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Robert Houllahan

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About Robert Houllahan

Profile Information

  • Occupation
    Industry Rep
  • Location
    Providence / East Coast /Globe
  • My Gear
    Film Lab / XTRprod / PhotoSonics 16mm / Nikon R10/ More Film Cams /C500 / Komodo
  • Specialties
    All Analog Film work and processes / 16mm and slow motion 16mm analog film / Interviews / Music Videos /

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  • Website URL
    http://www.cinelab.com

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  1. Digital sensors are linear devices (even when encoded into log) so a ISO change on a digital sensor is an overall dB gain increase. Film negative has a characteristic curve and a photo-chemical push will accentuate that logarithmic curve with more sensitivity in the middle than the top or bottom of the curve. In my experience 5219 pushed +1 is in the same sort of working range as an Alexa in the 1200 maybe to1600 ISO range, with the Alexa having some more shadow detail and 5219 more hilite overexposure tolerance and the mid being similar. YMMV
  2. I would scan HS film at the framerate you expect to deliver at, i.e. 24fps 25fps as then it will have the intended slow motion. You could get a ProRes and DPX scan if you expect to do any speed changes in post.
  3. That client was the US Military Industrial Complex and that was fractions of pennies on the hundred dollar bills they happily burned through. Certainly not any more but it was only within this decade that Hycam cameras were mostly replaced for this kind of work by digital substitutes. The US Air Force had a few very substantial labs of their own. I bet Kodak would do a special run for the overall cost of a master roll now and I was exaggerating a bit about the 25M feet intro cost.
  4. A hair or other small object in the line scan gate on the Spirit does make a streak through the whole frame so it can very well be that is what this is, I have seen similar looking streaks on my Spirit(s) especially because how it dances so far across the frame and out of frame left. I would just send the film back for a rescan.
  5. Was this scanned on a Spirit? It could be a hair in the line scan gate. A movie clip would be more helpful.
  6. I would think that if you offered to buy 25 million feet of film from Kodak they would figure out how to use multiple layers of Vision 3 emulsion without the color dyes and couplers for a theoretical new monochrome stock. Probably at a $1.00/ft or more price.
  7. I have a VV job doing tests right now. I am working on being able to run 9.4K x 7K VV scans for it. We also ran a VV short a few years ago that was really nice.
  8. I have two Visual Inst. Hycam-II cameras (built in 2002) and we used to do allot of work for Pratt&Whitney on FAA mandated tests for jet engines and other high speed camera work for military engines, including for the F-35. The largest test I worked on for them was a engine for the A380 and there was 27 Hycam-II 16mm cameras shooting SO-19 (7219 on Estar) at FR between 6000PPS and 11,000 PPS along about a dozen digital high speed cameras. The test was lit with 500 1K Lowel Omni quartz lights. The newer Hycam-II cameras have new motor control electronics which allow for the camera to get to full speed within 50-75ft of a 400ft roll. P&W would "rent" the lab for a day and we would process the negative and then do a transfer to video, but then cut the negative down to the sections they wanted to really see and make a timed 16mm print. I remember holding about 850ft of negative and thinking it cost about $35 Million to produce it. Picture clarity and detail was really excellent and far exceeded the digital cameras even very recently. The digital cameras would also have issues failing due to the very high vibration environment of a full running 80,000lb thrust engine blowing up. It was only in the last five years that they switched entirely to digital for this work.
  9. The Cintel machine is but 16mm is definitely capable of allot more detail than just 2K when scanned on a machine that is capable of higher res scans.
  10. I am sure he had something to do with it. This was also converted to computer control by Rennie Johnson, I sort of wish it was in it's original config but the PC control works fine too.
  11. Noiiice! i have Harry Walton’s Aerial optical printer at Cinelab that did work on RoboCop amongst others. i recently got a request for a possible Techniscope to 4-Perf anamorphic optical blowup. I am kind of psyched to try out the process. Harry walked me through the basic setup to do it.
  12. Yes 2242 can be used to make a IP from an IN or OCN it is a printer light setup to meet the LAD AIMs Also it is the stock we got so it has to be made to work unless someone has a Tardis.
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