Geoff Howell

There's a thread over on DVXuser saying $8000 for the 35mm version, not sure where they're getting their figures from though.

he's not a happy bunny :blink:

You'll need an 80A filter. Also, you can notch hack the cartage to expose for 250asa and have the lab push 1 and 1/3rd stops when processing.

here's an interesting article, at least 3 of the productions listed were being processed and telecined at Ilab. If s16 is deemed unsuitable for HD transmission than I guess any move to digital may be technical and not purely financial.

This is a bit of a shock, granted I haven't had anything to do with them in a good 18 months or so but when I was there they always seemed pretty busy. From what I understand the bulk of their business was the overnight processing and TK of rushes for TV drama (mostly BBC stuff) with the telecine suites leased out to third parties during the day. As well as fairly well know big budget shows they were also doing lots of smaller productions that I had no idea were being shot on film! I guess(and this is purely speculation)the closure could be partly down to the BBC having to slash it's spending and many of the smaller productions moving to digital :(

mounted on your back?!??!!!??! :blink: Please forgive my total ignorance on this subject but isn't there supposed to be another peace of equipment in that very same spot on your back........ like a parachute or some such thing?

You probably stand to learn more from 16mm in that super8 started life as an ammeter format with the vast majority of the cameras produced being fully automatic in operation. I've lent cameras to friends in the past and with only 5 minutes instruction they're able to go off and produce perfectly legible images!

I've heard good things about these guys Despite the name of their operation they apparently process 16mm reversal, why not give them a call!

looks cool whatever it is! The registration seems pretty good, if the pressure plate was even a little bit out of whack wouldn't the film be jumping around? Is it at all possible that this happened in the telecine?

In all fairness you just have to look at the specks: The Lomo-Kino shoots fully Raw footage on a 35mm 'sensor' and will probably do slow motion if you crank it really really really fast :D

WOW! I guess the D-SLR's live to fight another day; in that the EOS C300 was being widely tipped as an replacement for the 5D2, but Canon have completely missed the point that the 5D,7D ect ect sold like hotcakes because they were very very cheap! the new Scarlet looks amazing(and priced incredibly well) but again the D-SLR crowd are likely to look at it as being rental camera rather than a replacement for a $1000 Canon.

It really isn't a big job in after effects and I believe there's also a Photoshop script for turning film strips in to separate frames!

you can buy a desktop 35mm film scanner for less than the price of a 100foot telecine!!! These work with both neg and slide film!

That looks pretty ninja!!!!! I wonder if you crank it super fast you can get up to more than 5fps

With regards to 'my movie transfer', I'm just thinking out loud here, but assuming that you are going to be shooting weddings on a semi regular basis; what if you were to pay for one of their over priced hard-drives and then the next time you require their services return that very same drive to them to use for the transfer. The rationale being that they surly can't charge you $100 to prep a drive that they have already prepped on your previous transfer. after a couple of jobs you would have more than covered the initial cost of the drive and it's also good for 'my movie transfer' as it will encourage return costumers. You could also look at pushing the 100D to 200asa (or possibly even higher!) and find somewhere with a cheap projector/hd camera set-up. As far as weddings are concerned I suspect what what the client is ultimately after is a slightly grungy retro home movie look (the opening credits from The Wonder Years!) which a slightly more DIY telecine will help enhance. (although I fully admit I know absolutely nothing about filming weddings!)

there's lots about digi to film transfershere by shooting digital video and transferring it to film you won't actually be saving any money in that you'll still be paying for all the same materials: film stock, processing and transfer back to tape. If you take in to account that you can buy a pretty decent camera for under £50 I'd bet that it's actually some what cheaper to just shoot your movie straight on to film and forget the digital transfer.

Are they based in London????? Anyone here have any experience with them? How exactly are they processing film? from the gist of the text on the website it sounds like they've built some kind of machine themselves. Anyhoo,If someone where to start processing color reversal film in town I'd be so very very happy!

I was never a fan of his products (computers are tools nothing more); but in this age of 'focus groups' and 'design by comity' anyone who was able to be so single minded and force the agenda in any kind of large industry must be respected.

with regards to the K3, It's a great camera providing you get one of the good ones, in that it seems all K3's are not created equal. I've had two of them; the first was brought from ebay in 'as new' condition from a dealer in the Ukraine, it was borderline unusable tearing perfs like a hot knife through butter. The seconded one I had on extended loan from a friend who hadn't used it in years; this ran more or less perfectly with little or no hiccups. I think if I were to buy another of these cameras I'd take time finding one that had been successfully used by it's previous owner rather than buying from a faceless dealer who has hundreds of these things in storage some place.

It's supposed to take around 8.3feet/ 30 seconds at 18fps. However, I found it really difficult to fit the full amount in and the mechanism would jam quite often due to the film not being able to move freely inside the magazine. I made a second version with only 4feet which seems to run a lot more smoothly.

I would imagine pushing the 500T would be crazy grainy, I was advised against pushing it in 16mm so it stands to reason that it would be twice as bad with super8. My only direct experience of pushing super8 was with some underexposed fuji rt200 pushed to 400asa. It seemed to work very well in that I got perfectly legible images from a very very low light setting, but, having said that, it's kind of hard to judge exactly how much of a difference it made as there was no un-pushed footage to compare it to.

Is Velvia 50 still available in 16mm? http://www.youtube.com/watch?v=tMlmwhkmu90&feature=related

I got them from ebay! I'm not sure how old they are; but I remember seeing them in stores when I was a kid in the late 80's/early 90's.

If anyone's still interested I think I've pretty much got this licked: It's not perfect by any means, It was shot frame by frame from a LED monitor and there's quite a pronounced flicker, when I was last doing this (about 5 years ago with black and white reversal film) I was able to get flicker free results using a laptops LCD screen. The next thing to try will be a CRT running at 85hz. Anyhoo, I shot the same 30 seconds of footage six times at different exposures and with a variety of different filters, I also shot a few frames of colour charts before each take; I can post these if anyone is interested. P.S. Please excuse the crappy animation! I made this for a friends birthday and only had a couple of days to put it all together!

Despite the fact that this looks like vapourware, I suppose it's supposed to be like a Ikonoskop DII but with a smaller sensor.