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Roger Richards

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Posts posted by Roger Richards

  1. Hi Brian,

     

    As someone who has used the talents and services of both Bernie O'Doherty and Paul Korver on my own foray into Ultra 16mm, I say it s a great time to jump into the water. Bernie modified my Canon Scoopic 16M for U16mm and Paul and his team at Cinelicious have allowed me to bring it to life with their telecine/DI process, with processing at AlphaCine in Seattle. Incidentally, I also have an Aaton XTR Super 16 kit, and find that I can combine the two formats to do what I need.

  2. Chris describes it nicely. The Canon lens on the Scoopic 16M/MS is sharp but the contrast is not biting or harsh, which makes it great for DI work as you can adjust the image more to your liking across a wider range of tones. By comparison, my Zeiss/Optex 12-120 Super 16mm lens has more initial snap and micro contrast. The Canon lenses have a softer footprint, and combined with modern 16mm stock, particularly 7212 100T (my favorite film) or 7201 50D, the look is different than others and very painterly. I like the look of older lenses, they have flaws but provide a relief from the oversaturated, contrasty and cartoon-like images we are bombarded with daily.

     

    I love the digital cams for what they do, but film for me is like painting with light on a canvas using acrylic paint. Cannot be replicated.

  3. Hi Scott,

     

    Thanks for taking the time to watch, and for your nice comments. I appreciate your detailed feedback about the form I was using for the film and glad it worked. This is such a wrenching topic. I really wished to approach it a bit more visually than other projects have done. As I write to you today the burial of 775 more victims just took place in Srebrenica, the 15th anniversary. I was in Bosnia for almost the entire war, mainly focused on the siege of Sarajevo. My feature documentary in progress is called Sarajevo Roses and the Web page is http://sarajevoroses.com

     

    You are so correct about Ultra 16mm. Thankfully, Paul Korver at Cinelicious has developed a decent workflow for those of us who wish to use it. You can even do it on their new Spirit machine, as the gate has been mofified for Ultra 16mm and Super 8mm. All of what you see was TK on their budget DiamondClear HD URSA machine. I have seen tests of the Scoopic Ultra 16mm on the Spirit and it is amazing!

     

    I had dreamed of owning an Aaton A-Minima for compact shooting but the Scoopic Ultra 16mm is a cheaper and more convenient cam to shoot. There are more stocks available in 100-ft rolls than the special 200-ft A-Minima Kodak stock. That Canon lens holds up really well from about f4-f11. Sweet spot is f5.6. The 7212 footage is so sharp and clean!

     

    Cheers,

    Roger

  4. Thanks very much for your comments, guys. I appreciate it.

     

    The Super 8 is the B&W footage and it is a miracle it exists at all. A very respected, normally extremely reliable cinema lab had a meltdown on their line as my S8 footage was going through and ended up destroying several rolls of my film from this take. The guys at Cinelicious dug into the footage to save it, and it ended up usable only converted to B&W, but with extreme grain as it had sat in the developer for quite a bit.

     

    The original footage from the Scoopic is really nice, especially the 7212. The compression here is really stepping on it. It really has a unique look combined with the Canon lens. Bernie O'Doherty had performed a LaserBrighten on the Scoopic screen, and added 1.66:1 guides for 16x9 extraction, and with Ultra 16 these guides allow framing for either 2.40:1 or a safe composition area for 1.78:1.

     

    I have an Aaton XTR-Plus but decided to use the Scoopic for this film because of the size and mobility. It was really interesting as the TV guys there using their HD cams would look at what I was using and quite a few gave me a thumbs-up :-) Today is actually the first anniversary of when I was shooting this film.

  5. Hi everyone,

     

    I shot part of a cine essay with a Canon Scoopic 16M modified to Ultra 16mm by Bernie O'Doherty. The film was just released to mark the 15th anniversary of the Srebrenica genocide. The Scoopic footage is in the latter half of the film, after the archival material and B&W Super 8. Telecine by Cinelicious. Watch it in HD. Film stock is Kodak 7212 100T and Fuji 250D.

     

  6. I am putting up for sale my very special Canon Scoopic 16M camera, which has been fully tricked out, cleaned, lubed and adjusted up to top spec (and more) by Super 16 Inc's camera wizard Bernie O'Doherty. If you want to know how cool this Scoopic is give Bernie a call.

     

    In addition to full modification to Ultra 16mm, this Scoopic has undergone Bernie's unique LaserBrighten process, and the focusing screen is now really easy to look through compared to stock, twice as bright in fact. The focusing screen has also been marked for the equivalent of 2.40:1 framing, so you can compose almost perfectly what you will be getting on a 2.40:1 extraction from the Ultra 16mm image. Of course, because the original screen is R16, there is a bit more on the edges to the left and right, but you get used to composing with it (have a look at the frame grabs in the link below, no problem with composition there).

     

    Here is a link to a couple of frames shot with the camera

    http://www.cinematography.com/index.php?s=...st&p=299193

     

    What makes this unique for this camera is that Bernie O'Doherty, who is a perfectionist, will no longer do this kid of work for the Scoopic, because of the great difficulty removing the focusing screen. I had asked him to do this and he pulled it off, but at the expenses of a small hairline crack through the screen, that has no effect on the image or even composition. I do not even notice it.

     

    Perhaps the best part about this camera is the quality of the 12.5-75mm Canon lens. It is amazingly sharp! Combined with Kodak 7212 100T the quality is a great surprise. You can confirm this by giving colorist Andy Barr (or owner Paul Korver) at Cinelicious a call. I was told that the footage from this Scoopic is the sharpest and highest quality they have ever transferred.

     

    This camera was purchased specifically for a documentary project in Europe that required a lightweight and versatile camera with a small footprint. This camera did exactly what I hoped it would, and more! I no longer need its capabilities, having also a full Aaton XTR outfit. For an indie filmmaker seeking a camera that is unique this one fits the bill. You can be up and running immediately. I originally purchased it last July from director Christos Epperson, who used the camera in R16 to shoot The 11th Day http://www.crete1941.com

     

    This package includes:

     

    *Canon Scoopic 16M Ultra 16mm 12.5-75mm lens, with original lens shade

    *One original Canon Scoopic battery and charger (works fine and holds a great charge, I get 8 rolls out of it shooting off-speed)

    * Original aluminium Canon Scoopic case.

    * A batch of freezer stored 100ft rolls 16mm film: Fuji Eterna 250D, Kodak EXR 100T 7248, Kodak 7201 50D, Kodak 7205 250D; I will have to check the exact number. I estimate about 10-plus rolls.

    *Canon Scoopic 16M camera manual

     

    One can search for a Scoopic and buy it cheap on eBay, but 95 percent of the time you have no idea what you are really getting. Then you have to send it off to be modded, which is more cost and time. I paid $1500 for the camera originally because of the outstanding condition and track record, then quite a bit more to customize it. I am asking $1950 for this package.

     

    Please send me a message if you are interested and I will send pictures. Email is rmratdvnetworkdotnet

     

    Cheers,

    Roger

  7. Hi Peter, I cannot speak for Ken Burns but I can offer info from what I read, and also as an Aaton XTRPlus owner (Buddy Squires and the cinematography crew used an XTRProd, the step up over mine). Burns uses film as he prefers the look and feel, and also for long term archival reasons. His films are about American culture and history, so he wishes the material to be available a long time from the present.

     

    The Aaton XTR and LTR cameras were designed to be on the shoulder cameras, and they fit perfectly without any kind of brace or padding. The weight with a zoom lens like they used is about 17-18 pounds. The camera itself with film and magazine is 13lbs, the lens and other pieces add the rest of the weight. Super 16mm rawstock is also cheaper than 35mm, although it is is possible to buy short ends and left overs from large productions from wholesalers and specialty houses.

  8. Hi Paul, good advice from Adam, give Bernie a call and he will take good care of you. I am very happy with the image from my Scoopic. Remember that when composing use the top of the R16mm frame lines to mark the top of your shot, like the top of someone's head. That will leave headroom in the U16mm telecine. Enjoy!

    -Roger

  9. Wow, not sure why yours looked so bad, the picture on my 42" Panasonic plasma looked quite nice. It was definitely more grainy at times but looked very painterly to my eye. The format matched the subject, I think. From the credits I gather it was a 2K DI on an Arriscan.

     

    As for gear, I saw the preview a few months ago and it was shot with an Aaton XTR-Prod with a Canon zoom and a big aluminium Sachtler tripod. I think film stock was primarily 7212 100T, like the last Burns film "The War", which was EXR100T 7248 and Vision 2 7212 100T.

     

     

    Having just watched the first installment of the series, I must say I was very disappointed with the quality of the images.

     

    As masterfully as it was shot by Buddy Squires and crew, it's unfortunate that their images totally fell apart by the time they reached my plasma at home. (via WTTW in Chicago.)

    Funky colors (especially the blues in the sky and the snow) gigantic grain, weaving images, and a general softness. At one point, I mistakenly thought some of the footage might have been archival film from the 50's...it looked that bad to me.

     

    The closer I got to the display, the worse it looked.

     

    In my mind, the limitations of super 16 are readily apparent. Especially after it travels the tortured path from PBS master control to my home. So why super 16? Apparently Ken Burns never saw "Planet Earth." (I know...there was some film there, too)

     

    Too bad. It's a great series, with well told stories, great cinematography, and it all fell apart getting to my display.

     

    John Cummings

    Chicago

  10. Hi Adam,

     

    Actually, I think my Scoopic was the first that Bernie worked on as far as the LaserBrighten process, and it gave him a hard time to remove the focusing screen. He marked it for widescreen 1.66:1, which with the recent U16mm gate widening makes it a decent marker for 2.40:1, and did the LaserBrighten. But, because it had been glued in so firmly and the glue was old, it developed a hairline crack during removal. Thing is it makes no difference in the viewing, I hardly notice it, but I think that is probably the reason that Bernie does not offer that for the Scoopic anymore. I attached a couple of small frame grabs from the U16 Scoopic. I really love this camera...it gives me a decent, very compact 2nd camera to my Aaton XTR.

    post-33350-1252702878.jpg

    post-33350-1252703189.jpg

  11. Congratulations on your new U16 Scoopic! Bernie customized my 16M a few months back, with full U16, LaserBrighten and 1.66:1 frame lines on the 1.33:1 groundglass, which is about 2.40:1 if you use the full U16 image. It is amazing what can be done with these old cameras.

     

    I shot part of a documentary in the Balkans this summer with the Scoopic, and had the footage processed at Alpha Cine and then transferred to 1920x1080 HD at Cinelicious, and it looks great! Tip: I have shot with a bunch of different stocks and the Scoopic is loving 7212 100T the most. They all look good but 7212 stock and that Canon lens are made for each other.

  12. I have to throw my two cents in here about the great service I have received from Paul Korver and Cinelicious, and the quality of the Diamond Clear HD they offer. Recently I had film emulsion and lens test transfers from S16mm, 16mm and S8mm done at Cinelicious and they ALL looked considerably sharper than the frame grabs I see here.

     

    One lens I used was a Zeiss/Optex 12-120mm T2.4 and even wide open it was quite sharp. I shot it on an Aaton XTR-Plus I bought a few months ago, the lens was actually out of collimation and Bernie O'Doherty sorted it all out by adding a shim to the lens so the FFD would perfectly match the camera. Interestingly, the FFD discrepancy was something the previous owner, a decent and very knowledgeable guy, had no idea about, just thought the lens was a bit soft.

     

    BTW, I have no financial or other interest in Cinelicious, just that they have done good stuff for me in the past. That Paul would make the offer he has here is completely in character.

     

    I hope you guys can get to the bottom of this soon, and that it is something simple. Good luck, and please let us all know.

  13. You are correct, I have seen the promo DVD (family member works for a PBS affiliate) and there are several sequences with Burns and his crew in action using an Aaton XTR series S16 camera.

     

     

    Am I correct that Ken Burns' "National Parks: America's Best Idea" was shot completely in super-16? I've found a few stills from the project showing an aaton XTR.

     

    This show comes out this September (2009). I'm sure it's been in the works for a few years, but what does that say that Ken Burns is still shooting (documentary!) s16? If they were starting this project today and not a few years ago, would they still choose s16? I will be interested to see if his next few projects stick with film. I can't wait to see this one.

     

    There seems to be a 24 minute preview here (though I won't have time to watch until tonight):

     

    http://www.pbs.org/nationalparks/

  14. Thanks very much, Jean-Marie.

    -Roger

     

    sure

    executive producer in sarajevo :

     

    semio T 381 11 265 1241

    F 381 11 218 8178

    simiceva 9

    11000 belgrade

     

    www.semio.rs

     

    producer : Sanja Radovic

    sanja@semio.co.yu

     

    you won't find any resources in sarajevo but everything from cameras to lab and crews in Belgrade only 4 hours drive from sarajevo.

  15. Thanks for your kind wishes, Jean-Marie. This project has been in the wings for quite some time, but I finally figured out how to do it justice. Please PM me with the name of the exec producer who you were thinking of. I could use all the help I can get ;-)

     

    Hope your shoot went well in Sarajevo this past weekend. That is a special city.

     

    Cheers,

    Roger

  16. Patrick, like everyone said, be very careful out there. Lots of scammers trying to take advantage these days.

     

    As for the XTR vs ACL II, I recently went through the same thing as you while hunting a S16mm package for a film I have been working on. I purchased an excellent ACL II package on eBay, and then bought a HD144 ACL II Super 16 conversion kit here from a member, and Bernie O'Doherty was set to convert it for me. By the time I budgeted the cost of camera, conversion and then a couple of decent lenses, it was around $8-9,000. Big plus, though, is I already owned Nikon lenses, and also had a Nikon to ACL adapter. Then I luckily found an XTRPlus package with a Zeiss-Optex T2.4 12-120 zoom for $8,000. I sold the ACL II and HD144 kit and bought the XTRPlus.

     

    Anyway, the ACL II I found to be a bit smaller but just as heavy, and the XTR is easier to balance and handhold. The ACL II body is about 9 pounds, and the 200ft mag 4 pounds. The 400ft ACL mag is 7 pounds. My XTR with 400ft mag is 13 pounds.

     

    The big plus of the ACL II is the ability to use a variety of lenses from virtually any manufacturer, and the small 200ft magazines. Lenses are the big problem, as S16mm lenses are very expensive and hard to find. Another thing is that the ACL II allows you to shoot at 75fps, while my XTR, with the bi-phase motor, will go to 54fps. The main reason I bought that XTR package was because of the included zoom lens. Bernie O'Doherty then completely rebuilt and collimated the lens to the body for me, and it is pretty nice, although that particular lens breathes a bit.

     

    The ACL II is an excellent way to go if you do not find a decent XTR or LTR deal. If you are hunting for lenses, I have a set of well used but fine Nikon primes, including the 14mm Nikkor f2.8, and the Nikon to ACL adapter (not the c-mount) that I might consider parting with. Send me a PM if interested.

     

    There is a link to the first footage I shot with the XTRPlus on another thread here

    http://www.cinematography.com/index.php?sh...mp;#entry286237

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