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Frank Wylie

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About Frank Wylie

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    Culpeper, VA
  • Specialties
    Film and digital photography, film history, cinematography (both kinds) and anything to do with photography. I have owned and operated many kinds of 16mm and 35mm cameras, flatbeds, contact printers, optical printers, Hazeltines, film processors and so on.

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  1. I just assumed you were interested in doing it the classical way; in camera. If you are digitally compositing and not doing it in camera, shoot the action full frame and resize in AE. Why not have all the pixels to play with for maximum flexibility?
  2. Guess I got this confused with the Adox announcement of restarting Super 8mm film. I don't have social media accounts, I ditched them several years ago, so I couldn't read the Instagram links. All in all, it's unexpected and great whatever formats get revived
  3. It's a complex subject that dependis on how the painting was painted. You might have to scrim the live action with a very fine net to match the contrast between the painting and live action. Sometimes the color temp between the painting and the live action can be mismatched, so be prepared to have a good supply of CC gel filters that cover the live action aperture on the painting; you might have to warm it up or cool it down. Here's a pricey book that directly covers the topic: https://www.amazon.com/Invisible-Art-Mark-Cotta-Vaz/dp/0811831361 Good luck.
  4. I would hope they offer Regular 8mm as well; preferably Double Regular 8mm in 100 foot daylight spools, but we will see.
  5. That's a possibility, Evan. Thanks for the suggestion.
  6. Yes, I found those, but I inspect and evaluate tons of original nitrate negatives, dupe negatives, lavenders/finegrains and prints that have domestic and foreign versions, along with censor-cut prints so trying to make heads or tails of missing footage by gang synchronizer can get pretty challenging at times. It would be nice to be able to do offset footage subtractions when I find that dupe negative that has 5 or 6 sound sync marks punched in the leaders; it happens more often than you would imagine. Seems every lab just HAD to make their own sync mark, or edge notches or timing cue ta
  7. It's crazy, but no one has written an app like the old electronic film calculators you could find from Birns & Sawyer. You know, the ones you could add and subtract film footages without having first to convert everything to frames and then back to feet/frames? Anyone have one laying about they would part with for a reasonable sum? Barring that, anyone know of an app for an iPhone that would do the same?
  8. Looks like an Elmack Spider or Cricket Dolly with an operator jib arm; hard to tell.
  9. The Auricon could be obtained with either a Variable Area or a Variable density track recording option. The Maurer could be outfitted with a Tobis Klangfilm-like multiple trace Variable Area track. It's a black art, making those galvos. Not many people who walk the face of this Earth can service them or build them.
  10. "Making Kodak Film" by Robert Shanebrook, 2nd Edition: http://www.makingkodakfilm.com/ Worth the cost...
  11. Technicolor Movies : The History of Dye Transfer Printing by Richard W. Haines Using extensive research and interviews with many of the surviving Technicolor technicians, the history of dye printing and the events leading to its demise are fully covered. (The Beijing Film Laboratory is the only facility currently using the process.) Included are diagrams of how the process worked and an extensive listing of U.S. feature films printed with it. https://www.thriftbooks.com/w/technicolor-movies-the-history-of-dye-transfer-printing_richard-w-haines/1580854/item/42471286/?gc
  12. That's why DCPs use JPEG2000; wavelet encoding rather than Discrete Cosine Transforms (DCT block encoding). The problem is, you can encode however you like, but once it leaves your hands, it will be re-encoded and displayed probably using a DCT type encoding to make the signal small enough to transmit over the Net or on a portable medium. This is no different than making a perfect 35mm print and shipping it to Uncle Joe's cinema; cobbled together with bailing wire and spit. We are at the mercy of the exhibitor and the limits of their/our exhibition equipment.
  13. What's funny is a Curator who asks for a 4K scan and wants to see the entire area of the film, but still thinks they are getting a 4K program image. No amount of explanation will seem to convince them otherwise...
  14. Richard, I see. I wish you luck, but would council that you first become acquainted with what it actually takes to copy film properly. There are underlying principals in film stock duplication, in both physical transport and color science, that are not readily apparent to casual observation. It is not a trivial task, nor is developing a new film stock. I will also state that the lack of copying services for 8mm film is not due to a lack of knowledge, skill or even equipment (although it would take great effort and expense to assemble such a service), it is due to the lack of
  15. Yes, this is a selling point for archival scanners. Curators want to see everything; out to the edge of the film to capture edge codes and even inked sync numbers.
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