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Frank Wylie

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Frank Wylie last won the day on January 3 2019

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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. All six of our 35mm machines are Triese sprocket drive machines... The very last machines Tom ever made...
  2. I would venture 4444 is compressed just enough to make working with the files much faster, but retains the proper color space without impact on color operations. Uncompressed DPX files are quite taxing on playback; 4444 less so...
  3. Try starting here: http://www.bolexcollector.com/ With a bit of search engine work, you can find all your answers easily...
  4. Blackmagic Training: https://www.blackmagicdesign.com/products/davinciresolve/training Go to the bottom and take the intro and color grading courses. There is downloadable footage and a lesson plan. You can even take a test and be certified by Blackmagic for free. Also, there are good tutorials on Lowepost.com, but I believe they are subscription-based, as are many more online.
  5. The ProRez files will be compressed and have a lut applied, whereas the DPX files, if they are true log files, will have none of that applied and be much more like a RAW file. Admittedly the compression on ProRez files is good, but any sort of LUT imposed on your image PRIOR to grading can be destructive to your target color space by clipping or limiting the response. In any event, it's best to appy LUTs and color transforms at the END of your node tree or pipeline to avoid this clipping and possible distortion of the color range. If you are using DaVinci Resolve, even with a slower computer, you can either use proxies or optimized footage and cut/grade in a lower resolution format. When you are finished, reconfigure the project to output 4K and let it render. That being said, there can be instances of where your graphics card can choke on the very large files IF you use a lot of nodes and noise reduction. I have found times that 2K files worked acceptably in Resolve, only to have the GPU error-out when trying to render @ 4K. It's just something you have to test; like running cameras tests before you do a shoot. You wouldn't shoot a feature without a proven camera, so why attempt post with an untested computer?
  6. I do think it's possible, but am only going from memory. The back focus or flange mount distance can be adapted with shims or machining the turret plate down a bit.
  7. Here's the best place to ask that question, but read the FAQ and have the information needed BEFORE you start asking questions. https://forum.blackmagicdesign.com/viewforum.php?f=21 The guys there are very knowledgeable, but want you to value their time as much as you value your time.
  8. I used to use Diamond Cut Software, which was developed to restore the Edison Collection of early acoustic discs. https://www.diamondcut.com/st3/product-category/software/ Bit of a learning curve to this software; must round trip the files without changing sampling rates and such to maintain sync. It's the closest thing to CEDAR you can get for under $100.
  9. Check with Visual Products; they can probably advise... http://www.visualproducts.com/
  10. The logo on the cap looks like the old Cinema Products logo; the maker of the CP 16 and the Steadycam. More than likely it was designed for a one-tube video camera or a very early single chip digital camera. It should have relay optics inside the unit, but what the back focus would be is anyone's guess.
  11. House reels are only for theaters with changeover systems with two projectors that can run up to 2000 feet of film at a time (35mm). Typically, you don't build-up reels; they are shipped on 2K reels and just wound onto the 2K house reels for projection. The standard printing/production unit for 35mm since the 1900's is 1 reel or roughly 1K feet. However, in the late 50's, 2K printing reels were introduced in an unorganized way, which later became more or less a standard for lab printing, but 1K reels were (are?) still quite common for printing. When platter systems came in, then prints were sliced and diced like crazy, often losing several feet off each join over their production run as each theater built-up and broke down the print between screenings. Archive prints are, for the post part, prohibited from being plattered, so they have to maintain a changeover projection system if they want to exhibit a print.
  12. https://store.ascmag.com/product-p/leicamp10.htm "With the M10-P “ASC 100 Edition,” Leica has created a fitting tribute to the world of cinema on the occasion of the 100th anniversary of the founding of the American Society of Cinematographers. The Leica M10-P “ASC 100 Edition” enables cinematographers to get a first impression of a planned scene by reproducing two different cine looks and displaying these frames as still pictures. For the first time, the cinematographer will have a useful preview of their intended image, allowing them to choose a more classical or more contemporary cine look. The “ASC 100 Edition” set comprises a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH lens and — with its two specially tailored cine look modes — is an exquisite tool for aiding cinematographers and filmmakers in their search for the truly exceptional visual experience. The two unique looks were developed by Leica imaging quality specialists in collaboration with some of the world’s most influential cinematographers and members of the ASC. While the ASC Cine Classic mode is inspired by the analog 35mm motion-picture film look, the ASC Cine Contemporary mode supports the current digital look of contemporary movies. To make the M10-P “ASC 100 Edition” a tool for professional cinematographers, it will enable users to select from different frame lines used in cinematography. Once activated, the corresponding frame lines are displayed as a bright-line frame. The ”ASC 100 Edition” set also includes a Visoflex electronic accessory and a Leica M-PL-Mount. Together with the Cine Looks, and the selectable frame lines, this enables the use of the combination as a digital director’s viewfinder. The Leica M-PL Mount enables the use of almost all PL mount cine lenses available on the market. The Leica M10-P “ASC 100 Edition” thus provides cinematographers and filmmakers with the ability to view and test scenes with any desired lens before shooting begins. Location scouting can also be made much easier with the aid of the Leica FOTOS App, as the combination of the camera and the App offers the ability to share and discuss results immediately with all parties involved in the filming project. The modern interpretation of Oskar Barnack’s vision is expressed not only in the unique range of functions offered by Leica M10-P “ASC 100 Edition”, but also in the camera’s design. Radically reduced to just the essentials, the engravings on its black chrome surfaces are also completely in black. The technical-functional look is carried forward in the leathering, which is similar to that also found on the Leica SL. The final touch to the look of the Leica M10-P “ASC 100 Edition” is the classic ASC logo on the top plate that seems to disappear in certain lighting conditions. "
  13. Hand cranked film projected in the Silent Era looked.. normal. What modern audiences associate with hand-cranked footage is largely based upon a number of artifacts subsequent to their initial exhibition. It also depends on the Era of which you speak; 40 some-odd years encompasses a LOT of technological change, aesthetics and production methods. Hand cranking wasn't so primitive. Sven Nyquist used a hand-cranked 2709 shooting color negative for Bergman's "Fanny and Alexander" (1982) that was intercut with Arri 35BL footage and no one noticed. (I have been searching for this article from American Cinematographer for reference, but have been unable to locate it yet. Hope my memory hasn't failed...) Image "pulsing", often attributed to irregular hand-cranking, is 99.9% incorrect; it was the rack and tank processing of release prints that introduced this artifact into the prints. No cinematographer worth their salt allowed density pulsing in their camera original! From about 1895 to around 1912 (depending on a lot of factors), the cinematographer not only loaded their own magazines, they perforated the film just prior to shooting! They did clip tests on set to determine exposure, cranked the camera and worked the geared head with the other free hand. After shooting was done, they were responsible for processing their own footage on racks, most with their own modification. This mostly consisted of a sliding top bar that allowed the film to slip on the rack and vary where the highest velocity of developer played upon the film, minimizing any density variations. Unfortunately, very little care was taken with the high volume processing of the release prints and static racks were used and introduced these density pulses. I have timed over 600 features for the Library of Congress and many of them are classic silent era masterpiece camera original negatives and can tell you emphatically that very, very few of them suffer from this defect. Speed issues, flicker, poor registration, deterioration, bad speed conversion duplication and just poor duplication are, in general, artifacts of lazy lab work and poor storage.
  14. http://www.jkcamera.com/index.htm They might fix it for you...
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