Simon Wyss

What can 35mm do that video can't? From the strictly technical standpoint there is one thing film cannot do yet: exposure time as long as with video. NTSC and PAL systems offer 92 percent picture and 8 percent non-picture. The maximum for a film camera shutter angle is still 235 degrees out of 360 (Mitchell 16 HS), equivalent of 65,28 percent vs. 34,72. Then, with film you can expose single frames for years if you want ― without electricity ! No such thing in video Next: elimination of flicker has been made with film projectors since 1895. The Skladanowsky Bioscope is a duplex machine as well as the Prestwich-Green wide film apparatus of 1896 is. Smooth transition between frames Film is capable of resolving power values beyond reason. At the sacrifice of speed you can capture every tiny detail a lens sketches out. Fuji Eterna RDI and Kodak Vision x242 are such stock. Film takes you to 500+ frames a second without any compromise in quality (16 mm), to 425 fps (35 mm). Millions of fps are feasible with the drum camera, on a lesser quality level but it's there. Film cannot be deteriorated magnetically in transport. Not everybody has a 35-mm printer at home, even less 65-mm machinery. It is simpler to keep hands on an original than with video. Film can be projected in the light of a 4 kW lamp without cooling, no beamer will do that. You can draw and paint directly on film. Video will never offer this. Enough ?

Paul (of age unknown) You don't need to blame yourself. When you're right, you're right. Remember that German Hausfrau in Woody Allen's I Forgot the Title: "Whenn your numberh is upp, your numberh is upp !"

Three minutes more time of preparing my post . . .Yes, correct, each alteration in the basic light controls calls for compensation. You change the shutter angle from 180 degrees to 90, the iris diaphragm has to be opened by one full stop. You increase the frame rate from 24 a second to 96, the iris has to be opened another two stops. In case you'd set a light filter between film and object, that will have to be taken into account, too. The last point to consider is when you pull out the lens in order to shoot macro down to 1:1, then correction must be made for the inherent light loss but I think this subject can be left out for the moment. To retain a certain diaphragm opening you will have to either increase the illumination of the object or replace the raw stock by one of higher sensitivity. I am sure you are aware of the influence of the lens diaphragm on depth of field. With a reflex camera this can be observed by the price of a darker or brighter viewfinder image.

― pimp my crank ― :o

When you are right then it's a dying place. Fear is so outdated.

I have contacted Mr. Ludwig of Gigabitfilm, Ltd. If you don't mind would you please try to ask him, too. It's not my business how he wants to expand although we were the first lab to process a roll of Gigabitfilm. I don't have any HDR 32 on stock, only some 40 type in 35 and in 16. http://www.gigabitfilm.de/html/english/menu.htm

Sì, tutto appunto, everything is correct. Fixing time can be one minute when you agitate continuously. Good luck !

How could I possibly insult Americans when I've never been there. Also I should never have wanted to blame Europe but, you know, this is the old world with still widely spread mind control of roman-catholic origin or other provenience. Don't fear for me. I have several producers-friends who appreciate how I treated them. Bad examples of movie business people are almost always cine aliens like a lawyer Head of Archive or a manager Head of Museum. These career changers gave me hard times. I'd never even dreamed of founding an enterprise without sound knowledge of basics. At one archive the responsable person for the collections is not aware of the simple legal situation about a film or an equipment depot. I'm not going to complain, it's plain depressing. And now for something completey different, a nice cup of coffee.

Canon Scoopic 16, 16 M and 16 MS. David W. Samuelson: Motion Picture (Film) Camera Data: "Film threading is semi-automatic. Gate pressure plate may be removed for checking and cleaning. To load, open camera door and place roll of film on rear spindle, trim film end with cutter and insert tip of film into guide. With speed set at 16 or 24 fps, run camera while pressing film. Film will automatically thread. Check loops are properly formed, secure loose end of film to take-up spool, put take-up spool on front spindle, close camera door and run camera until footage counter reads ' 0 '." The film guide release pin is situated above the upper feed roller. Canon Scoopic 16 MS Camera. Verne and Sylvia Carlson: Professional Cameraman's Handbook: "To thread: 1. Bring film end down to cutter at bottom of camera, insert in blade, engage film perforation on pin, and cut film by depressing cutter. Remove cut-off piece and discard. 2. Insert film end into feed sprocket. Push camera Start Button. Film will automatically: enter feed sprocket, follow top loop-former, enter gate, follow lower loop-former, enter Inching Knob sprocket, be deflected downward over the guide roller. Allow an additional 45―61 cm (18―24 in) to feed through before stopping camera. 3. Loop film under accessory take-up roller. Bring film end up and insert into adapter throat until perforations engage sprocket; rotate Take-up Knob on adapter until film enters take-up side of magazine. 4. Roll film on core clockwise. Place lid on take-up side of magazine. 5. Depress Loop-former Release Pin (above feed sprocket). Apply power in short bursts and observe action of film. If satisfactory, stop camera, reset footage counter on adapter, and close door."

As of today we have 235 Volt nominal in the mains, through the day around 233 V.

One expression in German is: "gestorben" (has died). It is pronounced by the director or sometimes by a stronger executive producer meaning all takes of a set-up are in the box, "im Kasten". How does one call on that situation which is not a wrap ?

Glen, our stinky lab is closed. I want to leave Europe behind me, everybody is asleep here. The french professional cinematographers forum for example is half dead, not a post in weeks. In America people react, give answers, throw mud at you, at least one is alive. It's now only to know how to attract customers among 13 other labs in Hollywood.

Adrian, I fear the contrary. As soon as they notice they will start to pull you over the bench.

Why not, lab gets twice the footage to work on . . .

Such is life and it gets sucher and sucher every day. Quality is recognisable by everyone, don't you think so? On an encounter one feels whether a person might become a friend or not. So there is the quality of friendship around (or not). I insist on that being a very strong motor for our caring. No caring, no cinema. Why sit my bottom flat for flicks !

I have one or two of the simple Kern C-mount stereo lenses, not the projection lens. I did some trial work in 3-D about 15 years ago. It is quite fascinating. Now, if you're on the chase for such optics, try to get hold of the "big" Bolex-Kern stereo lens which is the one with a circular housing front. In it there are two sets of prisms that allow shooting closer and close-up. In a third position you have no prisms in front of the openings so that the lenses look parallel forward. The paired lenses are 5.6 mm apart (two simple coated Yvar triplets 12.5-2.8, fixed focus at 3 m or 10 ft.). The stereo base is 64 mm. One set of prisms will allocate the view on 3½ feet, the other provides for 2 feet. Domestic stereo lenses were given the inscription Kern-Paillard Stereo, those for export Bolex Stereo. A protruding 11 mm diameter bushing must be set on the camera turret instead of the washer under the central fastening screw. The project started in 1950. First devices came to the shops in 1953.

Fake ice exists as glass (smaller) and plastic parts (bigger). Photographers in food know where to get it. Else, you go browsing.

A Happy New Round to everyone ! Round? Yes, the plutonides are back on their lowest point in relation to earth orbit on zero degrees capricorn. From today on another 152 years upwards! Finished the past 94 years of decadence!

Ich mache nur Schwarzweiß. For more saturated colors why not go Fuji negative - Eastman positives.

something high quality Here we are: What do you think is quality ? It's nothing else than QUALIS, the latin question for What. What is a gesture about, a line, a scene, the story. If you don't know p-r-e-c-i-s-e-ly what every move shall convey it's almost certainly gone. There is not any high quality, only quality. Or not.

Nono, more intensity of play, awareness of the actors. If you could awake each character with his bearer. Do you understand? That is your job first, then the actor's. Demand something from them and give them time.

Hallo, Glen Dein Deutsch ist sooooo süß. Welches Filmmaterial hast du denn genommen? Russisches oder Foma oder Gigabitfilm? Eine Stundenfrau ist eine Prostituierte. Ich glaube, du meinst eine Lichtbestimmerin (Timing Person). Anyway, there is a Van Gogh exhibition now in Basel. To improve on your German, read some, but not Goethe. He was a drunkard. Friedrich von Schiller is the one.

Having thought a lot about that I tend to answer the question like this: The gray scale from black to white comprises everything (white is the sum of all light colours) in an undefined state, in an open status. The prism is not yet introduced, so there are no colours differentiated yet. Once you start with a colour you bring them all in. Blue can provoke yellow, green may call up some purple. The whole play of our retina rods begins. The match with the plot is thus: Abstracts or mind games prefer to stay in black and white. Look at the chess board, it is an abstract game, very much in the brains. Sentimental journeys as an opposite, see a melodram, dive into a musical, these are something from or to the heart. No brains. There you pour out colours. Pastel or sirup. You give it a taste and spice it up, sweeten it. One story is sticky sugar sweet (offers to Rheese Whiterspoon), another one comes bitterly (ask Sigourney Weaver). But never present Marlene Dietrich in colours.

How about WORST camera for porn ?

It works, yet I see actors. If you tried to bring more out the inner thing, the tension between the two, that could improve. Give each one word and reply for an intenser play.