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Patrick Cooper

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  1. Nice work. That's certainly an improvement. I do have Adobe Photoshop but I don't have Premier or After Effects (no experience with those programs.) I tried with Shotcut but didn't have any success there (I admit it was my first time trying colour grading and didn't really know what I was doing.)
  2. Recently, I had some super 8 Vision 3 50D super 8 film transferred. I was informed that some colour grading is performed on negative transfers by this business (and that has certainly been the case in the past with my previous negative films that were transferred there.) During shooting, when I was finishing off the film, my Canon 1014E's internal light meter became defective and I was forced to use my Panasonic digital M4/3 camera to take light readings. Though I have not done this before (using a digi cam to meter for super 8 ) so I erred on the side of overexposure to play it safe. To compensate for the light loss to the Canon's beamsplitter, I subtracted half a stop which was probably too much. At a rough guess, the footage in this portion of the film may be overexposed by at least a stop and a half. Actually more likely over two stops of overexposure. Though I was really surprised when I saw the transfer. These particular segments were really washed out. A huge loss of detail and colour information. It was like looking at reversal film that had been overexposed by a significant amount. Surely they could do better than this! I saw no attempts at correction. By the way, a number of years ago, I was photographing some people under artificial lighting at night on 35mm colour negative film with an SLR camera. With the first print from the lab, the subjects were blown out to complete white. Absolutely no detail at all. I managed to get them to do another print where all the colour and detail were restored in the subjects. So considering that, I was under the impression that this super 8 footage could be salvageable. I actually tried to colour grade it myself (my very first time trying this.) I don't have Davinci Resolve as I don't have a powerful enough computer to run it. I had to use the rather crude colour grading tools in Shotcut but I could not get anything usable. I'm guessing that a skilled colourist with lots of experience may be able to salvage it. There’s also some other shots elsewhere on the film with less overexposure (a bit over half a stop.) Among that footage are some white subjects illuminated by late afternoon sunlight that are pretty much blown out. I was hoping for better results than this. Ive contacted the business and I'm waiting for a reply.
  3. It will pass over sooner rather than later if enough people do 'bunker down' / isolate.
  4. Ah yes I remember watching "Edge Of Darkness" back in the 80s with my Dad. Very well made and intriguing.
  5. A very good observation and nice analogy. An exception to this would be the Wonder Woman TV series. I could watch Lynda Carter doing her thing over and over again.
  6. Todd, ah thankyou. I didn't realise there were ready-made solutions. That's going to save me from making a frame finder! Webster yes, I have heard of this rack over device before. Sounds very useful for close up work with a non reflex Bolex.
  7. Oh yea I wish there were more people out there like us! I used to shoot more cine film a number of years ago and I'm thinking about getting back into it with low budget equipment. I did have a K3 before that was very reliable until it died one day and wouldn't run anymore.
  8. 50mm for the time being. Though I do have a very nice Canon FD 50mm already! There was a 50mm C mount lens on eBay going for over $1000 though that was an f0.95. Though I came across another 50mm with a more modest maximum aperture selling for around $800. Not what I'd call inexpensive. Actually, a 150mm would be nice to have too at some point. I guess it would make more sense to use a cine lens for 150mm focal length (rather than an SLR lens) as generally, one would use that kind of focal length for far away / distant subjects where infinity focus may be needed.
  9. Some time after this is all over, I think it's inevitable that someone will make a movie about this pandemic and the global hardships it has caused.
  10. I note that some of the non reflex Bolexes have an Octameter which provides viewing fields for 16mm, 25mm, 35mm, 50mm, 63mm, 75mm, 100mm and 150mm lenses. Though what if say you mounted a 10mm lens? How could you compose accurately with such a short focal length lens? I suppose you could make some kind of external frame finder. Hope there might be resources somewhere with suggestions on how large to make the frame to match the field of view and dealing with parallax. Shining light through the gate with the wide angle lens attached might give some kind of guide. I'm open to ideas and suggestions. Many, many years ago, my father made an underwater housing for a Yashica camera which he used successfully while scuba diving on the Great Barrier Reef. This camera was not an SLR. It may have been a rangefinder perhaps. He made a frame finder for the housing which appeared to work quite well - judging by the underwater slides that were exposed with that camera. Overall, the compositions were pretty good so he must have been doing something right. I wish I could ask him how he worked out the dimensions and placement of the frame finder but he's not around anymore.
  11. Leanne thankyou. I had forgotten about Bolexcollector.com. I used to browse through that site years ago.
  12. Sounds like an ND filter could come in handy too - forcing you to shoot at larger apertures.
  13. I'm wondering which non reflex models of the Bolex H16 can accept single perf film without modification? Also, are there any identifying features that these particular models have to make them easier to recognise? I'm finding that so many of the Bolexes look the same to me. Additionally, could anyone provide some more information about the critical focusing screen and the critical gate focuser. I'm guessing that only some models would have these features.
  14. Ive looked at more C mount lenses on eBay. Some of the prices are quite reasonable. However, I finding that the longer focal lengths are insanely expensive. If I bought a set of lenses, I'd be paying just about as much for a Bolex H16 with reflex viewfinder. I think I'm tempted more and more to get a non reflex Bolex or another 16mm C mount camera and use my SLR lenses with an adapter. Sure I may not be able to focus on infinity but a lot of the subject matter I plan on filming won't be all that far away.
  15. Webster, that's an awesome looking Bell and Howell camera. That one looks like it's had a pretty rough life too. I like the camo artwork! I'm sure you could have a lot of fun running this thing at 128fps. Yea wildlife on the run would look amazing at that frame rate. I once saw some film footage on The Leyland Brothers (old Australian TV series) of a kangaroo hopping along parallel to the camera in the outback. It was probably shot at about 64fps or 70fps. It looked really dreamy.
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