Roberto Pirodda

why to underestimate rebuilt old projector ? If it is clean and the transportation system brushes only the edges, the image area never will be scratched. A telecine machine after all is only a sprocketless continuous transportation system with a macro lens and a camera, but costs thousands more over a rebuilt projector. The most job is done by operator/colorist... Rob

Hi Flavio, yes i am located in Italy. My e-mail is cinematica@hotmail.it. Regards. Roberto

i have not experience about old Som Berthiot for 35mm cameras, but i am very satisfied by my Berthiots for 16mm on my Bolex. To me the 25mm cinor RX is far better than Angenieux 25mm f0.95, sharper and richer colors. When i tested the zoom 20-100 f2.1 sopelem monital i sold immediately my 16-100 POE. The Berthiot has (to me) better (smooth) contrast, color and resolution than Switar zoom. I think that Berthiots are underrated lenses overall. Anyway it is only my opinion. Rob

http://www.wittner-kinotechnik.de/katalog/04_filmm/single-8.php

Well, it is not a real interchangeable lens camera : the real lens (about 10mm focal lenght) rest inside the body, what you can change is only a non focal zoom lens. Anyway, yes it has a rock solid registration, great camera overall.

Hi Tom We aren't speaking about praticality here, but to push S8 film format to the best possible. Ofcourse i mean to shoot with a professional double super8 cam, with interchangeable lenses, ten minutes (at 25 FpS), rocksteady frames and so on

Hi Carl, your software sounds very interesting ! I am scanning all film material : Regular 8, Super8/Max8, 9.5mm, 16/Super16/Ultra16 and 35mm (4perf). If you are interested send me some short/demo reels, i will scan them gratis for you, so you will estimate the quality, then you will decide, OK? my mail : cinematica@hotmail.it Regards. Roberto

Hello Carl the filmstock in these stills is Wittnerchrome 40 (Kodachrome). Unfortunately the last generation of Kodachrome was very grainy (coarse grain). Perhaps it may be the processing K14, because the old Kodachrome (k 12 ? ) that i scanned looks better. Yes it is my business but not only, main activity is production. Ofcourse i love film look and mostly my job is film oriented. Here you can see the clip from were the stills come http://www.vimeo.com/9084852 Regards Roberto

many years by now i am datascanning S8 frames at 2.5k resolution with a 3ccd 2/3" progressive scan camera Sony DKC-ST5 2560x2048 pixel here some stills http://www.maraclub.it/still1.html http://www.maraclub.it/still2.html Hem 12 MB per frame sorry :( these frames are as the camera output them, uncompressed TIFF, no digital manipulation at all.A 3ccd system outperform always , in terms of color rendition, a sigle chip sensor. I think that to improve S8 performance there is a simple solution : to shoot and project it at double speed ( see showscan) Regards. Roberto

by your ( not clear) video it appears that pull down claw isn't hooking the perforations

Hi all http://www.linos.com/pages/no_cache/home/shop-optic/machine-vision-lenses/machine-vision-lenses/?sid=13516&cHash=0c1f285a4d#sid13516 These lenses are stated 200 lp/mm, should them pull the best out from film technology ? Or are them well suited for electronic sensors only? I wolud fit these lens on my c mount S8 and 16mm cameras. Roberto

thanks for your reply Chris.I want to know if it does worth it (it costs about 10.000 US Dollars !). for this price it should make coffee too .

hummm, sounds like video enthusiasts will have to replace their videocameras twice at year, instead of replacing only new filmstock in the same indestructible cinecamera....

UPDATE this is the opinion by Wittner: Magenta shows a problem with temperature. K40 Film that was stored too warm becomes magenta very quickly. This may not be the case on the whole film. Maybe the 60m reel was sometimes heated on one side (sun? heater? warm surface?). So one side of the film can be much more affected than the other side. This is my guess what happened with your 60m roll. Mit freundlichen Grüßen Ingolf Joost Wittner Cinetec GmbH & Co. KG now, i store my films like a clergyman stores consecrated wafers in the church.... anyway, sorry all for my insistence , end of the story PERIOD!

(1) Yes i agree, but i didn't mentioned any name, (2) i loaded this film in different cameras , my homemade camera, a Nalcom ftl, a Beaulieu zm4, total of 120mt exposed film, all 120mt with this magenta shift only on the edge. What i have to think? Sure i will send all 120mt to Wittner to check it .

ahah no , the telecine equipment is an hi-end machine. this magenta shift appair only in this stock. This stock comes from Wittner, and is on 60mt reel that i did split and loaded onto kaccemas.never happened to me a similar shift, to me it is the processing issue as i state on vimeo.

The same or similar thing happened to my super8 footage. http://www.vimeo.com/8528321 The stock is Kodachrome 40 shot in different cameras. I think it is something wrong in the processing lab

http://www.wittner-kinotechnik.de/katalog/...mm/d8_filmm.php http://www.kahlfilm.de/content.php?nav=19

if you are looking the quality go to double super8: super steady frames, interchangeable lenses (Bolex) and 60mt (10 minutes at 24 Fps) load. You will be very close to 16mm quality. But film stock limited to reversal only if i am not wrong.

anyone have experience with it? http://www.expandore.com/product/add/Lense...non/IS20BII.htm does it work fine? which is better vs gyrozoom?

Hi Tom, i am experimenting a S8 to 2K scan, read this http://www.filmshooting.com/scripts/forum/...super8+datacine now the system is running fine, it is very slow but the quality, to me , is stunning! I can output only to hard disk in the uncompressed TIFF format, so expect a jant file size. Anyway pm if you are interessted. Regards. Roberto

WAIT! it is a heavy compressed file! i did the transfer with my homemade equipment, i always shot Kodachrome and i know very well that no electronic display can match this film. The K25 is made for projection on large screen.

and here a my filmclip shot on Kodachrome 25 ASA via Bolex S16 and Switar lenses http://www.vimeo.com/2544845