Webster Colcord

@Patrick Cooper Yes, we screened the trailer reel I provided then had it scanned. I actually physically scratched a bunch of the black leader at the tail of the roll, about 20 feet of it, and that was comped in for some shots. The film damage is sort of a character in Planet Terror, it increases or decreases depending on the action. In a lot of the more outlandish makeup fx shots, there's a lot more of it.

35mm trailer reel with tail end scratches, scanned as reference for Planet Terror film damage (no audio) Breakdown of film damage using After Effects plugin "Misfire"

I just looked thru my archives, and I have a ton of stuff from Grindhouse... I'll try to find time to post some stuff to Vimeo and share the links here. Here's an example of the film damage wedges that our comp department would do - progressively adding more elements, with the original footage on the left side of frame.

I worked on the VFX at a company called The Orphanage in San Fran. It was shot digitally, as Robert Rodriguez was one of the first adopters of shooting all-digital. The film look and scratches were added in post. I provided a reel of 35mm from my collection, old exploitation trailers that had gone slightly red. That was scanned and I intentionally scratched about 20 feet of it and it was used in comp. We animated a bunch of elements for shots - missiles, the tow truck flip, helicopters, Quentin Tarantino's melting penis (yes you read that correctly). We also did a bit of work on Quentin Tarantino's companion film, Bullet Proof. I believe that was shot on 35mm. All we did was to replace the underside of the stunt car in the crash scene (to hide some FX rigging) and a few wire removal shots during the car chase.

Hi Joel, I'm thinking about saying good-bye to my JK 16mm printer head. Not sure what the model # it is. It's currently on a wooden base (I don't have the lathebed-style rails and was just using it as a single-frame projector for multi-pass VFX work.

Margaret, I put my 2B up on some cheap Chinese-made sticks and it holds up fine. Very light and portable. I would not leave it unattended because you're definitely in the danger zone on the amount of weight, but if you're standing next to it anyway and you need to get in and out of the location all on your own body, this works. My Cinema Products flat base makes everything easier. You just have to be sure to keep track of any loose gears when you install it, and make sure that the belt in the base is not worn out. - Webster

Boris, You got a nice package there. I'm a little jealous of your BNCR mount! Good Arri standard-mount lenses are a bit difficult to find and they're not cheap. I just picked up this old Pan Cinor 38-155 and got it cleaned up by Simon Wyss. Really looking forward to shooting with it. The flat base is a Cinema Products sync motor, which runs off a 16.8V battery belt.

Stefan, do you still have an Eyemo with the spyder turret for sale? - Webster

I wonder if the first photo below could be of the setup in question? Also, in watching the behind-the-scenes footage it seems like their camera gear is relatively spartan. They use this little crane/dolly combo for everything. Can anyone tell me please what kind of little crane this is?

Don, I have a motor/Filmo combo with the exact same issue. Something in that clutch/shaft area isn't working.

The legendary and humble Jaakko Kurhi happens to live about 45 minutes drive from me. I have taken him a couple of Bolex' for maintenance, and one of his old Animation Controllers for repair, but recently he told me that he is officially retired. He leaves his site up "for informational purposes" as he says. He let me take this photo of him in 2018 when I brought in a camera. At the time he was working on an optical printer using some of his remaining parts stock: Google photo link So sadly, that's one less bonafied Bolex expert available to the world.

Pam Smith is selling one from, I think, France on Facebook.

This is maybe a better example:

Oh shit. I didn't know something had to be done. Oops.

@Steve Dunn I may have been shooting my example with the 10mm non-preset version, I'm not sure. I have one of each. If so, according to the info above about the difference in the two versions of the lens, that might explain why I have more vignetting in my footage.