Tebbe Schoeningh

quick guide is ok. thanks a lot!

Hi! I need the manual for the 535b. Has anybody a pdf or something comparable to share? Thanks! Tebbe

Thanks David, I really can´t find any detailled information about the tech specs of this movie. What is it that makes you remind the C-Series?

nobody?

no, it shoots to mini-dv tape.

It´s called "Garage Olimpo" by Marco Bechis. Argentinian film about a prisoner during the military government in the 70´s who starts to have a love-hate relationship with er torturer.

I can pm you the email adress of the DP who shot that feature. Write him and and ask him what he did to the neg and how he lit the scene you´re using as reference.

we call them "dinkies" ;)

Hi, is there anybody who´s got some technical specs about this movie? I´m especially interested in the lenses they used. Beautiful bokeh! ;)

thanks! we dont get to see too many mole-richardson here...

i´ve been asking myself what that is... they mention it in aascaricle about "the assasination of jesse james" and i dont know how it looks like.

David, how did the RMS Granularity rating work? I think it would be interesting to have fixed, technical parameters to measure the amount of grain, are there any up-to-date methods?

Andrew: if you really want to spend money on lenses, consider Ilumina too. They are nice, in terms of definition sometimes even better than some Zeiss. Depends on the condition of your schools set of primes too. Personally I like the Cooke S4. The "fall of " of depth of field is not as hard as with other lenses. E6 is not the same as cross process. E6 is the process for color reversal film in still-photography, "Cross process" means, that you would develop your reversal stock as negative (C-41 in still photography). The result is a high-contrast, grainy image with shifts in color reproduction that depends on your stock and the lab. Anyway, the names of processes in motion-picture films vary from those in still-photography: The normal negative process is called "ECN-2" and consists in different chemicals and a first step during the processing that removes the anti-halo back of the film. Thogh the color reversal process for Ektachrome 100D 5285/7285 is the "normal" E6, Kodak recmmends to process it in motion-film labs too.

weird, it would be nice to know more about that issue! has somebody got the granularity rating of kodak stocks? and what does the rating-number exactly mean? how and with which parameters would they quantify the amount of grain in a stock?

Thank you, Hunter!

It´s an 85 combined with ND 0.9. I´m not absolutely sure about the density of the 85 (CTO), but I know that Agfa Gevaert used to produce color conversion filters with the scale CTO1B, CTO2B etc.

Hey, I´m editing my reel ad I´ve got a couple shots which are really noisy because the projects were shot on S16 and only transfered to Beta SP. If it was grainy I´d be happy, but it´s just crappy video-noise and at least I´d like to reduce it. Could anybody recommend a software for it? Something like "Noise Ninja" for Photoshop? Thanks! Tebbe

P+S Technik and Panther (The dolly manufacturer) in Munich sell used equipment. You can be sure that the equipment has received an intense service and will be in perfect working conditions.

Stephen is right, probably the 12-120 os a former 10-100 with an Optex conversion. Indeed, the lens is sharp and yes, breathing is an issue too. My personal experience is, that there is some loss of contrast if working wide open. Anybody agrees with that?

hi glynn, there are some nice shots in the reel but in my opinion you should include some other work of yours. it looks as if everything was taken from the same movie, i think reels have to show some variety of different formats and products to show producers and/or directors that you can deal with different situations and jobs. cheers t.

Geovanne, Karl is right. It´s unnecessary to use a cooler to bring the cans to a lab. Unless you live in a very hot place. If that´s the case, I would recommend to take the cans out of the fridge and put them into te cooler to let them "heat up" slowly. Worse than a couple of hours at higher temperatures is the inmediate change of temperature. If you´re going to shoot in low light conditions its even more important that you take the raw-stock to the lab! 16mm can get really grainy, even more if your stock isn´t in perfect condition and if you´re underexposing it. good luck!

si señor, vivo en buenos aires! de hecho nos "conocimos" un dia cuando pasamos por tu casa a buscar la red para una producción de "nomsk"... saludos!

bring it to the lab, ask them to make an sensitometric test (they´ll cut a couple of frames of your roll) and they would tell you the condition of your stock. yo might have to overexpose a little bit to reduce grain and get some contrast.

good job! and nice postpro!

longends, shortends and recans could be a good option, just make sure you get them to the lab before you start shooting. i've ad some problems with recans, loading the mag i noticed a lot of dust and hairs inside and production had to go for fresh stock. also make sure that film was properlz stored, at the lab they could tell you in which condition the negative is and if you might have to overexpose...