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Roberto Pirodda

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Posts posted by Roberto Pirodda

  1. On 11/26/2019 at 8:49 PM, Derick Crucius said:

    I double checked, and no I don't think its from the scan. The reason is that the same spots appear in the same location on some B&W film that was scanned on a different scanner altogether.

    Unless you have shot the b/w  and color stocks with the same lens with the same focus and f/stop, i think  these are prism spots. Do not use f.22, but use a neutral grey filter or better set fast shutter speed if possible. You should set iris at about f5.6 for best definition. It is not so difficult to flip and clean the prism after all.

  2. I used that lens years back. To fix perfectly focus  you have to screw  very well the lens  in camera first. Then if you look in the base of the lens ( close to mount) you will find 3 little screws. Unloct them and rotate the lens till you will find perfect focus for your need. Then refix those little screws. That is all

  3. Hello Margaux, i have some Bolexes, and can sell one of them. It is an EBM model. It is an heavy customized camera. The frame is enlarged from side to side, so in post you can choose wich film format to screen. Example, standard 16 or Super 16 or Ultra 16. I do not know which price to ask, since it is a total different camera from original now, so you can make an offer. I will send pictures on request. This link you can see a video i shot years ago with this camera ( S16 format) . Best regards. Roberto

     

    formato U16-mm-1.jpg

  4. Good day Guy, i have a frame by frame scanner for 9,5mm too.It is 2560x2048 pixel uncompressed TIFF output in a folder image sequence. From this image sequence you can convert in whatever video format of your choice. I charge 1 Euro/meter.Are your 2000 feet( 609 meters) loaded in a single big reel ? My scanner can load 120 meters max, but i have not problem to customize for bigger reel.

    Roberto

    https://www.facebook.com/265618923958142/videos/268955433624491/

  5. Well, i do a sort of wet gate with diffuse light too. To me diffuse light helps with my sysyem since i have tested collimated light with worse achievement . I soak the film with vaseline oil then pass trough mechanical cleaning system. This way dust and dirt are removed and the film remains wet. Finally i scan the film emulsion for the highest quality. I can scan from sd to 2.5k to image sequence. This system works best with reversal, with negative film the difference is not noticeable aside dust and dirt removed.

    Here a brief description. (hem , the voice is robot,sorry for some weird pronunciation)

    https://www.facebook.com/265618923958142/videos/268955433624491/

  6. Agree with Dom.

     

    You will get the best results with your personal control over camera and lens.

     

    Le Prince used two similar lenses in a double mount, one for taking and one

    for focusing on a ground glass. That was in 1888. The Lumière people

    focused directly on the film. That was in 1894. Jackson Rose used the

    rackover system with Bell & Howell’s new camera in 1912. Vinik used a side

    ground glass and a mirror shutter. That was in 1917. Arnold & Richter offered

    a mirror shutter in 1936-37. Bell & Howell offered the rackover system anew,

    for 8mm shooters, from December 1938 on. Paillard-Bolex had a critical focuser

    with the H cameras since 1936, an eye-level finder with it from 1939 on, and

    finally a camera slide or rackover in 1953. Pathé introduced the pellicle reflex

    finder in 1946-47. Paillard brought a double-prism TTL reflex system in 1956

    and Beaulieu an up-and-down mirror shutter March 1958. The Eclair ACL has

    a waving mirror arm.

     

    Every system has its advantages and its pitfalls. The point is that you take

    control of the lens by the aid of a system after the system has been adjusted

    by a technician.

     

    It may not sound comforting that all camera makers, believe me, all of them,

    had or have film flatness as main technical problem. The problem is easily

    seen by everybody who looks through the lens port of a movie camera

    loaded with film, shutter open. When the camera is tilted under a light it

    should, in theory, be reflected mirrorlike by the film. There is a little room

    allowed for the film, about two or three hundredths of a millimeter, a thousandth

    of an inch. Flange focal distances and the adjustment of lenses usually under-

    match for this reason, I mean to say that the lens almost always sits that little

    distance closer to the theoretical film plane in order to project the theoretical

    plane of best sharpness into the photographic layer pack rather than onto its

    surface. The film is never as flat as a sensor, one of the brutal truths about

    the success of video over film.

     

    Well , a good serviced cinecamera can deliver supersteady frames. My Bolex EMB has nothing to envy those pin registered cameras. An electronic video image, with its artificial/flat look can only forget the warm/pastel look of cine film. To me the "brutal " truth about success of video over film is only related to its immediate availability

  7. Well, i was meaning to practice with sun only, to test exposure. Remember that the less glasses you put in front of the lens the better. I upload a test i made just now with a 1/2.3 inch video camera and 200 mm tele lens (iris at f11) with 2 polarizers . The picture is slighty out of focus because these polarizers distort image quality, i can figure how much bad can be with multiple ND filters !

    post-39610-0-90643300-1491806493_thumb.jpg

  8. May be i read your post too late and your solar eclipse is already gone. Well, whatever camera you will use , video or film, since it is a total backlight you will get always heavy contrast picture, only white disk (sun) and only black (moon) disk. Anyway, i would go in this way: use a double polarizer filter and rotate one of these till you can easily see the sun with your eye (BE VERY C-A-R-E-F-U-L !). Then use a telephoto lens that can fill the frame with sun disk. Adjust exposure either by slighty rotating one of the polarizers and or setting iris . You can test it with a videocamera before to shot film. Hope it helps

  9. Here the Super 8 SMPTE frame taken with 4K session 5. Well, to me quality is not so good, it suffers from the crazy ( exaggerated) H264 compression, not suitable for telecine/datacine purpose. The lens used comes from a microfilm scanner and it is an ultra-high resolving power lens

    post-39610-0-10363100-1488663510_thumb.jpg

    post-39610-0-89642400-1488663539_thumb.jpg

  10. If you want to use a gopro you have to remove original lens first, and fit a very high resolution macro lens. To open a hero 3-4 cameras is not so difficult, you can find many samples on the net. Other thing is to open a session camera, since it is all glued and sealed one. the only way to remove original lens on a session is to mill the contour in front of the lens first to enlarge the front panel and free the objective then remove with a needle the glue around the lens. Finally, with a specific tool that clamp around the outer objective diameter, unscrew gently the lens. I have just done it, and now i am building a C mount adapter that fits in this camera. As soon as i will upload some stills from S8 and 16 frames

    post-39610-0-27658400-1487775376_thumb.jpg

    post-39610-0-33706600-1487775401_thumb.jpg

  11. Hello Tyler thanks for reply, well, the only gears that risk damage ( to me) is the pulldown claw mechanism. The others gears could run indefinitely at faster speed than 100 fps, untill they are correctly lubricated. Anyway, i was curious to know if anyone has tried it before with an external motor for example.

  12. Hi all, the motor of my EBM is gone, so i was thinking to replace it with a faster new one to achieve higher speed than 50 fps of the original one. The question is : how higher speed can run a Bolex without damage mechanics ? For my purpose 100 fps is the goal.

    Thanks in advance

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