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Doug Palmer

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Doug Palmer last won the day on July 26 2018

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About Doug Palmer

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    Camera Operator
  1. 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
  2. If you can rig up a pack of 5 AA 1.5v batteries that should work.
  3. 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.
  4. 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/
  5. 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.
  6. 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.
  7. I also found those rushing effects irritating. Otherwise really liked it.
  8. Having only seen the trailer I find it a little hard to believe it's S16. Too sharp, looks more like 2-perf 35. I'd also like more info... was it actually cropped for widescreen, or is that just the trailer ? Or did they use anamorphic ?
  9. I haven't yet tried the new Ektachrome. Just wondering how it compares alongside the older 5285 / 7285. Has anyone done a test for colour and sharpness etc on the same subject ? I've been making a film using my freezer's 16mm 7285 so am curious if the footage will match well.
  10. Yes me too. I find it rather strange that S16 was used instead of 35 for this kind of mainstream movie. I guess they were wanting a grainy appearance ? Quite brave when all is ultra clean nowadays.
  11. I'm interested in how your tree is actually being made ? I've always found miniature trees and foliage very hard to replicate.
  12. I agree. It needs to be used with great care so that it doesn't scratch the gate. Also the unit tends to come off quite easily as it's only magnetic. And this increases the risk of scratching by mistake. Paillard's earlier model was better I think. You can get away with just using some matted film as Simon says, as long as it fits tightly against the front. But the prism does make life easier and I used one here. https://filmisfine.com/blog/ultra-16-viewfinder-for-bolex-h16m-super-16-similar/
  13. Great idea if the quality is good enough... have no experience of Auricon. Probably the most safe archival way of getting sound ^_^ and a present-day system could be digital. I would guess it's the old stock. Think the new stock is just being tested now by select individuals...
  14. Ebay is somewhat a gamble I think for S.8 cameras. There are plenty of things that can be imperfect with the actual film result, that are not apparent when you first try out the camera. I would always buy from a reputable dealer or private person who has recently used the camera. Five or ten years ago isn't good enough as things can go wrong with what are in effect antiques now, left in an attic.
  15. Indeed yes... and let's hope all this work they've been putting into it will produce something even better than before. For me I'd like slightly less contrast, and less of the reddening that seems to happen on caucasian faces.
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