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aapo lettinen

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  1. this is not the traditional "Fix It In Post" approach, it is rather the "Save It In Post To Make It Somewhat Watchable" method ๐Ÿ˜„ The difference to the older days "heavy post grading" is that the end product does not necessarily have high contrast at all. Just like the Indiana Jones trailer, the contrast is not particularly high in the final product but one can definitely see that it has been heavily corrected from shot to shot for them to be balanced compared to each other. One can see it on the Babylon trailer too. one possible explanation would be that it is a trend to use heavily motivated "practical sources based" lighting nowadays which leads to higher variations in source footage and thus one needs lots of post grading to make it even somewhat balanced in the end product. If you compare to the late 90's /early 2000's movies they definitely look like "overlit" compared to anything shot after about 2009 or so. The big soft low angle side light of the 90's/early 2000's is gone and everything went more motivated, higher variance, somewhat underlit and yes, occasionally much lower contrast too. One could see this as the big shows drifting more and more towards low budget indie in terms of time and effort used for each shot and scene. As well it having become a norm to try to hide the fact that you have lit the scene and thus trying to make it look "too natural" and "less cinematic" in a way
  2. I think minimalistic lighting has been a trend for a while. This shows in the movies having a bit "rough" look because the contrast is manipulated a lot in post grading. I don't mean they necessarily leave the scenes unlit, but rather it being so much easier to light with modern fixtures and sensitive high performance cameras that it is "not necessary to finesse everything on set" and it definitely shows. They leave higher contrast variations to the raw materials and they are then later tried to be corrected to the same level in grading which leaves some unavoidable imperfections and characteristic contrast and dynamic range issues smoothed out by heavy grading. The end product is not necessarily super high contrast but the heavy post smoothing of the contrast definitely shows. So, one could call it underlit and overgraded I think? It helps to save the budget and fund the excessive vfx work most shows need so it is understandable. Adding more budget does not necessarily help, they would just use it for buying more and better VFX rather than fix the on-set lighting
  3. I usually try to remove glue residue from labels etc. using isopropanol as it is commonly used when cleaning various devices when they are manufactured so most paints tolerate it quite well. Of course not guaranteeing it would work on that specific glue residue and not taking any responsibility if it damages something, but it may be worth trying carefully on that residue spot I think if wanting the aesthetics of the item restored ๐Ÿ™‚ as if it works, it will likely take all the residue away and likely does nothing on the paint other than just making it even cleaner looking than before. I often like to wipe used film cameras and lenses with isopropanol before starting to use them because if the lens or camera is old the solvent is able to take decades worth of grease and dirt off and make them look like almost brand new
  4. as for the low resistance, I'm guessing the 3ohm reading was when power was completely off and battery removed? transistors and fets can short to "closed" position if overheated which might be something happening here. Just guessing because not being very familiar with the SR electronics but in cameras like this, whether with a brushed or brushless motor, the motor speed is controlled using one or more FETs or transistors in series with the motor winding(s). If the transistor/fet would short the power would go though the motor winding all the time which in brushed motor would lead the motor to run continously at full speed and with brushless leading to the motor overheating and burning. caps can of course short easily too and if a design has varistors they are common suspects too. That is one possible explanation but someone more familiar with SR electronics can guess better ๐Ÿ™‚
  5. normally one tries to leave a tiny piece of "guide rail" on the left side of the gate to support the film from the other side. This is not possible with all gates but milling that part completely off often results in localised scratching of the frame edge. Can't see clearly if there is anything left of the left side rail but I'm guessing it is pretty much gone
  6. To me it seems that in some weird way, digital cinematography , modern technology like drones and brushless gimbals, and led lighting techniques have managed to ruin the film industry for the most part. It sounds weird yes but somehow making too high performance technology which is too easy to use makes people stop caring about the end product anymore and to take shortcuts which make lots of practical sense but lead to the end product being lazily made and mediocre. Not in every production of course but it is insanely common nowadays to take these shortcuts because they make lots of practical sense and help save the budget and make the life of the crew easier (which leads it becoming the common norm very quickly). I make these 'easy and lazy decisions' too and often hate the end result. Get the job done with limited resources but the artform suffers I think and this same stuff plagues the whole industry nowadays, often making "real movies" indistinquishable from mid budget tv series. So the thing which will kill cinema will be the mediocrity. That is what we should fight against I think.
  7. Taking the last orders now when needing to order the last components for the manufacturing batch next week to get them in time. I will only assemble the amount of motors which are pre ordered so there will be no extra ones available later and it is likely to lose the opportunity to get one then. Let me know before December 1st if wanting to order a ACL motor from the first batch. We can discuss about the details by DM and I will showcase what the motor will be. You can contact me even if not being able to fully pay for the motor right now. If at least the 300usd deposit can be paid for to cover most of the material costs, it is possible for me to assemble your motor in the December batch and then wait with it until you have a possibility to get the rest of the purchase price paid ๐Ÿ™‚ Deposit is 300usd with the total motor price 1100usd + shipping costs.
  8. I think the "golden age" of modern filmmaking was in the end of 90's and the start of 2000's. After about 2010 it has been constant downfall with some rare exceptions and the Marvel flicks and Netflix stuff have accelerated it even more as there is not much "real movies" made anymore which are original content instead of being a part of some kind of series or being marketing material for other stuff
  9. I think there is one or two EBM motors on eBay at the moment if they are compatible with the OP's camera. My bolex is so old that it cannot be used with a motor so don't know about the compatibility stuff. As an update to my previous posts, I don't have time and resources to build any kind of motor modifications for the Bolex cameras. I don't have time for a project like that anymore but I lack the money too because it is spent on other projects and I would need to purchase a newer generation Bolex for a project like this which is way too expensive to happen (including the spare parts needed would go over 2k easily for me plus the possible cnc machining costs which would be at least a grand). It is impossible to make a crystal motor for a camera without having at least one camera of the same model available for at least half a year and I am not going to buy any new cameras in the next two years so the Bolex motor is not gonna happen. Jason, do you have any interest in modifying the older generation Bolex motors to crystal sync (those very basic motors which are easily available and affordable like under 100usd, for example the MC17 model and similar ones) ? There has been some interest towards these and if you have a suitable camera to test them with, then it should be possible to make a kickstarter or similar to fund the project. Should be handy for those people looking for a budget crystal 16mm camera package because there is very little original crystal capable motors available for Bolexes anymore
  10. got a batch of the first front panel version for the "Main" controller (aka "the external control box version"). No switches, screen protector glass or the finishing lacquer yet. The screen is of the same size than the final will be, the edge will just be masked to look nice and to hide the gap. Looks pretty promising by my opinion. The panel is made of aluminium and is very durable.
  11. Changed plans on the possible "Updated 2023 version" of the ACL controller. It is very likely that the "expensive version" would never get enough orders to make it financially possible to make (would need to collect from 10k to 15k to be able to start the project because of the amount of custom cnc machining needed which makes the starting costs high. and the individual controllers would cost from 1600 to 2000usd a piece) and thus I am sceptical if there will ever be any "better and updated more expensive version" of this controller, OR if there even will be another batch made of this first 16-speed version after the December2022 batch. I will likely have a simpler "built-in" version of the ACL controller available sometime later, maybe next year, which does not have any display at all and has a traditional 12-position rotary switch for selecting crystal speeds. This system can use the existing circuit boards I already have and is a little bit cheaper than the original "built-in" version. I think this style of version is what some users are expecting from an ACL motor (really simple, very fast to use, no extra features at all, no displays or menus to "complicate things") so it is possible that I will make something like that next year if having enough time and money available.
  12. yes sealed lead acid (gel, agm, etc) work perfectly with film cameras and they can usually supply so much current if needed that one does not need to worry about it in any shooting situation if the voltage is just right for the application. It is very easy to make a adapter cable to get 4-pin XLR on them so I would not worry if a battery does not have the xlr originally installed as it is easy to make xlr cable for it even at home and it costs only couple of bucks to do. Use a good quality xlr connector like Neutrik though, the Chinese cheap xlr's are not good and have play/fit very loosely which is frustrating in a power connector. The Neutrik or other good quality ones are precise and fit firmly without any play and are not exactly expensive for a good quality connector so it is a no brainer to get a good quality connector for this use. I would be wary with used batteries as it is pretty easy to permanently damage lead acid battery (and most other batteries too) by leaving it in storage for a long time with low charge so that the battery will be drained out completely sitting in the storage for months/years. That is relatively common with typically irregularly used camera batteries, people may have not shot footage with the camera in years and the used externally good looking battery may be completely unusable for having stored empty for so long (no one generally remembers to regularly load and refresh camera batteries if having a long break shooting their material and they just forget about it having so much other stuff to do) so I would get a completely new lead acid battery instead if in any way possible because, well, they are so cheap that it costs the same than a used one. The XLR cable can be arranged easily and should not determine the purchase decision by my opinion ๐Ÿ™‚
  13. I CHANGED THIS 1-SPEED CP16R CONTROLLER TO BE A SPECIAL ORDER PRODUCT because there hasn't been much interest towards it. This means that I will only assemble them per actual orders to save time and resources to do other projects. I have parts to make about 10 - 15 installation kits total and I pre-assembled some circuit boards to make them quicker to finish when needed. Finishing a kit takes from 2 to 3 weeks and I will usually wait to have at least two orders before starting to assemble them. So it can take from 1 to 2 months + shipping time to get a kit if you need one. I try to keep one pre-assembled kit in storage which I can ship relatively quickly but not guaranteed ๐Ÿ™‚
  14. It looks like there is a maximum of TWO acl motors still available which can be ordered. Price 1100usd + shipping per motor and shipping will be between 15th December and 20th December. Deposit of 300usd will be charged before 28th November so that I can secure enough motor drives in time to be able to deliver the finished crystal motors in mid December. Please note that only one batch will be made and the next product will be a different more expensive ACL controller made in November/December 2023 so one needs to wait up to a year if missing out this first version. Please let me know before 28th November if wanting to order this product. We can discuss by DM about the details and I can link the video of the prototype working.
  15. I am waiting for the final circuit boards for the "built-in" version to arrive. I already built a working prototype of the "built-in" system into a oversized aluminium box and it is tested with the camera and works. I let Heikki borrow it until I get his camera finished and he will probably do some testing with the prototype motor. The current software version is not finished yet so the menus can be a bit unresponsive at times but that does not affect crystal sync or framerate accuracy and will be corrected in the final software version. I have a about 1 hour long testing/tutorial video of the prototype but it is in Finnish and I probably don't have time to add subtitles any time soon. If someone wants to purchase the motor system and is unsure what it is about and how it works, I can dm the video to prove that it works and to show how the menus work and what features there is... should be easy to figure out from the video even without subtitles because the menus are in English. Let me know ASAP if wanting to order the "main version" of the ACL motor as I will only make a single batch of them and only couple of them are available. I will want to get at least some of my money back from the project before the WW3 starts so that I can buy food and survival gear ๐Ÿ˜‚
  16. I got some version of the circuit diagrams, they are the main thing I need especially if having them of the different versions of the camera. The first version of the original boards has everything done without the hybrid ic's so it might be possible to make a reproduction of them if enough of them is needed. Though don't know if they fit all the camera bodies or just the very early ones
  17. one of the first really bad examples of "dull and dim" look I have seen was a Walking Dead episode where they were in the sewers hiding. One could just barely see Carl's face in the darkness and there was some try to bring the silhouettes up from the darkness by dimly lighting the background... but in the shots of Michonne one could just see her eyes floating in the darkness and no face at all. I immediately called that lighting/shooting/grading style "racist" because it hides darker skin colours so completely that everything which is left is just eyes floating in the darkness ๐Ÿ˜ฎ
  18. I have never been a fan of the "muted and dull" night look.... most often it just looks like a bad grade which is trying to hide set design and lighting gear issues and does not communicate the "mood" of the scene the best way. It is the cinematography/grade equivalent of the trend of mixing dialogue lines so low that the audience can't hear what was said (and raises the same question that the dialogue was probably so bad that they wanted to hide it completely to save on costs ๐Ÿ˜„ ) a tiny bit of edge light to bring up the silhouette would often make these "dull" scenes lots more interesting and would actually enhance the "dim" look by adding more contrast by bringing a "relative highlight" to the shots. Contrast is much more important than actual light level anyway and the best way to sell a night scene has traditionally been to try to get the high-ish contrast ratio between highlights, very dark but still visible areas and almost inky blacks just right. I think the digital camera "ISO" level is mainly a matter of logistics and dynamic range and consistent noise level and often it is pretty independent of the desired "look" unless the noise levels are high or the high ISO affects the dynamic range or colour reproduction of the camera noticeably. I often shoot outdoor night scenes nowadays with pretty high iso on small sets, usually at 4000 but if there is a need to use portable led lights with big set the go-to iso is often 12800 which still works fine with the S5 + external recorder combo I currently use. The "real cinema cameras" often have less optimal low light performance which highly limits what one can do with them and then one naturally needs tons more lighting gear and genny power and crew to haul them around. That is expensive and only optimal if one really gets some actual benefit by using the less sensitive camera... in some indie shoots it can be a ego thing to use the "real cinema camera" which is not sensitive at all and then run into problems when not having enough light and crew to use it correcly.
  19. it is often possible to make simple microcontroller based speed regulator systems for various camera types ("simple speed regulating" meaning that it measures the fps by some means just like a rpm meter would do, then corrects the motor speed up or down when needed to keep the set 24fps speed). These are not very accurate and can generate some noise but one could get about +/- 2fps accuracy with them in the best case if tuned right which may be enough for the application. The motor speed is adjusted with a digital pwm signal and the operating voltage raised by couple of volts to get enough headroom for the speed corrections. this kind of simple system should be possible for an individual to do in about half a year if knowing some arduino programming and being persistent enough to do hundreds of tests with it. The main issue is how to open the camera and modify it mechanically without breaking the whole thing which is a serious concern with Super8 cameras which are often fragile and frankly speaking not meant to be opened for service at all. The old double8 cameras were relatively durable but the newer plastic super8 ones generally not and you should be able to purchase at least one spare camera body in case you break the first one in the process and can't repair it. Building the "simple speed regulating system" may be a OK hobby project (from 200 to 400 work hours I think depending on how difficult the camera is to modify mechanically) but it will cost a lot to get someone else to do it (I expect from 1.5k up) so one might need to either do it by oneself(if interested in programming and tinkering and spending a lot of time on tech and learning instead of shooting with the camera) or give up the idea. Another possibility is to make the camera real crystal sync but that is way out of the scope of a regular camera person's capability by my experience. If being very very persistent and using tons of time on it with the side goal of becoming a professional programmer some day, one MAY get it working OK in two or three years if working on it full time but it will not be as good as something made by a tech specialized in crystal sync systems and one needs to still spend thousands of work hours on it and it is a very expensive learning experience. If comparing to the "simple speed stabilizing system" I described earlier, the real crystal sync is at least 20 times harder to do even in the best case and it is much much cheaper to get someone else to do it for the camera if real crystal sync is seriously needed. Probably the camera body is not worth it because it will probably cost about 2k to 3k to make it real crystal sync by a technician or might be a little less than 2k per camera if more than one ordered (but still much cheaper than spending 10k or 15k and thousands of work hours to learn to do it by yourself which is just insane) . -------------- I would probably recommend getting another exactly similar camera body. Then choose which one is in worse condition and open that to see what is inside and if you can get it adjusted to 24fps right away without burning anything. battery voltage can usually be raised by 1V or 2V without burning stuff right away but it depends on lots of things so do it at your own risk and be prepared to destroy the "practice camera body" in the process if something goes wrong. If you get it working with the practice camera you can use the same technique to modify the actual camera you want to shoot with. This is how I work too: having a bad condition cheap practice camera to destroy and then another much better one which I want to shoot with in the end. These modifications and tests are always risky so I would always have at least two camera bodies on hand if trying any modifications by yourself, no matter how simple they are like adjusting a potentiometer or centrifugal switch tension etc.
  20. I am very busy this month so only making two or three installation kits for now which I am finishing in about a week. Let me know asap if wanting to order one as when they run out one needs to wait till the end of December if wanting more of them. I am assembling the circuit board of the internal footage counter add-on board at the moment. This accessory can be easily installed in the camera later if needed. It will be tested and finished in December but you can already let me know if interested in it. With small modification it could be used with the original CP16R electronics too if taking the tachometer signal to the counter directly from the tachometer sensor wire. The external 45-speed controller with variable speed knob and led display will be finished in December. I am investigating how to control Aaton LTR with it so it takes til the end of December before can ship them. You can already let me know if needing one. The same controller works with my CP16R 1-speed kit, my Eclair ACL 16-speed motor and most probably with the Aaton LTR too when getting it thoroughly tested.
  21. the thing with LTO is that you save lots of manual work on long term storage because it does not need to be checked and migrated as often as most other formats. So it is well worth the time and initial expense if you want to save the data for 5 or 10 years or more. setting up an LTO workstation surely takes some time and research but once it is setup, you only need to do some minor maintenance UNLESS YOU UPDATE SOFTWARE (which may lead to catastrophic chain reaction and you need to do everything again and possibly purchase some new hardware or restore the OS to previous version before getting it running again). So it works reliably as long as you can keep the system as is and reserve it only for LTO use. I think the worst you can do is to try to use the same computer for video editing or gaming AND lto use because the editing software and games need constant updates but the LTO setup does not want any updates ever and you will risk running into problems then. Additionally you can't do much anything else with the computer when it's reading or writing LTO so your beloved editing computer may be unavailable for a day or more if you are doing large backup with it. Not very ideal if you need it for actual work. Just get a separate computer for the LTO and you'll be fine
  22. The issue with LTO drives has traditionally been that you need to choose all the kit at the same time: The LTO drive itself, the interface card (traditionally SAS with couple of connector version options) , the possible conversion box to house the interface card if the computer does not have pci-e slots available or the system needs to be changed between computers, then the software you use for doing backups to the LTO (do you use ltfs which may not be the most reliable option for long term storage as backwards compatibility is not guaranteed if you update something, OR do you use a proprietary format which is intentionally kept the same all the time to ensure backwards compatibility but then you may need to buy new version of the software if you update the operating system. I used BRU PE for making LTO backups for the reason that it can be easily read long time in the future... but updating the operating system would have necessitated updating BRU version and purchasing new license so was not possible to update the OSX without paying like 700usd or so) . Additionally there is the operating system which may become incompatible with the drivers or the LTO backup software if you update it and you never know what pisses off the drivers or software so the best advice is "for the love of God, NEVER update anything in the middle of the project" as it may take a week to get it back up and running again if you mess it up badly. System drive backup clones are handy in case an update messes up the LTO stuff because you can then restore the whole system easily to the state which you know is working correctly. There may be compatibility issues between the LTO drive <> connector like SAS <> interface card like SAS to pcie <> the possible encosure if you need to convert the pcie to for example Thunderbolt3 <> the drivers running the LTO drive, the interface card and the possible enclosure <> the operating system <> the LTO backup software . The exact reason why people see it difficult is because there is so much variables which can go wrong and it is not immediately apparent what is compatible with which and you need to do some research before ordering anything because you may never get it working if you have the wrong parts which are not fully compatible with each other. The research will take at least couple of weeks or up to a month and then it takes from couple of days to a week to get the system up and running if all the components are compatible with each other. My setup for writing and reading LTO5 tapes was a older external Tandberg LTO5 drive which was connected via sas cable to a pci-e sas card which was mounted inside a pci-e to thunderbolt2 enclosure. That was connected to an iMac with thunderbolt2 cable and I used BRU PE for making the backups. data was usually read from / written to (6hdd) Pegasos2R6 tb2 raid enclosures to get enough r/w speed to keep up with the LTO drive. I could relatively easily move the whole raid box between computers or swap the hdd drives inside to move the data between systems. I normally needed at least 4 hdd's in raid to get enough read speed to save tape when writing to LTO. It was possible to use single drives too but I needed something like about 20% or 25% more tape for the same data then.
  23. "built-in" version is NOT AVAILABLE anymore or at least will be really expensive to make because I had some counterfeit Atmel microcontrollers in storage and thus there is no enough chips available to make the built-in versions (the Chinese scammed again, this time via a German seller so it was more difficult to detect and the counterfeits were really well made). I only have two genuine microcontrollers of the required type it seems and can just make the built-in controller for the one camera I am finishing at the moment but further ones are not possible to make without ripping apart some Arduino boards to try to extract the component out of them undamaged (I can do it if needed but will charge a lot). Let's say, 1600usd for the built-in version or something like that if needing to tear apart Arduino boards to get the needed components ๐Ÿคข THIS DOES NOT AFFECT THE "MAIN" VERSION OF THE ACL 16-SPEED CONTROLLER BECAUSE IT USES A DIFFERENT MICROCONTROLLER OF WHICH I HAVE 30 GENUINE ONES IN STORAGE. THE "MAIN" VERSION DEVELOPMENT AND SALES CONTINUE AS PLANNED AND THE PRICE STAYS THE SAME :)
  24. I don't know for sure but to me the first impression is it might be some kind of optical printer/animation camera magazine or similar or for some data recording use. high speed possible too but the first impression is that it might not be meant for field use at all. the old school belt drive would not be optimal for high speed which is why I suspect it might be meant for other stuff
  25. I have understood the lower top speed with fragile filmtypes and the noise level are the main reasons. It MIGHT have something to do with the maintenance/lubrication too as most of the projectors have pretty OK continuous lubrication arranged with steady stream of oil supplied to the most important bearings and parts, but most cameras don't have anything like this except some models like mitchells and such which have a certain amount of oil arranged for the critical parts. Just saying that projectors are expected to have more regular fresh oil available than cameras in overall which might affect a little what type of movements are chosen for cameras as well (everyday oiled ones not ideal) I suspect the geneva needs more space too compared to simpler movements depending on what it is compared to but not sure about that. projectors ARE noisy indeed, often so that it is unpleasant to stand next to it for too long ... let alone trying to record dialogue near it. projectors have different shutters than movie cameras (usually flash the same frame multiple times to reduce flicker)and thus need different pull down cycle than a movie camera (movie cameras don't use multiple exposures on the same frame. though on the viewfinder it is possible to reduce viewfinder flicker by dividing the mirror surface to sectors... but that has nothing to do with the actual shutter or the exposure of the film frames)
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