Robert Houllahan

Check out some of Richard Kern's Super-8 porno... B&W baby. -Rob-

Sorry but the website is a little unclear about pricing, we are going to have our web girl change some of that. It is $0.14/ foot for 16mm and that drops to $0.12/foot over 1200' or if you do a daily, this includes video prep. We run 35mm B+W for $0.17 and 35mm Color for $0.12 / foot. which also includes prep for video. We also do not have a minimum for procesing only for print (200 feet) or video transfer ($75 for students/indies) so we think the pricing is on par with what you would get in LA and we also do deals for volume. -Rob-

Highly unlikely as the Spirit is a fixed imager and the construction of the gate makes modification difficult. The Millenium machine should be allot easier to modify a gate for. -Rob-

I am not sure what processors Alpha runs but have always heard good things about them, I think Deluxe and probably Fotokem run on Treise or TFS sprocket drive processors which will preclude trouble free U16 but make running 35mm at higher speeds very safe. We have both and a few people have been calling about U16 so I decided to work out a gate. -Rob-

I am assuming Alphacine... but you just need to handle U16 as you would handle S-16 i.e. wind it down after processing with a set of tight winds. Also you need to have a non sprocket drive film processor like an Allen which is all tires. We have both an Allen for 16mm/S8 ECN and a Treise for 16mm/35mm ECN that is the typical machine used by bigger labs. The Treise is sprocket drive which precludes running U-16 because they never thought about using the image area between the perfs. -Rob- Cinelab has a U16 gate in development at the machine shop now too.

Goldcrest does have one as does CO3. -Rob-

I think some shops are running Arriscan's at around $1K / hour go by the specs for frame rate to calculate cost per frame or foot, roll etc. i.e. at 2k maybe its 4fps and 6k its 0.7 fps. Check my numbers with Arri's website to verify fps. -Rob-

For Sale: Filmline 75ft./min. 35mm / 16mm ECP print Processor Shaft Drive new pumps and tires. Good machine for medium volume release printing and or dailies processing. In good shape running currently at Cinelab in Massachusetts pictures available upon request. We are installing a newer Treise ECN-2 machine and switching print to a more compact Allen Print processor at 50 ft./min. The Filmline is a very sturdy machine. We are asking $25k but are open to offers. -Rob-

Clearly you and I will never agree, even though you are completely wrong :lol: Film grain is not noise it's beauty and i know the difference between hdtv and ed. Furthermore 16mm is a superior origination medium for both 1080P Hd and 2k. -Rob-

Looks great, I disagree that it does not look "HD" as "HD" is not only dull over clean imagery it can also have texture and meet the resolution and color specs. Also it has to be pro-8 and the Millenium is one of the best telecine machines ever made. -Rob-

Ummm Yeah, right rape huh???? Ok -Rob-

We have run this from time to time for certain effect or for an extreme push in a couple of cases, grain tends to become golf-ball sized and Bill said that in general Hi-Con run in the print developer is about a 3.5-4.0 gamma so negative is most likely similar very contrasty. Depending on how you run it I would rate the negative at between 500iso and 1000iso for DoubleX and between 320iso and 500iso for PlusX. Firm numbers aer hard to give on this process as you really need to run a few tests to find a development setup to process to and a speed to rate the film for the shooting situation. That's why it's experimental film making. -Rob-

Print developer works well if you want to run a 5-6 stop push and make the film much more contrasty, of course you could cut development times but it would still end up with more contrast then with regular development.Or you could underexpose and develop up. In general the recommended development times will add 5 stops to the negative. -Rob-

I recently came across a short end (maybe 650') of 5247 which was put on the shelf in 1987 I took 300' in eyemo spools on vacation to Canada with me shot it as 40iso ran it when I got back looked surprisingly good I'll have to post a few shots. I'm saving the rest for a future project, maybe a mv or something. -Rob-

I probably should not have mentioned single perf and a 8K fps camera in the same post! There are still plenty of double perf stocks available and they are so good that a center extraction for HD , etc is a option. -Rob-

I also have never seen this camera, I own two brand new HycamII's (circa 2005) which are currently used widely in high speed scientific photography. A rotary prism camera will have a minimum F-Stop due to the properties of the optical system, I know that with my HyCam's the minimum stop is a F4 and if you open up the lens more than that, i.e. a 2.8 or a 2 you will get allot of flaring from the prism. Love to see some more pics when you get it, maybe it would be more adaptable to single perf than the hycam is, the rotary mechanism with sprockets on the hycam is titanium, very hard to machine. -Rob-

It is not available, only xx83 is... -Rob-

That's a pretty interesting camera, do you know if it is a rotary prism system? or a open gate? do you have a photo of the lens mount and shutter? If it is a rotary prism camera the minimum F-stop will be about a f4 because of the optical system. I would be interested to know more about the camera. -Rob-

I have worked with a jet engine manufacturer in their high speed testing for faa certification, frame rates in 16mm range from 8,000fps to 13,000fps (Vis Inst HycamII's brand new-ish ) double-perf estar base 500t (98, 18 and 19 stocks) lights were 1K lowell omni lights just 450 of them !! no flicker problems at any frame rate. I recently did a 380fps shot on plus-x reversal with two mole 2K's using a locam shot at a 5.6 and under rated the stock to 140iso, plenty of room to go faster. Mole or Lowell 1K's or 2K's are good and a Photosonics action master will get you Super-16 at up to 360fps or std 16 at 500fps a Lo-Cam is a good option too, available cheap or free at rental or ebay and takes C-Mount lenses. A Hycam well setup will go as fast as can be reasonably done and with 500T vision 3 makes a really great picture even though it is a rotary prism camera. -Rob-

I think a set of allen or torx keys would probably do it, also not much to learn there. Also it is probably not the first or last camera to be put together by a small shop form off the shelf components, look for this to become more common like the Iknonoskop dII etc... -Rob-

I think it is available, I can check the catalog tomorrow when I get to Cinelab.. -Rob-

I have a Peleng 8mm in nikon mount and I have the zeiss 9.5 and the kinoptik 5.7 in B-mount the Peleng is a little wider than the 9.5 (I put the peleng on my ltr54 with a nikkor adapter) but it does not have anywhere near the speed of the zeiss.. but it is a really nice piece of glass and a 180 degree fov in 35mm, I use it allot on my Eyemo. -Rob-

Unfortunately the two Aaton Keylink keycode readers we have do not read 2-perf and I believe even the latest model of the keylink needs an update to read 2-perf. This leaves fewer options for negative matchback and generating conform lists then with a 4-perf or 3-perf job. We logged all of the keycode numbers and punched the first keycode frame for each camera roll then did a 23.98 transfer to disk, a Dvcam transfer probably would have worked as well. As far as negative matchback it is less than ideal as there is no way to place the keycode punch on a video "a" frame as you would with a keylink or evertz job. I am glad to hear that Mike was able to get his scans conformed with little problems. I do wonder why the width of the negative was not made 2046 or 1920 in stead of 1868? I would think you could set up the optics of the scanner to the width and then let the height be proportional to the scan width. -Rob-

My LTR54 has a set screw on the side of the core platter, so if your LTR7 is like that don't unscrew the two top screws to take it out or you will be looking around on the floor for a set of small springs. 100' daylight spools make it loud too... -Rob-

Just to add to this as we have just had our first request for U16 here at Cinelab... The film processor would not be a problem as almost all processors do not actually have rollers which touch the negative area of the film. Usually there are just tires which touch the base and the idea is to not have anything touch the emulsion in processing. The flip side of the equation is handling the film after processing which can be done as S-16 with tight winds. Telecine and cleaners need to be modified such that they do not have roller area which incurs into the U16 area between the perfs, this is not so easy and the Skid plate (Gate) for the 16mm gate needs to be modified to open the aperture for U16 and prevent scratching in the perf area. The other side of the film is all set as all labs have S16 ready equipment already. The Cineglyph is a machine based on the Rank MK3 chassis and then rebuilt into a HD machine from the ground up, it is a CRT telecine and follows the form factor of the Rank/Cintel telecine systems out there. There is no possibility of exchanging a Cintel gate for a Thompson Spirit one. Also if you have ever changed a Spirit out from 35mm to 16mm and taken a look at the gate it would be a very complex and expensive job to get a Spirit to see the U16 area, I doubt any facility would pay for it and accept the downtime on their 16mm spirit gate. Jeff's scanner might do it, now if he would deliver one.... -Rob-