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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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    Culpeper, VA
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    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. There is a lot to be said for reciprocity characteristics in gradients of exposure that yet can't quite be matched by digital. The logarithmic fall-off of densities (local contrast) is automatic in film but must be artificially created in digital.
  2. Well, they tended to stretch them over frames and put them in the mattebox rather than behind the lens. Of course, the "secret" of how this was done was closely guarded and only referenced obliquely in interviews. Trade secrets!
  3. Photokinestatis far predates Ken Burns and was typically performed on a rostrum camera. NFB title "City of Gold" is a good example of a film that pre-dates Burn's popular Civil War series. I am not implying Burns takes credit for this type of animation; I think he actually states that he did not invent the process in a few interviews, but his name has become associated with this type of filmmaking.
  4. Silent Cinematographers often stretched various types of French Stockings made of silk across their lenses for diffusion in close-ups. Of course, they had to be French and, like any fad, the brand, weave and color were of intense debate...
  5. I once owned a Steinman printer for 35mm, but it was incomplete and was missing the developing spiral and tanks. Foolishly scrapped it in the late 1990's, thinking I would find another one in better shape. Haven't found a trace of another yet... The drum shaped units tend to oxidize the developer quite rapidly, but can be easier to handle by one person. I intend to build a copy of the one in the book to test some theories I have about tinting and toning positive film; when I get the time (read as "pipe dream"). You can find a veritable cornucopia of motion picture related literature at the Media History Digital Library, which are word-searchable via the Lantern tool bar. It's not a fool-proof system, but at least you can get within a page or two of the subject and is much better than having to wade through endless PDFs to find what you seek. Contact printing on a Steenbeck? Wow, that would take a lot of masking and testing!
  6. Well, I think that was more dictated by the director than the cinematographer, but I am sure there were personal variations for whatever reason. I do know that projectionists would routinely "interpret" film with their hand-cranked projectors; often at the insistence of the theater manager to get an extra screening shown in an exhibition day. Silent film speeds crept up from roughly 16fps in the mid-teens to over 28 FPS a the end of the Silent Era for that very reason; to combat the problems of theater owners "speeding" film through the projectors to get that extra screening. Somewhere in my archive I have a very good article on silent film speeds and how they changed; if I can find it I will post a link...
  7. Almost every silent film camera exposed 8 frames per crank. Seems like a few oddball camera models were 7, but I cannot recall the brand; Probably was one of the cameras sold to accompany that correspondence course offered in the 1930s' from Chicago.
  8. Make your own processing pin racks: http://archive.org/stream/condensedcoursei00newyuoft#page/136/mode/2up Not everything has to be bought off the shelf with a brand name stamped upon it...
  9. Everybody did clip tests...
  10. No specific shutter speed in this info, but might be useful to you...
  11. If you just want to be sure it is operating properly, shoot a few shots and snip 5 foot sections out of it and process with a typical still film developing tank and examine the negative over a light bench. Since you don't state the type of camera you are using, I can't know if it has a gate punch. A lot of early hand cranked cameras had a lever that would punch the film in the center of the frame to identify takes that could then be broken down in the dark to individual shots and then hand processed on racks by visual inspection. If you do have one of these cameras, you can scrounge up some lab stock short ends of Kodak 5366/2366 interpositive film stock and shoot that as a negative at an equivalent of ASA 16 or so and punch each take individually. The beauty of this is it is blue sensitive (not even totally ortho) and can be handled under the safelight typically used for still film printing (OC). You could build a pin reel and process each take in a deep tray by visual inspection, but this is probably getting beyond the scope of effort most people are willing to expend...
  12. Also, cleaning a camera with compressed air is a bad idea. You can blow film chips and shavings down into the movement. Use a soft camel hair brush, orangewood sticks and a lint-free cloth instead. Sounds like a bearing going dry. If you keep shooting, it may seize.
  13. 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!
  14. 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.
  15. +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/
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