Roberto Pirodda
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Posts posted by Roberto Pirodda
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by the way, i am selling one, model "special". PM if you are interested
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At 60 lp/mm, S35 should resolve about 2880 lines and S16, about 1502. Even Velvia would only get (coincidentally) 3840 lines from S35, right?
Come on, it is already has been discussed hundred of times here ! As the word "motion picture" says, we have an averaging of multiple frames, and the higher the framerate the better (have you ever heard about showscan?) So you cant make equal a single still 35mm film frame with digital world. I am not able to calculate the equivalent 35mm film in motion at 24 fps, but for sure it is far beyond the 2880 lines
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In good working order but w/o tape for sale at 180 Euro plus shipping. paypal accepted ( + 3,4% fare) or bank transfer (preferred).
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By the way, if you want to pull out the best from S8 try Bolex DS8 camera with switar lenses or the new Logmar camera.
here a sample https://vimeo.com/9084852
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Since you live in Italy why do not try (FOR FREE) my datacine setup ? If you are interested PM me
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I doubt that there are many theaters equipped for 70mm projection any more. However he chooses to shoot it, most people will see it digitally projected.
well, if properly scanned it should look better than a digicam shoot
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This camera https://vimeo.com/8528321 weights 490 gramms with lens and cartridge inside plus 6Volt battery. Not sure if it may be fitted on airdog drone
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if i have understand correctly what you want to do, you must shoot with your camera rotated by 90 degrees, otherwise you will get vertical horizon-landscape
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So maybe today we have seen super-8 become 16.
One wonders how the 16 and 35mm Logmars will perform, assuming the same basic design. :rolleyes:
The camera must transport intermittently the film as much steady as possible "only". The lens do the real job. There are already plenty of professional 16 and 35 cameras out there
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well, these are not so basic questions . You span across many arguments not all related to lighting. I think that the best option should be to buy a good book about basic photography before.
roberto
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Try for free (up to 50 ft max), try to believe . All gates 8-S8/max8-9.5 (Pathè baby)-16/S16/U16. output uncompressed to hard disk. SD up to 2K
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I have a projector lens that comes from a 9,5mm Ditmar projector, that i have modified for telecine and so i do not need anymore. The outside diameter is 32,75mm and the lenses are near to perfect, despite its age ( al least 60 years old). it is marked f 1:1,8- Heleston 3,5 cm Laack Raihenow S:N 429254. If you are interested make an offer
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I am looking for suggestions for scanning houses for 16mm and 8mm.
Hi David where are you located ? If you ( or other else) are in EU country, you could do a try for free to test and estimate. I no more upload scans because the web compression destroys the quality . I can do scans of 8-S8/max8, 9,5, 16/S16/U16 at 10bit 4:2:2 uncompressed for SD or 2K TIFF uncompressed image sequence (not movie file) output directly to hard disk. Both reversal and negatives. I think that is useless to describe the gears i use . The final output drives the choice. At this point i think that is useless to use Giga- K resolution scanners for S8 and 16 , the greatest job is done by operator (correct me if i am wrong).
Roberto
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The BBC no longer accepts 16mm. for HD programming at all. It's in the submission guidelines. That's not to say they won't transmit it, but it won't be as HD.
hummm, sounds like digicam manufacturers have "corrupted" broadcasters
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Hi all
For those still interested in real film projection : Why do not enlarge directly the film with a special projection lens ? This lens should be composed by two parts. In the first stage a high resolution macro lens focuses the frame enlarging , let's say four times, in a virtual frame. Then in the second stage project this virtual frame to screen. In this scenario we can avoid to blowup the film on a larger film format because the larger frame is already there w/o losing quality on printing new film (and saving a "bit" of money by the way). Moreover, to improve the quality of projection, the film may be flood in a oil bath, a sort of wetgate, like high end film to video transfer and diffuse lighting . The drawback could be a very powerfull light source concentrated on a smaller film format that overheat the gate. Could this thing be feasible or already this exists ?
Roberto
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can you upload a short of your footage ? It could be simply wrong film load on camera.
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if i am not wrong microfilms are not perforated, so you can't load them on moviecameras
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no, i have used these filters on 25P telecine footage. i have used many and many settings but i get the best results with very slight setting, otherwise get artificial look
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hello Phil, i have already utilized those noise reduction plugin, but to me they give an artificial look, that shift the beloved film look to hated video look :angry:
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Hello Chris
yes, i have already shot at 50fps and it is great ( show scan, is it ?) but you end up eating too much film, unfortunately :(
I have read here that it is possible, i tried it but it didn't work. May be am i missing something ?
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hello all
the goal is to lower the grain appearance of super8 telecined footage at 25 fps . if i put the videotrack on the timeline, then overimpose the same video track but shifted of one frame and with opacity set at 50% i got a smoother grain due to averaging of frames ( In fact i am mixing the same video track with itself). If the camera and object is stationary this system works fine,the grain is very close to 16mm, moreover there is a sort of stabilization. but if there is panning or movement i get a sort of ghosting/strobo effect of course. NOW, is it possible to weave , or for better to say, interlace these frames ? In this case i shouldn't get ghosting effect , moreover moore smooth in movement action. Another improvement should be higher vertical definition. In few words, we pass from 25 progressive to 50 interlaced, isn't it ? I am utilizing powermac g5 and FC studio2 (FCP 6)
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[Hem, pardon , some mistake about quantity that is locked to "1", relisted here
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Annoyed by Shaky Cam
in General Discussion
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Jet Graphics (Your real name ?) , i totally agree with your point of view. I like rock steady shots in action sequence too. I think that they use that shaky technique to put "smoke in the eyes", to hide cheap story telling, in short to confuse the audience mind. I could justify a shaky shot in an earthquake sequence only