationship with my original film 24fps shooting speed and final digital file output, e.g. MPEG4 24fps progressive. Thanks for reading. Nicholas

Thanks, Robin. I also ha.ve that metering app and I am curious about its accuracy. I utilized it a few times regarding some undeveloped UltraPan8 footage. I will have to pester Kodak about the 2 perf 50D stock

Great 50D footage, Robin! That clinches it. I am going to endeavor getting 50D reperfed to Regular 8mm for my ULtraPan8 Bolex cam, i.e. http://vimeo.com/27905787. Did you shoot at 48 or 64 FPS? Do you happen to know if 2 perf 50D is available from Kodak?

Great to the Bolex Rex 5 footage, Jeremy! Your exposures are spot on. What stock did you shoot?

Congratulations, Matt! Your persistence paid off. My own two submissions will be joining you. :)

John, Compare the LomoKino Vimeo scan with my UltraPan8 format scan. They are nearly identical 2.8:1, i.e. LomoKino = UltraPan8 = From the Lomographic website, i.e. http://microsites.lomography.com/lomokino/features -> "Exposure area : 24mm x 8.5mm" The UltraPan8 framing area is 10.52mm x 3.75mm. Cheers!

This is incredible in my humble opinion. Officially released just a few hours ago. 1. Cheap as in $79 US cheap. 2. Undeniable mass appeal. 3. Handcranked! 4. 36 exposure 35mm film cassettes. 5. Shoots identical UltraPan8 aspect ratio = 2.8:1, i.e. 14mm x 8.5mm frame area is created by utilizing a 35mm 2 perf pulldown resulting in 144 "UP8" frames" per 36 exposure 35mm film cassette! Official Lomokino site -> http://microsites.lomography.com/lomokino/, i.e Film type : 35mm Exposure area : 24mm x 8.5mm Frames per. roll (36 exp.) : 144 frames Frame rate : Approximately 3-5 frames per second Taking Lens : 25mm Angle of view : 54 degrees Aperture : f/5.6, f/8, f/11 (Continuous aperture) Shutter speed : 1/100 Film Advancing : Manual Film Counting : Volume display Focusing : (Normal) 1m~infinity, (Press button for) 0.6m close-up View finding : Inverse-Galileo foldable viewfinder Flash sync : x-sync (hot-shoe) Tripod mount : Standard 1/4" tripod screw Check out the sample footage -> http://vimeo.com/31503625. The implications are wonderful! Cheers! Nicholas UltraPan8 ->

This is incredible in my humble opinion. Officially released just a few hours ago. 1. Cheap as in $79 US cheap. 2. Undeniable mass appeal. 3. Handcranked! 4. 36 exposure 35mm film cassettes. 5. Shoots identical UltraPan8 aspect ratio = 2.8:1, i.e. 14mm x 8.5mm frame area is created by utilizing a 35mm 2 perf pulldown resulting in 144 "UP8" frames" per 36 exposure 35mm film cassette! Official Lomokino site -> http://microsites.lomography.com/lomokino/, i.e Film type : 35mm Exposure area : 24mm x 8.5mm Frames per. roll (36 exp.) : 144 frames Frame rate : Approximately 3-5 frames per second Taking Lens : 25mm Angle of view : 54 degrees Aperture : f/5.6, f/8, f/11 (Continuous aperture) Shutter speed : 1/100 Film Advancing : Manual Film Counting : Volume display Focusing : (Normal) 1m~infinity, (Press button for) 0.6m close-up View finding : Inverse-Galileo foldable viewfinder Flash sync : x-sync (hot-shoe) Tripod mount : Standard 1/4" tripod screw Check out the sample footage -> http://vimeo.com/31503625. The implications are wonderful! Cheers! Nicholas UltraPan8 ->

This is incredible in my humble opinion. Officially released just a few hours ago. 1. Cheap as in $79 US cheap. 2. Undeniable mass appeal. 3. Handcranked! 4. 36 exposure 35mm film cassettes. 5. Shoots identical UltraPan8 aspect ratio = 2.8:1, i.e. 14mm x 8.5mm frame area is created by utilizing a 35mm 2 perf pulldown resulting in 144 "UP8" frames" per 36 exposure 35mm film cassette! Official Lomokino site -> http://microsites.lomography.com/lomokino/, i.e Film type : 35mm Exposure area : 24mm x 8.5mm Frames per. roll (36 exp.) : 144 frames Frame rate : Approximately 3-5 frames per second Taking Lens : 25mm Angle of view : 54 degrees Aperture : f/5.6, f/8, f/11 (Continuous aperture) Shutter speed : 1/100 Film Advancing : Manual Film Counting : Volume display Focusing : (Normal) 1m~infinity, (Press button for) 0.6m close-up View finding : Inverse-Galileo foldable viewfinder Flash sync : x-sync (hot-shoe) Tripod mount : Standard 1/4" tripod screw Check out the sample footage -> http://vimeo.com/31503625. The implications are wonderful! Cheers! Nicholas UltraPan8 ->

Matthew, I cannot view your attachments.

The discipline required of mere humans when it comes to decisions regarding camera gear. Collect or use? I do not have enough cash on hand to take advantage of the countless deals all over. Focus, focus, focus! By the way, Robert, the native UK based UltraPan8 projector is about to be shipped to Jean-Louis for a slight gate mod. Do you and your brother have nay projector engineering experience? I was wondering if it is plausible to retrofit the projector with an Osram HTI lamp + ballast, e.g. http://translate.googleusercontent.com/translate_c?hl=en&ie=UTF8&prev=_t&rurl=translate.google.com&sl=de&tl=en&twu=1&u=http://www.wittner-cinetec.com/katalog/05_licht/d_hti.php&usg=ALkJrhiJcycQKqZuJEwB-My3YnOseBwPTQ Apparently the projector has a significant internal fan.

Hi Robert. Publicly "drooling" on the Cinema Engineering Company web store, eh? i.e. http://www.cinemagear.com/cameras.html#16mm_Cameras Regards, Nicholas

Maurizo, My UltraPan8 film has an aspect ratio = 2.8:1. Normally that should not be an issue for local playback on a PC/MAC screen or digital projection. Can you confirm? I am curious if the festival can also playback DCP files as do the commercial cinemas? Regards, Nicholas

Hi Maurizio. I have sent a DropBox invitation to the following email address as per the Milano Super 8 Film Festival web site, i.e. info@super8filmfestival.it ...with the following message, i.e. "Hi! Please accept my films for submission to the Milano Super 8 Film Festival. I have submitted the following for download, i,e, 1. One UltraPan8 film in MPEG4 format called "My Memories Of Her Are Missing" 2. One Super 8 film in MPEG4 format called "I Wasn't Ready For This" 3. Two separate PDF entry forms regarding both films. Regards, Nicholas Kovats Toronto, Canada" Please confirm receipt. Cheers!

Jukub, I admire your efforts to inspire discussion on extracting "native" Cinemascope aspect ratio (2.35:1) from standard 16mm film width. Have you considered the native spherical hybrid format known as UltraPan8? i.e Aspect ratio = 2.8:1. Standard 16mm optics provide full coverage and are optically centered. Shooting time is doubled. Regards, Nicholas Kovats Toronto

Matt, Do you have Media Encorder as part of your Adobe CS5 package? If you do it supports encoding to MPEG4, i.e. http://help.adobe.com/en_US/mediaencoder/cs/using/WS725e431141e7ba651e63e3d1267818bc51-8000.html Video and animation Animated GIF (Windows only) FLV, F4V Note: The FLV and F4V formats are container formats, each of which is associated with a set of video and audio formats. F4V files generally contain video data that is encoded using an H.264 video codec and the AAC audio codec. FLV files generally contain video data encoded using the On2 VP6 or Sorenson Spark codec and audio data encoded using an MP3 audio codec. Adobe Media Encoder CS5 can encode FLV files using the On2 VP6 video codec, not the Sorenson Spark codec.. . . H.264 Blu-ray (M4V) MPEG-2 (MPA, M2V, MPG) MPEG-2 DVD (M2V) MPEG-2 Blu-ray (M2V, WAV) MPEG-4 P2 (MXF)

Matt, I have seen loss of lip sync with DVD MPEG2 encoding before. IF your source material was originated at 24fps synced with audio don't forget that DVD MPEG2 encoding will insert the unfortunate 2/3 pulldown to match the 29.97 NTSC spec thereby rendering your previously synced audio unusable. What type of source files are you utilizing? Off the top of me head...try rendering to MPEG4 with square pixels, high VBR = 20,000,000 and PCM 16 Bit.

Thanks for the conformation, Maurizio. No breaking of appendages will entail from the production of my films. :)

Hi Maurizio, Would the festival accept secured downloads of my MPEG4 (H264/PCM) data files for submission? They average between 140-200 MEGS in size per file. My films are originally shot at 24fps in both Super 8 and Ultrapan8 film formats. Are you setup for laptop/PC playback of data files? I no longer mail physical copies of DVDs. I have also rejected the highly compressed DVD MPEG2 29.97fps format for my films, e.g. 2/3 pulldown insert results in unacceptable "smearing" between frames, "blocky" compression artifacts, etc. Regards, Nicholas Kovats Toronto, Canada

Thanks again, Charles, for the wealth of detail. I now understand the Kodak catalog numbering pattern as in perf/pitch, e.g. 1R-2994. Do you work in the film business?

My condolences and I am sorry to hear of his passing. He presented some very interesting concepts in this thread.

Hi Jean-Louis, I am beginning to get a sense that UP8 cameras or motion picture cameras in general will tolerate variations in pitch as long as the actual perf dimensions are identical. LIFT utilized fairly fresh stock for the R8/16mm perf demo and I believe shrinkage can be negated from the equation. Regards, NK