Jump to content

Doug Palmer

Basic Member
 View Profile  See their activity

  • Posts

    633

  • Joined

  • Last visited

 Content Type 

Everything posted by Doug Palmer

  1. Doug Palmer
    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.
  2. Doug Palmer
    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 ?
  3. Doug Palmer
    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.
  4. Doug Palmer
    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.
  5. Doug Palmer
    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.
  6. Doug Palmer
    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?
  7. Doug Palmer
    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 ?
  8. Doug Palmer
    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
  9. Doug Palmer
    If you can rig up a pack of 5 AA 1.5v batteries that should work.
  10. Doug Palmer
    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.
  11. Doug Palmer

    Super 16

    Doug Palmer replied to Jon O'Brien's topic in 16mm

    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/
  12. Doug Palmer
    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.
  13. Doug Palmer
    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.
  14. Doug Palmer
    I also found those rushing effects irritating. Otherwise really liked it.
  15. Doug Palmer
    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 ?
  16. Doug Palmer
    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.
  17. Doug Palmer
    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.
  18. Doug Palmer
    I'm interested in how your tree is actually being made ? I've always found miniature trees and foliage very hard to replicate.
  19. Doug Palmer
    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/
  20. Doug Palmer
    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...
  21. Doug Palmer
    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.
  22. Doug Palmer
    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.
  23. Doug Palmer
    Rescued ! Someone has taken it and hopefully make it work OK again :rolleyes: Thanks folks.
  24. Doug Palmer
    A final reminder ! As nobody seems interested I'll be dismantling it soon, and most will find its way to the local dump. So maybe your next car will contain Schmid steel or aluminium... ^_^
  25. Doug Palmer
    I had trouble once with a Som Berthiot zoom mounted on to a RX turret Bolex. It seemed OK but the focus was wrong because I hadn't realised that the chrome spring was forcing it out slightly.
×
×
  • Create New...