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Doug Palmer

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Everything posted by Doug Palmer

  1. I won't be buying one myself (not so much into S8 now) but I don't think the price is exorbitant, if it's as they describe. I can remember paying at least that... in today's money.... for a new Beaulieu. If it really is a new design of pin-regn. movement that surely makes it superior. However, the problem with super-8 now, seems to be its high running cost.
  2. If making a projector run the camera in sync with a flexible shaft, I should add you will need to remove two of the three shutter blades (the ones that would normally control flicker). And then adjust the position of shaft so that the camera sees only the open section. A non-XR shutter camera would be best.
  3. Just thought...I suppose it's not the sync lamp (if fitted) ?
  4. Wierd. And it seems to extend right out between the perfs ? So that would rule out almost everything .... the viewfinder and shutter etc. It rather points to the film then ? And if it is doing it on different batches it surely must be a processing fault.
  5. The flash in the Falls movie does look like possibly an object out of frame causing it, or as Simon says a technical problem on the film ?🀯 However, with the single frame of the time-lapse, my bet is on a leak somewhere in the camera, as there has been considerable time between the exposures allowing it to occur. I've had similar issues wth Bolex cameras, and I ALWAYS now tape up not only the filter 'handle' but also the whole edge of the door. (Sometimes previously I've had a flash near the start or finish of a shot, ie when the film is at rest.)
  6. Pav, in this movie I don't think tripod would be better? As handheld gives a sense of tension and perhaps being watched. But maybe slightly more stable would have helped. Agree a dogleg can slow things down sometimes, and with small primes you can get a reasonably accurate frame, also 250D film gives good depth of field. Pity the closeup of paper is overexposed.
  7. Quality looks very good Pav. Amazing when you think it's so old. Never used a K100 myself, super-16 a real bonus. I guess being non-reflex you had to be extra careful for the framing in this disturbing little drama.
  8. Sharpness can be improved by adding a black washer to the front of the projection lens. So the aperture is reduced a stop or so. Projection lenses are not normally as good as camera lenses and need stopping down. Agree with Martin use a small white matte card. Don't know what film stock you will be using, but it's likely you will get more contrast on the copy. To control this, place a table lamp about a meter or so away from the card, and direct at the ceiling perhaps, (not near the card) . So the projected image will look a bit washed out, though the copied result should look normal. If using daylight film your camera lens will need some kind of blue filtration of course. btw the unevenness I mentioned and also by Tyler, may not be objectionable depending on subject matter. A possible way to prevent it: put a grey wash of watercolour paint over middle of card, or make a similar kind of filter for projector. Syncing yes a much better solution. It can be done fairly easily with a flexible shaft between camera and projector inching shaft. So the projector motor runs the camera. Sankyos etc quite straightforward to get access their 1:1 shaft.
  9. One point to be aware of, sometimes projectors give a much brighter central part of the image, and this may be accentuated by the camera film. Projectors with the old-style tungsten lamps and condenser lenses often give a better image for copying.
  10. I think you're right John. It would be interesting though to compare these kinds of 'informal' documentary shots showing human faces, when taken digitally and also with 35mm film (in the same project). I'm assuming Uli didn't use any or much additional lighting but maybe I'm wrong on that. Also I think it's great how he has captured the expressions on faces simply by being extremely quick off the mark, and then moving to the next one after just a few seconds. Maybe this kind of documentary filming is a bit more 'free' in that respect, with so much happening around the camera, needing similar attention. And I guess the 35mm film charging through does stop you lingering on one shot too much πŸ˜„
  11. His feet look all ready for another expedition somewhere πŸ™‚ Have you any plans for putting this film in a TV slot for good causes etc ?
  12. Nicely shot and cut and it said everything in the 4 mins. Good to see Michael Palin ! I think all his travelogues were done on 16. So I guess he would have been comfortable with you with Arri's πŸ˜€
  13. I shudder to think of the wear on the film. Maybe it's possible to glue in some velvet strips or similar to prevent that happening, so only the film's edges make contact.
  14. Gosh me too πŸ˜ƒ I see, so they presumably had done all the tests to make colour film ? It must be a much more tricky thing to get right than monochrome. Such a shame their asbestos problem. But you wrote this a year ago, so maybe things are better.
  15. It's good that Kodak have come clean on this, if that's the expression πŸ˜ƒ They are on the side of us film-makers after all. In the distant past there were issues with Kodak's quality control. I'm thinking particularly of scratched super-8 Kodachrome during processing, in the huge mass S8 era, which caused some like me to use other makes of film. And over 20 years ago I had some really dusty fresh 16mm Kodachrome... my complaining didn't work. So when these issues happen extremely rarely, as I suppose is possible in any factory process, it's very relieving to know that Kodak is serious about resolving them quickly. I think I too in future will examine the first leader when loading, just in case. I hope you can reshoot these scenes successfully, or possibly rescue the shots you have taken.
  16. Thanks for this Robert. I think likely some more VNF in freezer-occupation which I'd like to put through my camera. I liked the look of these Ektachromes in their heyday. Guess though they'd be a lot less sensitive after many years.
  17. Agree. I rather regret yesterday πŸ™ƒselling a 100ft roll of VNF Ektachrome that had been in my freezer for ages. I told the chap who bought it, to rate it lower thn 400iso, though I wasn't really sure what would be a good figure. Colour reversal obviously more critical than neg. Also I'm wondering if E6 processing will alter the appearance and sensitivity.
  18. It's wierd and mysterious. Must be annoying, with the footage you have taken, and not knowing the cause. I wouldn't have thought the marks would appear linear like this if it was some dirt or something in the camera.
  19. I'm never without my little Switar Compact zoom. f3.5 max I think, but very sharp and quick to use. Pan-Cinor also did a f3.8 version.
  20. Look forward to see this Tyler... maybe a prototype? Would be great if they have solved some of the jamming issues mentioned on the other thread by Gregory. And the loudness that forces ADR and Dunkirk pilots wearing face masks πŸ˜„
  21. Looks to me like the roll of film was loose and therefore spilling sideways , and in the darkroom someone has pushed it back straight. Maybe some dirt or emulsion dust in there. Or possibly this happened before the film was supplied.
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