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Doug Palmer

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  1. I'd just like to add to your list Phil: Badly adjusted anamorphic. This happened the last time I saw a 35mm film at a Cineworld theatre in Weymouth. I missed a few minutes of Warhorse in my fruitless attempt to complain at the popcorn counter, that half the image was out of focus ! It was obvious then, and probably more so now.... the main problem with film is the dearth of real projectionists. I'm not sure how you'd solve this, even with perfect Kinotons.
  2. I was so looking forward to seeing again after many years The Elephant Man at my local cinema. And in b/w Scope , unusual, and hopefully the same ratio in its digital release. I passed the cinema ad hoarding many times, then the lockdown suddenly cancelled everything! At the time it was originally screened I can still remember clearly the experience, maybe more likely with monochrome films, as one is more appreciative perhaps of the richness of the actual image. As it's more abstract than colour? The same happened with Schindler's List when I first saw it in Leicester Square, London. Although strangely they screened a print that looked hurriedly spliced together: real b/w plus the occasional colour parts, the colour prints starting as "b/w" which somewhat spoiled the effect. However, still an incredible experience.
  3. A cheaper option might be their super-8 Aspheron version, also covering 16mm frame. It's not quite as wide an angle, maybe 6.5mm when attached to the Switar 10mm. I've often used one and found it gives sharp images with a 10mmRX lens. I'm not sure if Kern made it or not. An adaptor ring needed. I have one of these Bolex Aspherons for sale on my website if you are interested.
  4. Although I guess with 1.33X you'd end up fairly wide on S16. 2X maybe too wide. I agree that digital projection can look very clinical. Though with lockdown it's been so long away from the cinema I'm sure when they open I'll be happy with anything 😂
  5. A 16mm Switar lens will not work with one of the older types of anamorphic such as Kowa 8z, without vignetting. The front element is not forward far enough. Something like a 16mm Nikkor or Russian lens may work (possibly). Normally with these 2X anamorphic adaptors the widest focal length is about 20mm, unless you can find or adapt a 16mm lens so that its front element is nearly touching the rear element of the anamorphic. (And the nearness improves the image quality.) Don't know about 1.33X adaptors. But is it worth the trouble with these ? Longer focal lengths of course no problem. And tele anamorphic shots can look really good, especially with out-of-focus areas in the wider frame.
  6. If using a front anamorphic adaptor like the Proskar or Kowa lens, it's very important to mount it as close to the prime (or zoom) lens as possible. Also no light entering at the join obviously. Then you get optimum sharpness as well as the best chance of avoiding vignetting. When I've used these combinations in the past, I've generally focused the anamorphic to the same setting as shown on the prime lens, assuming both lenses are correctly calibrated. Probably best to get the anamorphic's focus setting fairly correct first by measurement , then do the prime lens through reflex finder, then fine-tune the anamorphic focus if necessary. A good lenshood helps the contrast. You can get some very interesting bokeh effects that you don't get with spherical.
  7. I've had a similar effect with a bent spool. Before loading film onto daylight spools in the dark, I always make sure the sides of the spool are parallel, using a piece of 16mm leader held inside as a guide. But as it looks constant, maybe it's just light-fogging when loading the camera, worse obviously with fast films.
  8. I'd think the front damage may not show any bad effect if it's just near the outer ring, as it's probably not used much optically especially if slightly stopped down. Shielding the lens with an efficient hood obviously will help. As for the internal fungus, if that's what it is, it could lower the contrast of the image. It's unlikely the dogleg finder will show anything much visually so I guess the only way is to do a good test with film under different conditions. Personally I wouldn't attempt to take the lens apart😆
  9. I'm wondering if part of the reason for making a film print from some digital productions is to firstly get an original neg, which presumably happens ? Then that acts as an insurance for archiving ?
  10. As Martin points out, this is getting away from Super-8 ! I'd just like to say that Bolex 16mm cameras also can have light leakage around the door. No problem when running but when left idle you could notice slight fogging of individual frames. I've seen it on 3 cameras especially above the gate. So I always black-tape the door. Not a problem with super-8 :D
  11. If you can rig up a pack of 5 AA 1.5v batteries that should work.
  12. The movie has many recorded accounts of soldiers' experiences as a narration. And as Timothy says, there are varying views of the enemy. It's difficult for us to imagine the horror and despair of seeing one's pals blown apart. The movie only really covered the trench warfare in France. WW1 was obviously much more extensive. Maybe Peter Jackson or someone else can use the same techniques of film restoration on other subjects too.
  13. Doug Palmer

    Super 16

    It's sad that nobody introduced a 2-perf projector that would be affordable to film societies and arts cinemas, like I think you Tyler once had ideas about (?) As for a sync sound camera, again it's entirely possible maybe for a firm like Logmar who knows. I'm sure there'd be a ready market. And as an Australian, Jon did you ever come across Laurie Buckingham's plans for a self-blimped and very small 2-perf camera ? He made a prototype not long before he died. https://filmisfine.com/blog/henry-l-buckingham-widescreen-pioneer/
  14. Have just seen this at my local cinema, followed by a live discussion between Mark Kermode and Peter Jackson. It was in 2D but apparently the London version was in 3D. Did anyone see it tonight ? How did it look ? Certainly a big milestone in the restoration of old archive footage. https://www.imdb.com/videoplayer/vi1891416601?ref_=ttvi_vi_imdb_1 Some of the detail we saw was amazing, just like we are accustomed to see in modern war films. For me though the best part was how they dubbed the sound of men's voices. Peter Jackson said they had expert lip-readers who could determine what was being said, then the actors took over. And some dialogue was quite funny. Humour he said was all they had before going over the top into no-man's land. I thought afterwards, even the cameramen probably didn't hear what was being said, over the noise of their cameras. There was no footage available of actual combat between soldiers for obvious reasons, so Jackson used drawings from magazines of the period. Not too successful I thought, maybe paintings would have worked better. However, a small criticism and for the most part a stunning documentary. And a moving scene of the British and German soldiers wearing eachother's helmets showed the futility of it all.
  15. Simon, has it similar characteristics to your gigabit film ? And is that an old roll of film pictured, or do Kodak still make the stuff.
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