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Tyler Purcell

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Everything posted by Tyler Purcell

  1. And you're judging that based on low-bit rate 8 bit YouTube clip? lol
  2. I mean I don't see a market for this. The center of lenses is always the sharpest. So using 35mm style lenses on 16mm is totally fine. Just look at all the FF coverage lenses being used on 35mm imager cameras? It's a non-issue.
  3. Exactly, you're magnifying discrepancy. Most of that comes from the camera actually, as super 8 cameras really suck and pre-made prints generally are also poorly made. So you're not just seeing projector issues, but issues within all the sources played on said projector. 16mm has much less of those problems.
  4. I know he stopped doing it recently, but I'm sure he'll come back at some point. https://www.drbolex.com/super-16mm
  5. Sadly, you can't fix it yourself, you'll need to bring it to a tech to fix. You can check timing, but because the problem is so minute, it maybe hard to see without the proper tools. You really need a magnifying system to see the edge of the gate up close. You also need a way of turning the camera over manually. I use the little rewind tool, it works great. If you don't have that tool, it can be tricky because you need a consistent way to do it so you don't damage anything by accident using the motor.
  6. Hmm, the video is very interesting. Since I don't see any slop in the frame line, I'm gonna have to say it's probably a shutter that's not screwed on tightly or something. It for sure seems more like shutter timing than bad loop. You'd see some problems with the frame lines with a bad loop and/or pulldown issues. I see nothing wrong, the camera is moving film just fine. So it's gotta be slight timing in that case. It could be off always and we just aren't noticing it without direct sunlight because its so damn close. I can tell you how to check timing, but you'll need a piece of blank film you can destroy and the little mechanical reversing lever.
  7. The camera works fine most of the time. If it were shutter timing, it would be off all the time.
  8. Lenses are lenses. As long as it has S35mm coverage (which all RF glass does) then it'll work. The only time you need faster lenses is if you're shooting in a dark situation. But it's not camera dependent. That's a problem with all cameras.
  9. Many raw file types do not go through the imager processor, so there is no noise reduction. At higher ISO's, you'd see more noise on raw vs pro res.
  10. Due to the fact the image is crisp, it's not the pressure plate. Usually this is when the pulldown isn't engaging on every pulldown. So small loops, which is a very common issue on Bolex's, especially the bottom one, could be the problem. Since it's not on "all takes", it's clearly not a generic mechanical issue like an out of time shutter. So run some dummy film through it. The cool thing about Bolex's is that you can see the film exit the gate area and you can look at the perf. With a flashlight, you can look at that perf when it's running. It should seem like each hole is the same hole, like it's not moving. The moment you see it look like the perf is moving, you'll get the effect you're seeing above. The pulldown is just not engaging. It probably just needs a CLA my guess.
  11. Yea, I vastly prefer zoom's, especially the "faster" ones like the Zeiss 10-100 non-S16 version, because they're wide enough and you don't need to splurge on primes, which can be pretty expensive. I haven't seen the Lomo version in person. My go-to lenses are zooms. It's generally where I start on any given shoot. The only time I walk away from zooms is when I'm on Steadicam or where I need the speed. I think a lot of filmmakers "discount" zoom lenses and honestly, I have no idea why.
  12. Are they using the original Fuji prebath?
  13. Full/complete EL kits aren't even selling for $4k these days on ebay. You can do a S16 conversion these days for under a grand.
  14. Truthfully, you could make a feature with a Bolex if you didn't care about sync sound. With film cameras in general, it's all about the lens and film stock, rather than the body anyway. Your body only plays a role if it's out of calibration. If it's setup right and working properly, the differences between the bodies are very limited in the final piece. If you want your movie to look "professional", it's more down to lighting, art direction/set design, camera movement, framing and blocking. But most of all, if you care that anyone watches your film, the story must be really good and well acted. Most of the "technical" things go by the wayside if you have a great story. To answer the straight "technical" question. Yes an SR (1, 2, 3) or XTR off any vintage would work fine. Unless your shooting in the dark, I'd just run with a zoom lens most of the time. For 16mm, your "prime" focal lengths are 9.5, 12, 24 and 50.
  15. Depends on your definition on what is good and what is not. I have 3 re-built Elmo projectors, one of them is an ST1200 which is the "commercial" version and it's very clean and hardly used. I also bought one projector/camera kit brand new in 1987, so it's not like I haven't seen what they look like new. I actually as a kid, had a 16mm projector at the same time as a Super 8 system, so maybe I was spoiled, but my 1960's Kodak Pageant projector to this day is rock steady compared to ANY super 8 system I've owned. When I scanned my Super 8 movies from that period recently, I was flabbergasted to see how stable and clean they were compared to what I was seeing through my projection system all those years. I just think people don't notice gate weave and film plane focus issues very much, I have friends who show me things I can't even look at they're so bad and claim they're "stable" and I'm like... umm, not on my planet.
  16. I probably spend 40-60hrs a month on camera repair. I probably work on a dozen cameras a month.
  17. Yea I've never had a super 8 projector that works well. The scans we have of our super 8 stuff from the 80's and 90's always looks great. I agree tho, worn out cameras do play a big role.
  18. I think you're right, my super 8 sound home movies were always very stable due to the larger loop.
  19. That camera isn't running right. The flicks coming from the film should be 100% consistent, when you hear it not consistent, that means it's not consistent. It needs to be pulled apart, fully cleaned and lubricated and re-assembled. This is a very common issue. I fix about 3 cameras with the same loudness issue a month. The speed consistency issue needs to be gone through carefully, usually it takes a bit of time to figure out where it's coming from. The last one I did with this issue, was corrosion in the motor. I do Aaton repair in the US, if you want to ship it.
  20. This is the machine learning guys https://www.automate.org right?
  21. Yea I pixel peep, can't stand dirty film.
  22. Yea we have a PCI USB 3.2 card. It can do 10Gbps. Our scanner writes 40Mb files per frame 10 bit 4k. That's about what our spirit 4k writes as well. So that's roughly 15fps if you divide by 625. We've gotten 14fps to work for a few seconds at a time before it craps out, but it's pretty stable at 12fps if the drive is reformatted and empty. However, as it fills up, the reliability drops fast. I've done full 400ft loads at 12fps before. I think part of that is due to the raid is a internal hardware raid from the BIOS and I bet it doesn't have enough cache, probably 128k or something stupid like that. It really needs a few GB of cache to work properly. Perhaps a hardware raid card would help that consistency. Yea, they're using the CPU for sure, the GPU not at all. Yea exactly. I didn't know it was a 3.1 interface. I figured it was 3.2 10Gbps. It's a pretty modern camera. Well the problem is the camera in this case. I can easily do 25Gb fiber, but what camera will work? That's the problem. Could be. Well, the whole discussion started by sharing the problems our shared storage has. It's 10G and it gets between 600 - 800Mbps and we can't even write 4fps directly to it OR any of my external raids. Only that internal SSD raid can even get our "average" of 7fps. Our system is a Ryzen 3950X with 3080Ti. I think we need a better system to add more cards and get the proper throughput on the PCI lanes. Xeon or Threadripper would allow me to run a 25Gb card and a fiber camera. I just don't know if it will deliver better results. Faster yes, but reality is... if it's not marketably better, what's the point? Thanks for the input tho, always good to talk these things through.
  23. Assuming there is anyone who can service it in 10+ years. I think we will have the same problem with the new cameras, as the old cameras in terms of support. That's my concern.
  24. Ya probably won't see the issue unless you're looking for it. A locked down shot with excellent exposure and a wide highlight range, will for sure show it. Looks like speckles amongst the grain.
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