Scott Pickering

I BIN'd this lens for use on my Bolex H16 Rex 5 camera. I have read good reviews for this lens, so it should be okay. Its meant for 2/3" tv sensors, which is the same size as 16mm standard ratio. What I'm wondering if this lens has enough coverage to cover an Ultra 16mm frame before it vignettes? I know that's pushing it, but wondering if anyone has ever used this lens?

Are tv zoom C mount lenses sharp enough for 16mm? I see lots of them on Ebay, but not sure if a TV zoom will reduce resolution when using film?

One other question- if the battery is located in the motor itself, I'm assuming the charger supplied here will be usable? I tried plugging the charger into the motor and the needle on the meter didn't budge one bit. Also pressing the button on the motor release didn't activate the motor either. So could the battery in this thing be dead (assuming this thing has a battery)?

And while we're on the topic of what parts are needed, what would be a good zoom lens for this camera that isn't too expensive and will cover Ultra 16?

Lastly.

Still more.

More again.

More.

Other then the lens for the camera itself, what am I missing to be able to use this camera with the motor drive it comes with? Do I really need a sync sound cable plugged in to use the motor on this thing? And where is the battery? I do know its missing the rollers for the inside of the camera to be able to use the 400 foot magazine. These rollers guide the film inside the camera when using the big magazine. What else do I need to buy so I can be off and running?

Problem isn't so much the film itself (as I'm sure Kodak could do a special order of 5222 in 65mm), but the developing. Fotokem has a machine capable of doing B&W film, but they said the challenges were to great and expensive to get it operational. So where else would one get the film developed (without shipping to Europe)?

Dirk, Can you comment more on the 7222 film change you mentioned? Can anyone else confirm this change?

I'd like to stay in Premiere if I could to do all the work needed. Funny thing is I don't see any way to render or encode/ export to 4K in Premiere. All I can see if 1080P for the highest definition. I thought Premiere supported UHD?

I have about 1050 feet of Super 8 I intend on getting transferred to 16 bit DPX at 5K rez. Im planning on buying the Seagate 10 TB hard drive when it comes available this year, to store those 3 films onto. I will keep the original drives I send to Perry for archiving, in case the 10 TB drive gives out. I also plan on getting a second 10 TB drive with a copy of those films to put into a safety deposit box. So I should have 2 backups (and one master) of that 1050 feet of film. Would that main drive be all I need to work with the DPX files? I will also have an 8TB drive as my main data files drive for storage for all my other files. Currently they are sitting on 2 3TB drives. I can master that DPX film files onto the 8TB drive as a Pro Res 4444 file. How does one make a 4K/ UHD Pro Res 4444 file on Premiere? Or should I use Resolve for that instead? I still haven't been able to get Resolve to do any importing without using the exported Premiere file to load into it. Can you start a project in Resolve without having an exported Premiere file loaded into it? How do you load DPX files into Resolve?

Perry, Send me the DPX files as you have already done. I figured out After Effects to do the DPX conversion, and then Premiere to work with the files from there. It all works and it makes sense to me now. So send me the invoice for the work you did. One last question. When working in a program like Premiere, is there a limit to how large a DPX files you can have loaded into memory at one time? Since my films that I will be sending you are a minimum of 13 minutes in length, would that many DPX files overload the memory and crash the computer? One of my other films is over 45 mins in length, so I'd wonder if that too would crash the computer with that many DPX files loaded? My computer only has 32GB of memory.

Hi Perry, Yes cropping the framing to just the edge of the frame would help me a lot. I have no use for the overscan framing. Also as we discussed, I might get you to save this file as a ProRes4444 file instead. Would save me a lot of grief in editing.

I want to master to 4K, so this is why I chose a 5K scan. Even if the image quality isn't there, it won't have to interpolate if I do a 5K scan to master to 4K. I checked Premiere and it doesn't allow custom frame rates. I need 18 fps and it only does 15 or 24. Nothing in between.

I was under the impression a DPX file was a video format with low compression, high quality, etc. But what I didn't know was every single frame is saved on its own and you have to stitch them all together as one big file. First off what is the best program to do this with, while making sure each frame is loaded in the proper order, and having the program set the frames per second at what you want it to be set to? I could see there being tens of thousands of files in a folder and you have to make sure they are all saved in the correct order. Also when loaded into the program, how does one make one master edit on all the frames, to keep consistency the same with every frame? And finally- with what program can one edit the original 5K frame and crop out the portion of the frame you want shown on screen? Reason I ask is the Super 8 transfer Im having done shows outside the Super 8 frame and I need to crop that portion out. I want to master to 4K, so this is why I had 5K scans done.

If there is no R&D being done anymore, how could Kodak possibly release older products that have lapsed for some period of time? Certainly certain elements of making the film like cadmium, etc, would no longer be available to use to produce the older products using the original recipes. R&D would be needed to update the emulsions to todays standard. So unless the film was produced in the last 10 years, I really don't see older emulsions coming back into production, however small the run may be.

I am in the process of getting some Super 8 scanned at 5K and saved to a DPX file. I have the option of getting a 10 bit or 16 bit DPX file for the original file. Will Premiere Pro open either of these files (10 bit/ 16 bit)? Will it also work with the 5K rez? It will be mastered to 4K when its done. And with Premiere Pro- can I set it from the 18 fps original to output to 24 fps master? And can I crop the framing to what I desire in Premiere Pro (1:33 to 1 to crop to 1.79 to 1)? Anyone with a link to a RAW 10 bit or 16 bit DPX file, send it off to me for testing. Also if anyone has a 5K rez file, send that also.

I was only able to open 2 of the many files listed here in Premiere Pro. I did a basic "Auto Color adjust" and Auto contrast and it looked pretty good at that point. The file where they are all sitting on a couch in a room, what bit depth was that DPX file? I'm looking at getting either 10 bit or 16 bit DPX files made from my films, and wonder what the program will open.

I have all the Blu Rays of the original series and the Next Gen. I don't like CG spaceships either compared to models. CG never looks real to me. The effects on the Next Gen series went back to the original film negs and recomposited them for HD. Looks great. No complaints with what they did there. Models still look great in HD.

I'd request they bring back Panatomic X and Plus X films for both still and motion picture shooting.

Wow. With the small resurgence in 65mm origination, I wonder how long they will keep the remaining cameras in service? Certainly IMAX is covered, but from reading here, it seems 5 perf 65mm may be on its way out, at least with Arri anyway. I'd still love to do this project, but time doesn't seem to be on my side.

I have used this camera when I was in my college years back in the 90s. Love the camera. I used it for 24 fps and also single frames for stop motion. Lens is beautiful. It was a leap up from the Elmo 350 camera I had used for many years. I had since bought an Elmo 1000, which is like the 1012, minus stop motion. I'd like to get a 1012 for myself one day, but that may not happen, since I've decided to use 16mm for my new work and use.

I think doing it on film is more rewarding. It takes effort to shoot on film and the results are very little like video. Video makes it too easy and anyone can use video. Only so many can use film, especially 65mm.