Art Leal
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Posts posted by Art Leal
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I suspect it's pretty screwed up. Anyway, this stock has gone to New York and I wish the user the best of luck!
P
Thanks!
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An alert poster on the AMIA site caught this big news today:
http://www.kansas.com/2010/07/14/1403115/last-kodachrome-roll-processed.html
It'd be nice if they'd told someone else. It means we better get it in there by the end of November.
Jim:
Received the following from Krystal at Dwaynes's:
Art Leal,
Thank You for your question.
The last day is December 30.
Please let me know if you require additional assistance.
Sincerely,
Krystal
Dwayne's Photo
PO Box 274 / 415 S. 32nd St.
Parsons, KS 67357
800-522-3940
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I am working on a project which calls for us to film a TV screen. The camera is a hand cranked Bolex. I was wondering if there is anything we need to do to ensure that we don't get any flickering on the TV screen. The TV will either be a LCD or a Plasma with a response time of 60Hz.
Thanks!
Hi David:
I used a Bell & Howell Filmo and got the following from shooting a computer LCD screen with a 60Hz refresh rate. The sample runs from 00:58 to 01:04.
There's an even shorter sample using a Super 8 camera with very expired film and an LED TV (0:55 to 0:59).
Both were set to 24 fps. Does it work? Not sure (given the samples are so short in time and I used aged films), but I thought I'd pass them along.
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Here's a roll of Kodachrome 40 Sound film I shot over the Memorial Day weekend using an Elmo FS-20XL sound camera and an external Rode microphone I plugged into it. It was more work than I cared for when transferring and doesn't sound as good as the method Alessandro used. In retrospect using an external audio device would be easier since I would not have had to get the sound projector involved in the process. It was a lot more fun just seeing/hearing it projected. Don't think I'd be inclined to do this again unless I'd get some newer K40 sound film. Would have loved to have seen better colors on this.
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Here's a short experimental film I made to try out synching up sound with a non-crystal camera.
That worked well. Very good sync. Loved the clip...LOL! The State of Fruits (and the Economy).
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40/160 ASA cameras also meter for 25/100 ASA. Any camera should read it based on the internal filter swith getting kicked out by the lack of filter notch in the cart. Or by manually switching your filter knob. Many times you may have to switch your knob to the tungston setting.
Thanks Anthony....so the camera should read it as 100 ASA if it kicks out the daylight filter via the internal pin, but if the camera lacks an internal filter pin (like my Bauer), manually moving the daylight filter out of position via the switch on the side of the camera would also rate it at 100ASA, correct?
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Let me correct something-- I just checked, and the 350SL will not read 100D correctly. Nor will any of the other Elmo sound cameras.
The reason for this is that they are "XL" cameras designed to read the old Ektachrome 'G' film, which is no longer available. That film was a required part of the XL designation. What Kodak did with 'G' film specifically was tweak the chemistry so it could be used both indoors and outdoors without an 85 filter, and at ASA 160. It was their flagship low-light product that was both daylight and tungsten at the same time.
Really good to know, thanks Jim. I have a Bauer C700XLM 40/160 camera that also has no filter pin inside the camera. Always wondered how it would read (or misread) the carts.
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If anyone has experience with this camera or a similar situation, it would be greatly appreciated to hear what you ended up doing.
Thanks for your time!
Spencer Gilley
This is a 40/160 and 25/100 ASA rated camera. The ASA notch on the 100D (towards the top of the cartridge) is cut the same way a 160T cart is cut, except for the fact that it has no notch cut near the bottom for the daylight filter. What this means is that your camera should see this as a 160 ASA film, then with the daylight filter pin "pushed" in from the same cartridge, it will kick it down to 100ASA. Now I don't know if your camera's daylight switch (on the camera's body) will override this, many don't. But just to be on the safe side I would keep it on the bulb setting.
Your camera should work fine with 100D.
Here are a few pictures showing how a roll of E-100D is notched alongside a roll of E-160T (Type A). They are identical except for the daylight filter notch.
Hope this makes sense. I have the feeling others may explain it a bit clearer than I did. Jim Carlisle (of this forum) has an excellent grasp of this and explains it in a straightforward, easy to understand manner (which I always need, since I tend to confuse myself..lol).
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I was curious if anybody from this forum went.
Yes, I went to the NYC event last week. It opened with a rep from Kodak on a podium with a cart of 200T, 500T, Tri-X and 100D and telling us this is what Kodak has along the lines of Super 8. When asked why no more Plus-X/Ektachrome 64, we were told that in all honesty, Kodak is a business and they just were not making enough sales. They then showed a 1 minute clip from a parade of 100D scanned by Pro8. After we were told Jem Cohen would be joining us and showcasing some of his Super 8 works, but we had to wait for him to get to us by cab since he was at a Q&A at MOMA for his new film named "Chain".
In the interim we had ourselves a Q&A and one of the questions regarding 200T was whether or not it should be overexposed by 2/3rds to one stop. The person asking the question was interrupted by the female rep when she asked "why are you overexposing 200T, you should be shooting it at 200 ASA"...ok, then why is the cartridge notched as 160, and is notchless at that making it 100 ASA? I was under the inpression that Kodak notched it this way to intentionally overexpose by a full stop.
Jem arrived and showed us a Super 8 short/documentary made using Plus-X and Tri-X and with Patti Smith as the subject. It looked very good and I enjoyed the presentation. He He also spoke to us and said the short was mainly shot using auto exposure. We had a short Q&A with him as well. He works with both video and film, but still uses Super 8 at least once a week. His current film "Chain" BTW, was made in regular 16mm with a 4:3 aspect ratio.
Next up was this fellow Teague from FlickerNY. He showcased 19 minutes of footage which included a lot of international entries and three of his own works. Flicker is geared for local filmmakers so I was hoping to see less "international" stuff and I could have done with seeing a bit less of his own entries.
In the front row were some of the folks from labs such as DuArt and PAC Lab. They were introduced as well.
After we were given thanks for stopping in, and were handed a roll of 100D as a gift.
I enjoyed Jem's films and his manner the most. David Teague came off as a bit self-promoting to me.
They did a good job with the refreshments...plenty of chips, nachos, veggies, dips, beers and soda's.
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I sent a roll of double 8mm film to Pac Lab in NYC to process my film after calling them to ask whether they can process double 8mm film. After being assured they could process it, I got my film sent back developed, but not slit. Do you know of anywhere that can just slit the 16mm wide film on short notice?
Hi Nicholas:
Dwayne's has been doing it for me for $3 a roll...just had a second roll shipped. Send Krystal an email just to confirm.
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Hi Andy!
The worst of it were that some sections (sidewalk on :27, the streets at 1:23, pavement at 1:51, man's shoulder at 2:06) were just on the verge of appearing blown out when projected, but just barely. Also the darker-shadowed areas appeared much brighter, less contrasty. I might also mention that the saturation was richer off the wall, I needed to crank them down a bit after the transfer to avoid chroma noise/bleeding.
I'm sure a reputable telecine facility has much more flexibility.
PS Don't mind you linking to it at all. I made it public by posting it so I that I can get feedback from others, good or bad.
I'm with you on the negativity part...I ordered some more yesterday. But I don't view it as negativity, but a discussion...which is what makes this forum and everyone's opinions and experiences great to learn from.
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You chose a bad example to make your case..my footage. I admit its contrasty, but the blown highlights were mostly due to my homebrew telecine and clipping from the video camera I used. Although some of the area's are hot, when projected the detail is there. Perhaps a clip from a pro telecine may serve as a better example.
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Hello all, I am looking into the Max 8 format and have read many posts here but would like to get some expert opinions from around here on a few slightly confusing things.
1. Can this Max 8 format be telecined at anywhere else other than Pro 8mm, if so, where?
I believe Framsdiscreet.com in Toronto also handles Max8, Super-Duper 8 transfers.
From their website:
SUPER DUPER 8MM/ MAX-8 WIDESCREEN
"We can accommodate Super duper 8mm (aka. Wide 8mm or Max 8 Widescreen) for those who have modified super 8 cameras with wider gates. This modification allows you to shoot in an aspect ratio closer to 16:9 and in turn, allows you to shrink your grain providing an even sharper image".
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Here are the results of a second roll I tested with a Nizo S560 on automatic exposure. Colors are closer to what I expected.
Never thought I'd say this, but I'm going to miss E-64T!
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Hi Andries:
By notchless I mean no daylight filter notch located on the bottom of the edge of the cartridge...
See towards the middle of the page:
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Looks good. How is Kodak notching that film? Is it in a notchless cartridge? It should be just like Plus-X.
But their tip sheet here is full of inaccuracies:
http://motion.kodak.com/motion/uploadedFiles/CIS287.pdf
It suggests that it will be notched as 100T, where you have to remove the filter yourself. That would be disastrous, and most cameras will not read this speed indice, either. Removing the filter will also lower the ASA by 2/3 stop.
Better that it be notched at 160T/100D, with a notchless cartridge to knock it down to the lower ASA.
Hi Jim!
It looks exactly like the Plus-X, and is a notchless cart as well. I wondered about the same where the data sheet insists on manually removing the daylight filter even though the cartridge will push it out of the way. Perhaps they're taking into account cameras that may not have a filter pin?
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In spite of the flaws you mentioned it's a decent example of the 100D colors, which seem nicely saturated, and my guess is that a bit of this was lost with telecine, still, thanks for this.
Did you run into any problems with the cartridge at all, as with 64t that stuck a bit for the first foot or two at times?
Also I love your little "reference" to Pro8 there...
Thanks Alessandro!
No problems whatsoever with the cart I shot last week or this afternoon as far as stuttering, jamming, etc. Audibly it sounded very smooth.
BTW, the "reference" shot was my favorite part of this entire roll.
Best,
Art
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Here's a link to a roll I shot last week of Kodak's Ektachrome 100D. The Beaulieu I used gave me jitter, focusing was off with it as well, and it's not the greatest telecine. I had better results using the Canon 310XL indoors with it and at full auto exposure. Still I thought it might be worth a look.
Thanks
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Current condition? Quiet as a butterfly and completely operational. I must say that I am thoroughly excited for having almost completely disassembled, repaired, and reassembled my first 16mm camera. I couldn't be happier about it working, as I intend to take it (and my cleaned up Isolette I) to Spain when I visit a friend and film some of Europe while we travel. :)
Yes, congrats on your efforts! I tried the same a short time ago but the issue with mine is that the mechanism which controls speed no longer does. When the cam is wound even slightly, the thing sounds like a jet engine since it's running at top speed and nothing can slow it down. Also, thanks to Charles for mentioning the turret-located oil hole. Wasn't aware of it.
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Well, good news: I believe I have fixed the problem! Seeing as I had the camera already partially disassembled to clean/investigate any superficial issues, I decided to break it down piece by piece and determine the origin of the grinding. The first component to come off was the lens mount and shutter unit; after removing this, I wound the camera ever so slightly and let it run at eight FPS just to take it easy on the thing. Lo and behold, no more screeching. Further, it seemed to be running at proper speeds; I dared not test it above forty-eight FPS, but eight, twelve, sixteen, twenty-four, thirty-two, and forty-eight FPS modes all functioned beautifully, which led me to believe it was the shutter making that God-awful racket. After a few minutes of my father and I (both lifelong tinkerers) examining the components of the shutter, we made quick work of disassembling it. While studying how it worked, we noticed that if the latch was held open, the shutter would freely spin (as it should when the shutter release button is depressed) and it would make faint screeching noises. Once the thing was apart, we lubricated the metal rod which the shutter was seated on, checked for detritus stuck in the mechanisms, put it back together, oiled it, and fired it all up.
Current condition? Quiet as a butterfly and completely operational. I must say that I am thoroughly excited for having almost completely disassembled, repaired, and reassembled my first 16mm camera. I couldn't be happier about it working, as I intend to take it (and my cleaned up Isolette I) to Spain when I visit a friend and film some of Europe while we travel. :)
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A while back, I purchased a Bell & Howell 70 DR that appeared in pretty good condition; it seemed to run flawlessly, as well. Yesterday, I ordered some film to try it out and decided to see how it was holding up when I got home. To my dismay, the camera now makes a terrible screeching/grinding noise when wound up and run, and certainly does not run at frame rate. Could it just need some oil, or is there something much more fatal happening? Thanks for any support you guys can offer; this has really got me bummed out.
Will,
PS: As I've been reading around, I've been noticing people indicating that running the camera dry (at least at a high frame rate) is abysmally awful for the thing. Why is this?
Hi Will:
The same thing happened on mine, and it did also occur after running it at a high frame rate for a slo mo scene. Here's an excerpt of what info I found on a Filmo Yahoo group:
- Great to have found this group. I'm new to 16mm and recently purchased a Filmo
- 70DL. Unfortunately I believe I broke the spring since now it runs at its fastest
- speed and cannot be slowed down. Can anyone recommend a repair shop?
-- It sounds like you are having trouble with the governor.
-- Unless your problem is with the linkage on the governor,
-- it is not a trivial repair. I can't help with any re-
-- commendations for repair shops but used Filmo's show up
-- eBay quite frequently and with a little patients, a good
-- one can be had quite reasonably.
I might also mention that somewhere I read that disassembling the Filmo can be dangerous, since the main spring is under a tremendous amount of pressure and repair house technicians use a metal plate to protect themselves from a recoil. How much of this is true I cannot confirm.
Since then I've purchased another one. I do place a few drops of oil in the holes indicated, but am also wondering if there's anything more I should be doing to ensure it runs smoothly.
Art
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So the camera is Bell and Howell 440 Optronic Eye. It has only automatic exposure with +1 to -1 adjustment. The motor seems to be working well on both speeds and shutter also.
The problem is that I don't have a manual so I don't know what film speeds it supports. Also there are some readouts at the view finder that I don't understand. Does anyone have any experience about this camera or any similar Bell & Howell model?
Niklas:
Don't know if this model is similar to the 431, but if it is, and if the ASA feelers look like this:
http://s466.photobucket.com/albums/rr22/le...;current=BH.jpg
then the camera supports ASA's 10 to 400.
Here is a copy of the manuals description of the viewfinder info...again, not sure if yours is like this one.
http://s466.photobucket.com/albums/rr22/le...urrent=view.png
One thing to watch for on these "Optronic Eye" models is that the meter is s-l-o-w to respond to light, maybe due to its age. I've owned two of them and both had the same slow-meter issue, though one was a bit quicker than the other.
Hope this helps.
Art
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This is absurd. I've called every drug store in San Francisco to find the other air zinc size 675 and no one has them. They only have the smaller size 675. Why there are two different size 675 batteries, I don't know, but I'm feeling stuck now.
How is this not covered in the other thread about size 675 hearing aid batteries?
Is there anything wrong with using two smaller sized 1.4v batteries? It's still the same voltage right?
The smaller 675's will work. I've done the exact same you have...used foil to hold them in place. Just be sure they're nice and snug...if they start to jiggle around your voltage will "jiggle" as well.
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I bought this camera beecause my Minolta XL-400 will only accept Kodachrome 40--- I have already shot a bunch of other film on it, only to have it not come out at all-- and the wedding I'm going to use it for is coming up this Saturday.
Conveniently, I find out that the 1.3v batteries it needs in addition to the AAs are impossible to find!!! AAH! Is there any other kind of battery I can use? Am I just screwed?
I'm in San Francisco, so if anyone can recommend a camera shop that would be great.
Thanks!
Andy:
The following link (if you scroll down to the "Movie Cameras" will list the Wein Cell MRB625 as the replacement (2X).
http://www.weincell.com/weinchart.htm
Adorama has them:
http://www.adorama.com/BYPX625W.html?searchinfo=wein+cell
I've used them on my Canon 1218 with great results, though you might be able to also use 675 hearing aid batteries which are 1.4V and you can get them at a local CVS/ Rite Aid, etc.
This thread may also help:
http://www.cinematography.com/index.php?sh...mp;hl=wein+cell
Advice on color correcting an overexposed 8mm project in CS5 Premiere Pro
in Post Production
Posted
My two cents, using a combination of Sony Vegas and After Effects with a lot of trial and error and a filter named Shadow & Highlights in AE. Would love to see this film at some point!