John Rizzo
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Posts posted by John Rizzo
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Hi Charles
we can print to 16 or super 16 from a digital file via our Laser graphics Producer III Recorder
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The Printing_Nikkors are amazingly sharp much better than the Kodak Ekator's
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I have heard that Deluxe will be closing the UK,Spain and Madrid Labs in the next 90 days.
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Hi David
We have a Lasergraphics "Director" here at our facility Metropolis Post in NYC.We would be happy to run some scanning tests for
you.
Jack Rizzo
| President |
Metropolis Post
212 563 9388
201.681.7996
www.metpostny.com
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I also saw this demo film and was not at all impressed, the higher frame rate looked better, but the look was much to live, it didn't look like a movie
Christie have a demo here showing stereoscopic 3D material at both the conventional 24fps, and at higher frame rates of 48 and 60. The whole thing is introduced by James Cameron, who insists the whole 24Hz update rate of conventional cinema is a nearly century-old throwback to the early 20th century (which is certainly true), and that increasing that frame rate will make 3D easier to watch, which is by no means certain.
I should probably start with the disclosure that I've never been a huge fan of 3D for little reason more than that it always - always - makes me feel unwell. There's a tendency for 3D apologists to scoff at this position, implying that in each case there was something wrong with the acquisition or exhibition technology, the techniques employed, or, frankly, that there's just something wrong with me. There are certainly a number of ways in which stereoscopic projection does not accurately match the way we perceive real three-dimensional objects, and there's medical issues as well, such as the small proportion of people whose brains coordinate focus and convergence distance so well that a disparity between the two - which is inevitable in 3D film projection - will always be uncomfortable. I may be one of these people, but either way, it did seem intuitively true that a higher frame rate, which would reduce visible lack of temporal resolution (judder, flicker, chatter, etc) might make it easier to view the edges of moving objects, where stereoscopy is perhaps the most visible of all.
The demo shows that this intuitive truth certainly is true, at least in part. Cameron apparently doesn't believe in the idea that edge violations are a problem, and I suspect that this contributed somewhat to the fact that I ended up with a slight feeling of nausea anyway. But subjectively - and what other assessment is possible, when considering comfort - it is somewhat better. I still don't think it's the final answer. There was also no discussion of the reasoning behind using a much wider shutter angle on some of the higher frame rate material, which they did do - presumably this is just an issue of preventing the short exposure intrinsic to high frame rates from having other, undesirable effects on motion rendering.
As an aside, it's worth mentioning that the demo also included downconversions of the 48fps and 60fps material to 24fps, which is critical in a world where we will still need to produce 24fps versions - even film prints - of major productions for some time. This is somewhat easier with the 48fps version, where we simply need to drop every other frame and render in some additional motion blur using optical flow. They also showed a 60-to-24 conversion using optical flow to derive correctly-time frames. This looked absolutely fine on the particular material we saw, which had been particularly chosen and very much directed to produce lots of fast motion to elucidate chatter and flicker, and would also therefore be a trying subject for any optical flow implementation. It's almost inevitable that it would fail on some subjects, even though it's a framerate decrease rather than increase, so I suspect that 48fps may be a good compromise for productions that do want to shoot at something faster than 24, as it avoids this issue entirely. I wouldn't say there was absolutely no visible difference between 48 and 60, but I suspect the common number may end up being 48 just for this reason.
The other issue covered was overcranking for slow motion. While many modern cameras (such as Alexa, which shoots up to 120fps) would still allow overcranking even on a 48 or 60fps production, simple step printing is a lot more acceptable when the output frame rate is high to begin with - 2:1 step printing is practically invisible, because it simply reduces the effective update rate on a 48fps show back to the 24fps we've been used to for a century.
I still don't think 3D is fixed, I don't think this solves all the problems, and I am extremely used to having people tell me all the problems are fixed. I think this does make a real difference, though - not a huge difference, but a difference. With most D-cinema installations only a software update away from being able to display high-frame-rate material, I wouldn't say it's impossible that it'll catch on - but at the end of the day, we did all clamour for 24fps cameras for a reason and I suspect it may not be mainstream for a longish while, if ever.
P
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Double Perf 16mm stock was common back in the 70's,through the mid 90's when 16mm work prints were required and editing was done on flat bed (kem,steenbeck,and movieola) machines
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Pretty sad joke by Billy Crystal at last nights Oscars when he said 'Welcome to the Chapter 11 Theater', then later on in the show he made another comment 'Back when they actually made movies on film'
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Hi Bill
Can you can you give us this gentleman's contact info?
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I remember Kodak having 3 different b/w stocks available both in negative and reversal,
Plus X, Tri X and what was the 3rd? also the ASA of each would be appreciated.
Thanks
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who said film is dead?
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Hi
Does anyone know if there is a lab capable of processing 16mm in a C41 bath?, We have a client with 20 rolls of Kodak Infrared Film. He had some snip test clips processed in a dip and dunk C41 set up and the image came out fine, when you process the film in a ECN 2 bath the base comes out with a cyan tint which effects the overall image. This client has a lot of experience in shooting infrared stills and now would like to try it in 16mm. any thought would be greatly appreciated.
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Does anyone out here know the difference from C41 Bath and ECN2 Bath..
Can film taht si supposed to go in C41 be processed in ECN2?
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& some MGM B/W C'Scope films from '57/58 were in Super35 & blown up with a Panavision printer lens. 'Jailhouse Rock' was the first of these.
I thought I read some were that the first movie to be shot in Super 35mm then blown up to Anamorphic was 'Silverado'
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Back in the late 60s and through the 1970's News Cameramen used 16mm cameras that recorded 16mm picture and magnetic sound at the same time, they mostly shot Kodak VNF Film. Does anyone know what Brand were these camera's are there any out there for rent?
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Hi Matt
At my company Metropolis Post we can transfer the A,B C roll to HD edit them together and you can do a supervised color grading session.This would be done on a pin registered scanner.and will give you the best quality.If you like we can also do it off your 35mm print.(it would be less expensive.) Do you remember were you did the Direct Blow Up Print, it could of very well been my old company Metropolis Film Lab, from the mid 1990's through 2008 my main business was doing direct optical blow ups right from 16 or super 16mm a/b rolls.As far as a blow up was concerned this work flow yielded the highest blow up possible. You can call us at 212 563 9388.
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Hi All
Saw this film last night a friend of mine is insisting to me it was shot in HD can anyone confirm if it was Film Or Digitally Shot?
Thank You
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Does anyone know the name of the Facility In Calif that still photoguards 35mm Release Prints.
Thanks
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An argument may be on the horizon, but not by me. Ive read Tim's previous statements about ultra 16mm and I would never doubt his technical expertise.
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Freddy will be Back!
Gentleman I spoke to A-1 Freddy this week and he told me that he will be working at Deluxe Labs new state of the art facility in NYC. The Lab should be ready to process film in 30 days or so and the Post production facility should be full uo in 60 days or so.
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Hi JD
We do this at Metropolis Film Lab all the time, feel free to give a call 212 563 9388.
Best
John Rizzo
Help with setting up a Model C printer
in Film Stocks & Processing
Posted
Hi Richard
the lite vanes are powered by the tape reader
The first thing needed to be know is witch tape reader you have? The first of the series known as The slow speed reader which was also the smallest in size, after that there was the High Speed reader which was much larger, the next version was able to do do the Lite vane changes and fcc reading (frame count cueing) from a single box through the years they were modified and different versions came out.
the best thing to do is send a picture of the tape reader if you do I can offer some other advice.