Roberto Pirodda

Hello,

 

That's right. I've got the Sopelem Monital 20-100mm / 2,1 too. I was very surprised when I saw the good results.

For which camera was It made ?

 

 

I don't know. Perhaps being a french lens it was designed for Pathè cameras

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

Hey all

 

The Nalcom Ftl 1000, has anyone got more information on it? Is it a good camera, how does it perform? Searching the net, i cannot find many things said about it other than it looks nice.

 

Anyone who has used one, owns one, who can talk about its perfomance - let me know - thanks

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.

It just isn't practical when you can shoot on digital. At 24fps you get 2.5 minutes of shooting. At 18fps you get 3 minutes. Has anybody here shot a feature on short ends? What were the headaches with that? Inventory, constantly loading and reloading the camera, keeping track of inventory. This is really distracting to an actor to reload in the middle of a scene. Someone mentioned the pressure plate, the resolution, no interchangeable lenses. Most cameras have auto iris. Even with a good camera you still have a lot of these problems. Instead of poo-pooing the idea of digital, you should embrace it and figure out how to make it look better. Super8 is simply an archaic format. The quality just isn't there and it's problematic. And then, what happens if it breaks on location? What's the fix?

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

In the link to my video below, you can see I'm having trouble with the Film keeping its loop when I open the loop gate arms. Working on a Bolex H16 Please help, pm, chat whatever! I'm ON all night. Any help would be much appreciated. Thanks!

 

http://www.youtube.com/watch?v=szP3uSw7tCw

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

Hi,

 

I've used one quite a few times, but with SD cameras (SX, XDCAM) It removes vibration and hand shake from hand held. From a helo it smooths you out at, but does not completely stabilise your shot.

 

Remember that it is an optically clear (almost) liquid between two glass planes that you are shooting through....hope this helps?

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 .

Third out of the gate will be Sony's Q67 chip -- Basically it looks like a Bayer pattern rotated 45 degrees, with smaller photosites. It'll be the next generation in the F-35 line.

 

 

 

 

-- J.S.

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!

With a homemade camera and self-filled Kaccema cartridges you ought to think/expect errors at your own side and not with proffesional services who serve the world.

 

Better send a clip to Wittner and ask their analysis. Instead of hypothesizing and blaming others.

(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 .

It far more likely picked up a red-light exposure from an power-indicator-LED or something when you handled it. Or possibly a infra-red light used?

 

The lab does work for many more customers and they would find out if they had a lightleak in their processor. Especially if it were the one and only Kodachrome lab :(

 

 

 

no infrared/led light but only total darkness loading. I think that if some light happened it would have exposed all frame(s) and not one side only. If not a processing issue, it could be a stock issue ?

Roberto,

 

How did you transfer your film? Did you use a professional telecine service? I have seen magenta color shifts on the edge of the frame on telecine equipment that needs calibration.

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?

Dear Sir/Madam

 

I'm looking for company which can super8 scan to 2K? I have ca. 150m (ca. 5 minutes) after color development positiv super8 tape.

 

Please, help me. Where, the best in Europe, but if only in another continents is it, ok, must be.

 

Best wishes

Tom

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

I guess the Telecine colorist never shot any kodachrome stills or movie as a kid! he just needs to look at the image on the film LOL.

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.

Researching RED and 16mm clips online isnt a bad idea, but keep in mind that the videos you find reflect the specific situations of those individual shoots. Lenses used, stocks used, settings, time of day, exposure etc all differ. So dont think that the examples you see are exactly what you will get.

 

Having said that, here is some 16mm beach stuff:

 

http://vimeo.com/4834027

 

http://vimeo.com/2774952

and here a my filmclip shot on Kodachrome 25 ASA via Bolex S16 and Switar lenses

http://www.vimeo.com/2544845

i never shoot via red camera but for what i see on internet, , the red looks like computer generated/videogame images. Also shoots by HDCAM or Panasonic look video and not film! i think that tons of K resolution can't rival versus well shot Super8.

Roberto