Steve Zimmerman

Well, Since no one has responded I'll post what I found out to help others in the future. I was getting noise because I was applying the After Effects Grain Reduction Effect after the Levels effect. I learned it needs to be at the top of the effects list. After correcting this the noise disappeared. Use the single channel noise reduction, and view each of the red, green blue channels individually to see that you have removed most of the noise. Most of the noise is in the blue channel. Now the temporal effect works fine too.

To Clarify: When I apply Temporal Filtering, it looks washed out and I cant color correct it back to normal. That's why I tried it as a layered effect. There must be a way to make use of this in a single layer? Steve Z Something funky w/ this website tonight, sometimes it looks like drudge report w/o pics and I cant edit my posts :-(

Our footage is 7213, overexposed 2/3rds at 160ASA. Most of our stuff is gorgeous, the processing and Scanity 2K scan are excellent. I've been trying different settings using the After Effects CC Grain Remover filter. There are so many settings! I've gotten pretty good organic looking results with reduced grain using 3 passes of noise reduction and using the unsharp mask and chromatic suppresion, etc. I'm still getting a bit of isolated, noisy, unnatural looking grain, especially in dark browns. I could email anyone a still if you would like to see. I read a lot about using the Temporal Filter to smooth the scan even more. How do you use this thing? When I check the box to turn it on, it looks smooth but washed out and low contrast. As an experiment I tried using Temporal at 20% on a two duplicated layers, 41% for the first temporal filtered layer and 100% for the second layer without the extra smoothing. I see some good subtle effects, but I totally confused if I'm doing this right. I can find any tips to help figure this out online. The Blu Ray for the original 1990's BBC House of Cards in really incredible with tight fine grain. How can we get something closer to that? Could anyone please share some tips for quality grain reduction? Thanks in advance.

At school in the 90's, we had a 35mm camera with the lens centered for normal 35mm, the ground glass was also normal matted 1.85, but the aperture gate on the film was full aperture, exposing picture in the soundtrack area. As a class trip we saw our film transferred at the lab (this was still the standard def era sadly). When we first saw the image we said: "Like wow, look at all the extra image on the side". So we had the colorist frame that part in too. We didn't realize that the framing would be screwed up by this. Centered compositions were now to one side. We discovered our mistake later but it was too late. Another reason why shooting a framing chart is a good idea. It was a good learning experience.

What happened to the edit function? The back story is that in the UK, for about five years, use of 16mm film was effectively banned for new TV productions made for BBC HD channels. Through lobbying this has been overturned. The sloppy use of overcompression of the video signal was probably a big part of the issue. Hopefully the brand new H.265 compression can be used to improve picture quality and not just to squeeze in more channels.

http://www.screendaily.com/territories/uk-ireland/uk-tv-to-allow-super-16-for-hd/5062821.article?blocktitle=MORE-TOP-NEWS&contentID=40294# I just watched the blu ray of the original BBC version of House of Cards, shot on regular 16mm in the 90's. Looks gorgeous! Very solid looking with rich colors. http://www.definitionmagazine.com/journal/2013/3/1/original-house-of-cards-political-series-gets-re-mastered-fo.html

I emailed the DP for The Jeffrey Dahmer Files a couple times. He said all the interviews were RED camera. The reenactment stuff was mostly Vision2 S16mm. He said the Vision3 they used later was much less grainy.

Here's a comparison of the two projected ground glasses with the camera locked down. The big square is our 1.66 S16 ground glass. The small one is the Digital Magazine one. It shows how tiny 2/3rds is compared to S16, and how it's Normal 16 centered. How could P+S make this big a mistake? Still looking for leads on a real S16 1.85 GG, maybe with a trade-in of our 1.66 one? Steve Z

We are looking to buy an ARRI SR3 Super 16 1.85 or 1.78 ground glass/"fiber screen" . Anybody have an extra lying around? Please let me know. :) The ones that P+S Technik is selling on Ebay are NOT S16, they are for their Digital SR Magazine and it's tiny, tiny video sensor. We bought one from them and its useless. The picture the listing has is not what they sent us. :wacko: Thanks, Steve Zimmerman gkrimus@yahoo.com

Thanks Dirk! David Mullen also responded and said his major film productions had no problems. We feel better about it now. B)

Okay... Reviving an old thread here. So we ordered some cans of film directly from Kodak, we asked for ground shipping out of fears of damage by x-rays. They are actually sending it 2nd day air from Ontario! :wacko: Should we be worried about damage? All the threads about this subject are years old. I found this on Kodak's site, but we wanted to hear from real people, nor PR! We are seriously debating sending it back! http://motion.kodak.com/motion/Support/Technical_Information/Transportation/xrays_damage.htm Thanks, Steve Zimmerman

Rum Diary looked nice and sharp with fine grain (Zeiss Ultra Primes help). The problem I have with that one and The Paperboy (also S16), was the color grading which really dimmed the brightness for the image for the entire movie. This was distracting for these movies because they were set in sunny locations like Louisiana, and a tropical island! Even correctly dingy Blade Runner had bright highlights for contrast. Guess it's a matter of taste.

New Interview: http://www.japancamerahunter.com/2013/08/film-news-ferrania-is-back-exclusive-interview/

Another good looking Super 16 film I found is The Jeffrey Dahmer Files. There is an HD trailer above, and some 1080 stills online, but I was never released on blu ray :-(. My Netflix streaming is too slow to see it there in HD.

Double checked all my links, the last one, "The Key" was 35. I can only edit two times? :-(

The rich colors and contrast of film has a look all its own. I did a custom search for 16mm films on Blu Ray. Some of these are regular 16, but these were the films I thought had the best looking stills. http://www.dvdbeaver.com/film2/DVDReviews44/pride_and_prejudice_blu-ray.htm http://www.dvdbeaver.com/film3/blu-ray_reviews51/dog_soldiers_blu-ray.htm http://www.dvdbeaver.com/film/dvdreviews10/gimme_shelter_.htm http://www.dvdbeaver.com/film4/blu-ray_reviews57/the_tempest_blu-ray.htm http://www.dvdbeaver.com/film3/blu-ray_reviews51/the_square_blu-ray.htm http://www.dvdbeaver.com/film2/DVDReviews45/the_key.htm

http://www.filmferrania.it/blog/2013/7/27/a-great-feedback#comments-51f2f724e4b083675bdf85c7 Their site now has a blog with comments.

I don't know Italian, but here's an older video about the company showing them manufacturing movie film. Never heard of them before but guess they have been around and selling film (mostly stills recently) in europe for a long time. There are some badly compressed clips from 1950's movies on youtube filmed in "Ferraniacolour". http://www.youtube.com/watch?v=TGbbegfG79c

Link to their webpage: http://www.filmferrania.it/

Good news for all film lovers! APUG thread says their priority is to produce 35mm movie film first. http://www.apug.org/forums/forum390/120736-film-italy-ferrania-starting-production-2014-a.html http://www.flickr.com/groups/ishootfilm/discuss/72157630192838072/ I just got this email after signing up for their mailing list last week: Welcome Hello and welcome to this mailing list. Just a few words to thank everybody who subscribed, although no more than a single brand is shown at the moment on the Ferrania home page. We think it is worth answering some questions that often arise on the discussion boards we are also following. As you know, Ferrania discontinued its photographic products some years ago and after that some buildings and equipments were dismantled or sold because the destiny of film seemed to be compromised forever after introduction of digital. Obviously we dream to put the film in a new era where it can live in symbiosis with digital imaging technologies. After more than one year of work, we are finally trying to start again with a small production of film. But rescaling a production workflow is not an easy process: some chemical products are not available anymore on the market, former Ferrania workers and engineers must be involved again in a completely new production workflow, etc. We worked a lot on many of the above issues and now we are proud to say that the moment is arrived of really making film. Right now there is a six month R&D project aiming to produce a first Jumbo of film. If during this period we are able to solve all the remaining technical issues and if the market gives us a reasonable preliminary feedback, we will be ready to go ahead and ship new film in the first quarter of 2014! Ok, now the question is: what kind of film? We think it is better to start revamping the very last produced emulsions. The first two that we will make are a color negative film derived from Ferrania Solaris FG-100 Plus (only for still photographs) and a professional color reversal film derived from Scotch Chrome 100. And which formats? We have the equipment to finish film in almost all photographic and motion picture formats: 110, 120, 126, 127, 135, 220, Super 8, Double 8, 16mm, 35mm and 70mm but at first we will put on line only the ones that are requested by the market. More details are coming, please continue to follow us! Cheers The FILM Ferrania team

Just saw Spring Breakers on Blu Ray. It was mostly 2-Perf scanned at 4k. It looked great with smoother grain.

http://strattoncamera.com/pdf/shurco_2003.pdf Shurco Tool makes them for around $600. Call the number on the PDF. I don't think they have a website?

Hey guys, I have a couple wider Mk 2 and 3 Zeiss S16 lenses with the triangle iris. I'm looking for a PL mt. 50mm to shoot on our Arriflex SR3. it would be nice to be consistent w/ the triangle iris (like Taxi Driver!), but If it has a round iris that's cool too. :). Anybody have one? Thanks! Steve Zimmerman Charleston, SC USA gkrimus@yahoo.com

http://www.reduser.net/forum/showthread.php?17882-cooke-breathing-fix I found this thread. I Think it answers my question. ;)

I was checking out a Canon 8-64 zoom for Super 16mm today. I read that these particular lenses do not breathe. This one seems to do it A LOT. Enough to be annoying while filming. I'd say a 10mm shift or so. Is this easily repairable with a good CLA? Does that amount seem normal for this lens? Is this inherent to the mechanics now because of it's age? Thanks so much. Steve