Scott Pickering

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.

He was mistaken. I got a text from him saying it was his mistake and that he will refund the money I paid him. There is a SBM I was looking at I'd like to get. So I may go for that assuming its still for sale by then.

Ok this site is not allowing me to post images or direct links to pictures. So it looks like I'm going to have to pass on showing the pictures. The website they are on doesn't show pics to non-members either, so Im stuck on that.

So I inspected the gate on the camera and it looks like I have a regular 16mm camera. Either the seller mislead me, or he didn't know himself what he had. Im going to have to talk to him about it. What I see is the metal guide on the left doesn't seem to be machined for the wider gate, and the gate itself looks too square for Super 16. I'm posting two pictures for you guys to confirm. All I know is its going to cost a bundle now just to convert his camera. I might just sell it and get a better Bolex in the end, and keep some of the lenses. But before I do anything, can you guys confirm my suspicion this is indeed a regular 16 camera?

Tyler- your idea has some similarities with my story. My problem getting mine done, is I don't really have the connections to get my story out there to find interest in producing it. My friend works in the Vancouver film industry, and even he has problems getting his film out there. And if someone were to fund this, they'd probably force me to shoot it on video instead of film, which I'd be against.

I got a message from the seller and he stated I have to unscrew one of the caps to have it unlock. Which means I think all three holes are useable. Which again makes me wonder if this camera is truly Super 16. Im going to have a closer look at it and hopefully get an answer.

Ok thanks guys. I only paid $600 Canadian for the package, so I think I got a good deal on it all. Prices on Ebay are way too high and many don't even come with lenses. I have another question about the camera. The lens turret doesn't seem to rotate to the other positions. Could it be it has been locked in place because of the Super 16 mod? Oh and to take the pressure plate off- you just unscrew the lower screw holding it in there?

Never yet looked through the viewfinder on any lens. I just picked up the camera this afternoon. Yet to really play with it. What exactly is a 2" Telekinic lens anyway? It doesn't have a mm for focal length. The Canon zoom I think would work, as it says its a tv lens and I would think a tv camera would have a wider frame sensor inside. Its quite a large lens too. I was told this camera was used by a nature cinematographer. Who- I have no clue. And I really can't tell if this camera is indeed Super 16, as I can't tell from the opening on the lens port. The shutter keeps the film section closed up, so seeing if its Super 16 isn't easy.

I just picked up a Super 16 reflex Bolex H16. It was modified to Super 16 many years ago. What I'm wondering if any of the lenses that came with the camera, if they are suitable for Super 16? The seller wasn't sure, since he rarely used the camera and it was 20 years ago. So here is a list of the lenses, and I just need to know if it would support Super 16? Taylor Hobson Telekinic 2" f2 Kern Vario- Switar 17-85mm f3.5 Kern Macro- Switar 75mm f1.9 Kern Switar 10mm f1.6 Canon Zoom TV Lens 17-102mm f2.0 I don't know if any of these lenses are suitable, and if not, I can just sell them for a more appropriate lens. Any of these lenses any good?

Wow that video has a lot of dust in that film. The reversal- is it typical to have a washed out look? Im wondering where the deep blacks are that you see in typical B&W images? Contrast seems to be low. Im not sure if Plus X is the same story, but the still film has a lot of contrast.

Being that Plus X has been discontinued, how does UN54 compare? I have used Plus X in 35mm still photography, and loved its look. I have bought some rolls of Plus X in both neg and reversal in 16mm. But when those run out, I'll need a new source. I have heard UN54 looks gorgeous, but in what way? Also has anyone ordered directly from Orwo North America, and how were your experiences with them? Orwo's 16mm 100 foot reels says not on daylight spools, but below it says in daylight spool and black box. So which is it? Does this film have to be loaded in complete darkness, or can you do it in reduced light? Any links to a video transfer of this film would be appreciated. Also do any labs in North America develop this, or only certain ones?

Interesting. I do not see those rates mentioned in the Student pdf. It still says 20 cents a foot for processing only. Does Cinelab now offer 5K scanning of 16mm or Super 16? That is what I intend on getting. If you do, what are your rates for that? And what file do you save to?