Sam Wells

I suspect you might very well end up flashing the IN if you're shooting on 100D. If you go this route, You're the beta tester for this. A test - flash / flashing ammount / don't flash would be a very good idea. I don't know what lab you're planning on using, but I imagine they would want to do such tests in fact. -Sam

Better to blow up TO the 35mm IN. (probably, this would be 5272 or 2272). Better quality, plus if you want to make any additional 35mm prints it's jjust a contact print - you don't have to blow it up again !! But you will likely need to zero cut your 16mm A & B rolls, then. -Sam

Well if we can magically reincarnate ECO can't we have it return faster than before, like some cool monster ? :D Truthully I've been in situations lately - SE Asia - where EI 16 daylight would've been more than fine with me.......... No, I wouldn't want to light for ECO -Sam

Best to test it (them) on the camera you will be using. If you have the lens - on the camera - checked on an autocollimator, you can see if rear focus, flange focal depth are correct and have that corrected if need be. (If that's off, your lens will not perform as it should regardless of how good it is). You can tell some things from the collimator, but a lens test projector will give you a better picture so to speak of how the lens is performing. But really what I'd be inclined to do is simply shoot thekinds of things you intend to shoot with the lens, make a daily print project and look at it. You want to see how it performs at its maximum aperature especially, if a zoom how it performs throughout its zoom range. If you like to shoot into light sources, for instance, do that, see how it flares etc. (I'd try to induce flare, see what you can get away with). You can shoot from a shadoy room out a window to a bright sky, see if this causes veiling in shadows or do they remain black. And so on. -Sm

I hope you're not asking me, I don't have the slightest idea. -Sam ( The Spirit of Dr. Moreau has a better ring to it)

I've seen ECO blown up to 5272 IN & printed on Vision stock, it looks very good. -Sam (whose prints on 7387 still look brand new, color wise)

One of the best ways I've seen to get a kind of "virtual filmstock" look in Telecine is the First Art Primal box, it's like a hardware plugin for Davinci or Pogle. I took some 7274 negative & with the help of the colorist we were able to invent some imaginary reversal film stocks.... I think Kodachrome, with it's very specific properties would be tricky, but if you had a lot of time (and money :( to play with who knows ? The Telecine of Dr. Moreau ? :D -Sam

In Scott Saunders' fairly recent Indie feature "The Technical Writer" David Leitner (DP) and I ("CLT") lit some scenes pretty much with candles as key light(s) or major source of motivated flickering fill. This was IMX format, MSW900P progressive PAL camera with digiprimes. -Sam

RAN is my favourite film by Kurosawa. It's the ultimate refinement of his style. If we're going to talk about other classic Japanese directors, in reletion to Kurosawa, you've got to look at Kenji Mizoguchi's films --- UGETSU, SHIN HEIKE MONOGATARI, SANSHO DAYU... -Sam

Given that the new Tri-X supposedly has a bit less contrast (I haven't shot it) I'd try simply pushing it one stop, you might get something as good or better than the old 4X. Or even risk underexposing ~ a stop, process at say Bono who at least used to give Tri-X a kind of push anyway -- see if this new 7266 will give you what 4X would have given you in the shadows. -Sam

When Jackson Pollock was finished with something he painted, he would sometimes ask Lee Krasner "Is that a painting" Altho he probably leaned a little more toward the abstract side than you.... Don't worry David, your work looks like real movies !! I've used the Black Promist to "de-edgify" DV a bit, but only light grades like 1/4, don't want to throw away essential sharpness with those small CCD's etc.... (overdiffused video always has that Hallmark Greeting Card or "Honeymoon Suite in the Poconos commercial" look to it... -Sam

S8 cameras with built in zoom lenses will likely have the stops as F stops which will not take into account the light losses from the reflex viewing systems especially - and the small loss at wide aperatures in the lens optics - but the reflex systems can steal up to a stop worth of light (why you get those bright finder images) -Sam

I've used 25mm 1.4 "non-RX" with rear focus set for Reflex prism on a Rex. Not as good as the later 26mm RX, but OK. Undercorrected for spherical aberration induced by the prism I suspect. But it worked. I don't know if this f 1.5 you have is similar or not. But, it must be set up for this. I don't know anything about that Elgeet. Probably not. -Sam

That list leaves out the Switar 10mm 1.6 RX & 26mm 1.1 RX, two of the best lenses for Bolex ! -Sam

This is hardly my area of expertise but -- I'm puzzled by "Super TV lens" I mean either a lens will cover Super TV of it won't. Anyway, why not contact Fries Engineering directly (note spelling) , maybe they'll have some answers. At least they'd know what the aperature size is on the camera they assembled ! -Sam

Dog Star Man ! (and ~300 other Stan Brakhage films) Scorpio Rising Celine and Julie Go Boating India Song (I thought it was 35 when I saw it, the only time I can think of when a 16 > 35 blowup fooled me) Define "famous" :lol: -Sam

I've used things like that & made it work, but I hear the Beam candlepower to Footcandle exchange rate is not as good as it was this time last year :( You could use Mini-Flo or Micro-Flo -Sam

Disguise one of your crew as an Art Student, then they can be carrying foamcore, etc. :D -Sam (Come to think of it, if it's a low budget indie, one of your crew probably IS an Art student !)

There's nothing wrong with working that way. I've done it with "Steenbeck" :) "Indies" don't neccesarily need to spend a fortune on ProTools either, you can have the same mobility. -Sam Wells

Says the exposure time goes as short as 1/16 sec, with intervals of one sec. You may have to use some ND with existing rigs. (and / or use slow film, pull process etc) The issue of tying to a spot meter still raises issues of re-rating the stock, if you should not want what the meter is aimed at exposed at mid grey, and so on.. -Sam

http://www.norrisfilmproducts.com I'm not sure they're gonna send you schematics, though :o -Sam

Really ? How much inaccuracy did you find in exposure time ? In both normal and seconds mode, what, ? I'm curious. (the other things I'm not concerned about). There's the Norris LPC 90, a bit up the price scale...... -Sam

And on Ektachrome stocks, the direct predecessors of the current VNF - better buy that raw stock pretty SOON ! -Sam

hmm, a C-mount Switar 10mm will go into the adaptor for Bolex' own bayo mount which is not too different from PL in this respect. Also the10mm RX has rfd for the prism, so despite short flange depth it may be workable. -Sam

David, have you ever seen the shot-on-5247-and Chem Toned "The Missouri Breaks" ? Now that was a blue / yellow film. -Sam