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Frank Wylie

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Frank Wylie last won the day on January 3

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About Frank Wylie

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  • Location
    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. That certainly looks like the onset of nitrate decomposition and the gamma looks good! Coffee does mimic the look of pyrogal-based developers, as it stains the negative too. Thanks for sharing this!
  2. Depending on the monitor, it might cover more of the desired colorspace natively without resorting to such drastic internal color management. You also get to say "4K " a lot... Seriously, if you use internally generated proxies or proxies on the fly, it taxes the system more heavily doing the conversions on the fly. A native 4K monitor takes the burden of dynamic scaling and colorspace conversion (provided it has the native colorspace), off of the GPUs, provided your data pipeline can handle the 4K overhead. Better have a good 0 RAID or a fast SSD or a SSD 0 RAID. Bottle necks are typically I/O data from source discs to GPU and to Cache drive. Get a SSD for a dedicated Cache drive, have a good fast RAID for Source material and NEVER save files you are working on BACK to the drive from which you are working. You can mitigate this by Pre-rendering HD proxies of the 4K files, but then it gets more complex matching back to the original 4K files.
  3. +1 on the Display Cal Software! It's as good (in my opinion) as any commercial grade color management software and they specifically support DaVinci Resolve calibration of a grading monitor with a Decklink card. You can, of course, use it on systems that do not have a decklink card, but READ UP on the documentation! It IS a bit of a learning curve. https://displaycal.net/
  4. Just use the 7366/3366 variation of the 5366/2366 Intermediate stock; same thing. Process as a negative in either Dektol or TD-3. If you have to use a normal lab, if they insist on processing it in the negative machine, push it 2 stops but expose "normally". If they will run it in the positive machine (Higher contrast), try "normal" ISO of 6. NOTE: a lab might balk at running intermediate stock through their positive machine, as the anti-halation dye could color their developer... Run a short test. Always run a test...
  5. Profile your monitor to the proper colorspace and use HD proxies and render @ 4K; it will work. Blackmagic just made their Resolve 15 Certification materials free. Build a proper pipeline and it will work. The information is there for free. If your friend is hung up on the resolution, I'd pass. Resolution has nothing to do with color correction; the colorspace and proper monitor calibration does.
  6. You really want to make an authentic 1915 silent film? 1. 35mm Hand Cranked camera with lenses collimated to blue light. Use a 45-50mm lens mainly. 80 to 100mm optional. Nothing wider than 40mm. A Parvo or 2709 would be ideal but you could press an Eyemo into service, provided you treated it like a Mitchell BNCR that weighed 150 lbs. NO HAND HELD, NO MOVING CAMERA unless you bolt it to a compact car and push it. Abel Gance was an exception to the rule, so you ignore him; he's not a typical silent film maker... Frame shots in Extreme long shots, Establishing set shots and at the knees to the top of the head. Closeups are RARE in the early films. You can only shoot a few... 2. Shoot on 2366 Intermediate B&W lab stock and rate at ISO 6. You get 2 takes per shot maximum. No 100 to 1 ratios. Blow a shot? Cut around it... 3. Caucasian actors will need pancake makeup. Max Factor still makes it. Caucasian skin photographs very dark on blue sensitive film; red doesn't register. 4. Get a lot of reflectors, a large mirror and several large silks to diffuse the mirror. Shoot everything outside you can. Make open air sets with silks over the top. Exposure is determined by on-set tests. Learn to "bottle" test and judge exposure from a wet negative. Remember YOU process the film yourself that night... 5. Process by inspection under an OC safelight in a pin rack for a negative density typically 1/2 more dense than our current "normal". Expect Dmax in scenes to hit 3.0 but no more than 3.6 d transmission. 6. Cut the neg into a single strand with handles on each end of shots, strike a one-light dupe and use that to edit. 7. Write bridging title cards, photograph on same 2366 but soup in positive developer for contrast and strike a one lite for editing. 8. Edit film with title cards to your satisfaction, meanwhile taking notes as to which scene or scenes you wish to tint or tone various colors. 9. Break down negative into as many printing rolls as you have tints or tones. If you have a typically mono film with title cards that are sepia and a night sequence that is blue, you will have 3 printing negatives. 10. Time each negative reel and strike show quality prints from each. 11. Send the tinted reels to be tinted in dye baths. 12. Cut the tinted reels into the mono release print reel in proper order. Every Silent film that had tints/tones was a spliced print - every one... Make 3 of these a week on average - about 1000 feet each. You've done it.
  7. No chance this was home processed in a Lomo tank?
  8. PM me with your email. I need to take care of some business right now, but will answer when I can. Thanks Frank
  9. Better check that gate: I don't remember if the projector gates will fit in the camera and vice-versa. The fork offset might prevent it from working, but I get confused between ACME and Oxberry offsets... The picture is what I have for 16mm...
  10. If so, I can't help you. I have a set of 16mm and 35mm gates with matching feed rollers for the projector head of an optical printer, but nothing for the camera. (Heck, I even have the chassis of the projector head for it all to fit into, along with take-up torque motors and some odds and ends like the old gate micrometers) Sounds like an animation camera you are trying to get back into service. Right?
  11. This is for the camera, I assume; not the projector head, right?
  12. "Sprocket Cap"? Please explain... I have a 16mm Oxberry Gate and I don't know of what you speak...
  13. OH, buy the way.... what model B&H camera do you have? :unsure: I was assuming a DR 70 or variant ...
  14. Sounds like your spring motor is sticky and is not releasing smoothly. The spring lubrication gets sticky and as it unwinds, it will create sudden bursts of speed as the grease unsticks. You need to have it cleaned or try another camera. You weren't hand cranking it via the accessory drive at the base of the camera, were you? You were using the ratchet spring motor, correct?
  15. David, I wasn't trying to single anyone out and I apologize if it appears that I did... I agree that Super 8mm would probably not be a good medium to simulate a motion picture from the silent era. "The General" is a pretty late era Silent Film that had much of the nascent technology that would very soon be pressed into Sound Film Production. Again,as you state, it is very difficult to generalize (pun not intended) about Silent Film technique without specifying an epoch, genre and even nationality you are trying to emulate. There are as many examples of deep focus cinematographic shots as there are selective focus shots throughout Silent Film History. Here are some films I have timed that are worth watching for amazing cinematography: "Hotel Imperial" (1927) Bert Glennon "Intolerance" (1916) G. W. Bitzer "Corporal Kate (1926) Henry Cronjager - wild process shots! "The Wedding March" (1926) Roy H. Klaffki and Ray Rennahan (wild diffusion and technicolor sequences) "Safety Last" (1923) Walter Lunden There are many more I can't think of at the moment, (I estimate I have timed about 200- 250 silent films) but unfortunately few are available on DVD and can only be seen through the 35mm print loan program of the Library of Congress. Many are very obscure by their very nature and a lot are heavily damaged and incomplete but the sheer variety of cinematographic styles represented is staggering.
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