Gautam Valluri

Thank you David, I was hoping you would respond. I did not consider the lighting aspect and how attitudes have changed towards the format. It's very interesting to know!

Hello Cinematographers, Ignoring the sound part, are there any advantages to going the full photochemical route with a Super16 project and finishing it on 35mm as opposed to a DI and DCP? Does anyone else think that digitally colour graded films originating on Super16 look "muddy", in low-light, night shots and under-lit faces. Like Carol, Black Swan and mother! compared to Super16 > 35 optical blowups that are photochemically timed like The Squid and the Whale, Beeswax and Leaving Las Vegas? I don't know how else to describe it than "muddy". I'm attaching a still from mother! as an example. I'd appreciate any thoughts. Best,

Well Tyler, my reasoning was that since the film never had a wide release, the negatives are in a very good condition (except for a slight magenta-shift due to age). It hardly requires any real restoration work and I imagined striking a 5/70mm projection print would bring out the originally-intended image to screen at long last. Also, I remember reading a thread here criticising Ken Branagh's decision to shoot "Murder on the Orient Express" on 65mm and then have it go through a 4K DI before printing to 5/70mm release. Does a laser out make provide a better image? And there's the great example of Jerome Deschamps restoration of Jacques Tati's Playtime (1967) done completely on 70mm.

Thank you David and Tyler. I managed to find YCM's phone number on the Kodak Lab Directory, will certainly contact them. I hope Robert Harris chimes in, I found a brief account of his work on Spartacus over on in70mm.com, it's fascinating.

Hello all, I'm currently working on a film restoration project for a French film archive. We have the Super Technirama negatives to a french film made in Brazil in the 1960s, that we're considering to blow up to a 70mm release print. To be precise, the film was shot on 8-perf/35mm horizontal VistaVision style with a 1.5x anamorphic squeeze. This was intended to be blown up to 5-perf/70mm release prints. This is the film: https://www.imdb.com/title/tt0353979/ We're not sure if the producer ever managed to make any 70mm release prints. We know that the film was shown originally in Brazil but that may be 35mm prints, we don't have any surviving copies of that. He had originally intended to release it on 70mm in France but he ran out of finances before he could. He had managed to get a visa d'exploitation in France though. I had approahced FotoKem in Los Angeles and they said they do not have the possibility to do a un-squeeze on the 8/35mm negative to print to a 5/65mm inter-negative. They've suggested a 4K digital interneg to 70mm filmout but I really don't see a point in that. Anybody here knows any labs and/or technicians, restoration experts who could do this? Basically we need to do a 1.5x un-squeeze from a 8/35mm to a 5/65mm. I feel like this is a longshot, as the archive will probably eventually just go with a 4K restoration DCP but if I can find a way to achieve a 70mm filmout and a price quote to present our financers, this could happen. Also, can anyone confirm if this is the first French film shot for an intended 70mm release? Jacques Tati's Playtime (1967) is the only french 70mm film I know and this film predates it by a good three years. Thanks in advance for responses! GV

Hi Guys, I'm planning to do a time-lapse on a spring wound Bolex H16. I will be shooting Kodak 500T 7219, around twilight on a busy street in London with lots of street lights, neon sigs etc. I will be using only a tripod and will not be able to use any additional lights. I do not have an interval meter so I will have to do the time-lapse manually using the single-frame option. I plan to expose every 3-4 seconds. The lens will be the prime lens that comes with the Bolex (sorry, I need to check the focal length on this one and come back to you guys). My questions: 1. What can I do to get a decent exposure? 2. How do I get a proper light reading? 3. What else do I need to keep in mind regarding time-lapsing by hand, the 7219 stock and shooting on london streets in general? Any pointers will be much appreciated. G

Hi All, Anyone knows where I can borrow or rent a Bolex for a day in and around Paris? I'm looking for second week April and hopefully nothing too expensive. Appreciate any help I can get. Cheers!

I think this topic is in the wrong forum. Can a moderator please move this to either 'Russian Gear' forum or 'Filmstock and Processing' forum? (whichever is more relevant). Thanks, GV

Hello everyone, After my previous test footage had scratches, I had taken out the loop formers from my K3. Recently, I had shot a few segments of a film on the same K3 but there seems to be vertical scratch (I believe its called a scoreline?) running through the entire footage. Here's a link to the video on vimeo: https://vimeo.com/88347201 password: noidastories Any ideas on how this happened? I've been advised that I can have it fixed in DI in a 2K scan and I'm considering that option. But I'd also like to figure out what caused this and fix it in my camera. I'd appreciate your responses. GV

This is an amazing thread! Andrew Bujalski's first two films Funny Ha-ha (2002) and Mutual Appreciation (2005) were shot on R16. His third film Beeswax (2009) was shot on Super16. These films have amazing cinematography by DP Matthias Grunsky. He also shot Bujalski's latest film Computer Chess (2013) on 1980s video cameras and there is short sequence in the middle of the film that was shot on R16 (when a couple of the characters are high). Also, Richard Linklater's Slacker and Peter Jackson's Bad Taste were shot on R16.

Do you have loop formers on your K3? I took mine out because they scratched film while it was transporting through. Have a look at this page, it has a great video on how to take out the loop formers: http://www.k3camera.com/k3/krasnogorsk-3-disassembly.php Hope this helps!

Bumping this thread. David, were you able to process your footage in India? If not, where did you send the film to have it processed?

Richard, this is a wealth of information! Thank you so much!

Thanks so much Richard! I did have a look at LOMO and Morse tanks on eBay (they cost as much as my K3 camera!). I had spoken to Kodak, Fuji and some old local camera/ film dealers in New Delhi (where I live) and unfortunately my only option is to purchase the raw chemicals/ processing kit online. I've been ordering my filmstock with Kodak online and usually have it delivered to friends/ family in the US to carry it back for me (unfortunately through X-rays)- I am going to try home processing- have you ever heard of this experimental filmmaker called Nicolas REY? (not to be confused with the great auteur Nicolas RAY)- I love the look he achieves through hand processing old AGFA 16mm stock in his studio in Paris. Another one of my favourite exp filmmakers- Ben Rivers also home processes some of his films/ installation pieces. I have been experimenting with 35mm stills for a few years and just can't wait to have a go at moving images. Right now, I'm preparing to shoot Double-X (will get it processed at a lab as it is a narrative short) but my eyes are on the FOMA and ORWO right after- and of course, the Tri-X before it disappears. I'm in constant worry that all the great filmstocks are disappearing! You will no doubt hear from me when I get to these.

Thanks to both. I had a look at the home-processing kit, I'm itching to have a go at it! I'm guessing I have to buy a tank separately right?