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Filip Plesha

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About Filip Plesha

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  1. Thanks for all the advice. I did manage to find a patent (patented by Technicolor) on a free patents web-site, which explains the printing stage (though not the creation of matrices) quite well.
  2. Well, perhaps I should search on various patent sites. Something might come up Here is something I couldn't find an answer to. In the Haines book, it is mentioned that the "washback" step usually enhanced the color saturation, but it is not really explained how so. Since this was a process that affected only one matrix at a time, any change would only be done to one color channel, which is how one increases contrast and density, but saturation is something that involves inter-channel reactions (exclusion of channels), so I can't really understand what exactly increased the saturation. Contrast yes (which also increased saturation), but that's not an increase in saturation in regular photoshop jargon, which means increasing color contrast without affecting neutral contrast (or in other words simulating interimage effects) So,my question would be, was there really a method of increasing color saturation in dye transfer printing. Or did you simply have a saturated start, and could only reduce from there by using wider bandwidth filters on separations (in case of printing from color negs)
  3. Hi I have long had an interest in technicolor 3-strip process and dye transfer printing, and have recently bought the book "technicolor movies: the history of dye transfer printing", which was a huge disappointment. Not because it is bad, but because my expectations were wrong. As the title states, it's a book about history, with just the most basic tech info aimed for the general reader. Are there any books out there that explain more the technical sides of the dye transfer technicolor process? The only thing I could find on amazon is this book: Glorious Technicolor: The Movies' Magic Rainbow. How does it compare? Anyone opened that one? What I'm looking for is something that would go more into detail of the process, for example, specs for the stocks used for the 3-strip process, changes in dyes over the years, explanation of various methods of control etc.
  4. Here is a reverse question Has anyone ever (for whatever reason, not counting time lapse, stop motion etc.) used still film in a motion picture camera? l
  5. I'm actually upgrading to a new scanner myself, because my old one can't scan 120 film. I need it only for having a nice collection to look at on my PC (so I don't have to drag out slides every time, and so I can experiment a little in PS before I order pro scans) I've been looking at the cheaper models (around $200), for that job, and found myself choosing between the new Canon 8800F and HP G4050 Canon actually outperforms the HP optically by visible margin , but Canon is more noisy (as all Canon flatbeds I've seen have this signiture Canon noise) and has poorer dynamic range. HP is a bit soft, but makes everything look SO sweet. It has a way of making colors on slides look full and warm without oversaturating. You could probably match the two in photoshop, but HP makes it look great out of the box, and seems to be more linear, while Canon crushes shadows. Here is what I mean, you can pretty much figure out which one is which from above description HP makes it look like the film has purer dyes. The neg is the same , but the Canon seems to lack color fidelity, and dynamic range in my opinion. So I'm going for the fuzzier HP since I won't print from it. I think paying 400 dollars for a flatbed is that boarder price where it just isn't worth it anymore, and it's better to go either to a lower price, or to a dedicated scanner (like a cheap minolta, unless you need 120)
  6. Hi I've noticed something really weird while watching some old trailers on DVD There seem to be some kind of strange edge effects in some old trailers, which seem to be printed in IB process, but perhaps it's not related to the printing stage. Take a look at this: http://img185.imageshack.us/img185/2640/59380581nn8.jpg both of these trailers seem to be telecined from old prints. And both have these edge effects, which are too strange for video edge enhancement. First , because, they don't seem to be symetrical which is kind of strange, and that are rarely white, but always seem to have some kind of color cast. Furthermore, they seem to be everywhere. I've actually played all my pre 70's DVD's and looked for trailers, and the worse the print was (older and more generations from the original), the more the edge effects seem to be present. But that's not all, I've found them also in a movie transfer too, so it can't be a print effect. Here is a couple of frames from the movie Horror of Dracula: http://img170.imageshack.us/img170/8163/38171725nq1.jpg first frame shows how the whole movie looks like, no trace of over-the-top EE, but then when the character drives a spike through the vampires heart, the movie switches to a dupe, obviously, the contrast jumps, the image appears lower in res and the grain is worse, and the color starts jumping all over the place (in dark areas there are local shifts in color balance) and again there are the edge effects. Just like in those old trailers. The movie switches back to a normal negative (or positive), and it's gone. Also, I've watched a couple of old movies where there were dupes for each transition, and it seems every time there is a transition, the image jumps to a dupe element, and besides the color shifts, again there are halos around edges Now, I know that film naturally produces edge effects due to developer diffusion, causing mackie lines in the part of MTF space where the curve is above 100% (usually up to 10-15 cycles per mm ) But this seems a bit too much. And I'm pretty sure they didn't use unsharp masking for making duplicates which would probably be too complicated to do in an optical printer. And, it's too ever-present and consistent with various producers and transfer houses to be simple EE, because I seem to spot it everywhere, and it seems to be stronger to one side of the frame than the other. Which is something that isn't consistent with digital EE. So is it something inherent to old dupe stock? Or some kind of process tweak like high-acutance developers or something. Any ideas?
  7. Thanks for the links, but I was more interested in the process of making the final sound tape , and not how film soundtracks worked. How many tape generations does a typical movie soundtrack pass through etc.
  8. Hi there I've been trying to find out (out of curiosity) what kind of cameras exist for recording 65mm 8-perf and 10-perf negatives. Now, I did find that fries makes (or did make) 865 model, for 8-perf work But this is probably the only such camera I've heard about. IWERKS used this format, so I assume they had to use some kind of cameras, but which manufacturer and model, was it this Fries? And in history, were there any other such cameras, or even modifications of 5-perf models (if that's possible) And, what about 10-perf, are there any cameras that shoot in this format? thank you
  9. Filip Plesha

    Typical chain

    Greetings I'm interested to find out something about a typical number of generations that a movie sound went through when most of the gear was analog. I'd imagine a typical production chain would be, first, recording various sounds (ADR, Foley, or live dialog) to a full track mono tape, or stereo. Music directly to a multitrack tape. Mixing all the effects unto another multitrack. Then mixing everything together to another tape generation for stereo or mono. But this is all just a guess. What would be the actual typical case of sound recording in say, 70's in terms of tape formats used for various stuff, and what brands were most popular for tape machines in US. (I assume Ampex and 3m) And in the end, when I'm looking at a DVD of an old movie from 60's and 70's, what kind of tape am I actually hearing in the soundtrack (if it isn't a digital remix). Is that the original stereo mixdown, or some kind of safety copy
  10. You think they used such a thing in a theater? Or did I misunderstand your post
  11. Hi there Reaching back in memories into the time of optical soundtracks, I remember usually visiting two theaters, one of them had a very soft and dark sound that was always breathing, and another theater (also mono), which had a very crisp sound, but not detailed (like digital soundtracks), but simply felt somehow "sharpened". It reminded me of those exciters they sometimes use on radio stations. It seemed like every little pop and crack was exaggerated So I'm wondering, was there any kind of harmonic excitation or similar technique used in optical playback systems which was suppose to bring life to an otherwise blurry sound? If not, what exactly was I hearing, is it some kind of artefact of optical recording of sound? thanks
  12. That looks way too soft to be considered 4K resolution. But the "look" is wonderfull for a digital camera. Much better, as a photograph, than something from Sony HD we have seen so far. Not in terms of quality, but in terms of getting close to "organic" look of film.
  13. I have a couple of books from Crewdson. Big fan. He is, while the only, probably my biggest inspiration in photography. There is no point in discussing is he good or is he not good. A carpenter is good or not good depending on the quality of chairs he makes (do they fall apart etc.). This is art. It's either an inspiration to someone or not. Crewdson is the kind of artist, you either stop and stare at his photos, or should I call them paintings, they certainly look like paintings, and get carried away, or they are just plain stupid. If it works for you, it works for you, if it doesn't move on to the next photographer. The reason I like it, is, besides the visual impact of the lighting and colors, is the stillness you can find in them. I wouldn't even call them photographs in the typical, moment in time sense of the word. In them time stops, and is somehow a piece of eternity, and not a moment in time. Photographs usually radiate from this life, motion, etc. while paintings usually radiate with some kind of sense of calmness, serenity, almost death, but in a really serene way. Crewdson is the only photographer I've seen that uses film as a medium (not canvas), yet his photographs radiate that stillness of paintings. The lighting is also a work of a genius. It's like movie lighting, but even more distant from reality. Very surreal. Like something out of a dream. When I dream at night, I see through Crewdsons camera. There is an idea going around that there is a lot of digital trickery involved. Sure he is known to combine different "takes" and exposures. But if you take a look at some of his behind the scenes images in some of the books, you can see how much of it is "real", on set, and I'd say pretty much all. If you walked on his set, you'd get that same surreal feel you get from his prints. Because it's all in the light. It's one of those things that look good on any medium, film, even a video camera. There is a nice shot in one of the books, showing a view through the viewfinder of his camera, photographed by another camera behind the LF camera he uses. You can see that the optical image on the viewfinder is pretty much what ended up in the print. The light is amazing. Glad to see someone else can appreciate it. That's not a "problem". That's the center idea around his images. He is not communicating specific "human" ideas, but communicates dreams. I don't know if you have ever had that feeling, when you wake up, and still "feel" the dream you had last night, but it's nothing specific, it's just a place you have been in your dreams, and there is nothing really to say about it, it's just a feeling of something other than this reality, a tone as you say that wants to be expressed but there is no word for it. Well that's Crewdson. To be able to capture that subconscious feeling on film, takes a genius. But it also takes a certain kind of viewer to see it in those images, because different people communicate on different levels. Not that everyone has to like it. On the contrary, some people feel the same thing radiating from those images, and hate them because it can be disturbing. It's one of those things you can't talk about with words. It would take some kind of vulcan mind melt to express. It's a vision, plain and simple.
  14. Yes it was Brazil, but I didn't know its name before you mentioned it now I liked that film (Brazil)
  15. No, not like that, sorry for not being clear Here is an example: adforum has a large collection of current and older ads, which you can purchase in a full-SD resolution, just for personal use. I'm just interested in finding some specific ads and buying them in full resolution for my own personal enjoyment. So I'm looking for other places (other than adforum) where I can simply buy clips
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