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Frank Wylie

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About Frank Wylie

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  • Occupation
    Other
  • 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. 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
  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, t
  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
  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 a
  14. http://www.jkcamera.com/index.htm They might fix it for you...
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