Robino Jones

Thanks Robert for sharing this test! I assume your Mitchell 16mm is converted to 1R? I find mine a little unstable sometimes and thinking of adding some sort of removable edge guide. Wondering how stable is yours and if you did anything else to it. Also how many FPS do you film record at, on my setup I do 3 fps right now, probably could go faster but haven't tested yet. Thanks again for the footage.

It's just a basic 'film out' - using a lower resolution source. Kodachrome doesn't exist anymore unless you have expired cans, and it can't be processed in color. You would need to prep a squeezed version of your DV footage to a 4:3 video file like prores or something like that and and give that to a company for film out. You can check with Robert at Cinelab they do that. http://www.cinelab.com

I was scanning some regular 16mm last night and had to scan some 35mm afterward, so I thought I’d do a comparison for you guys. I left the scanner camera/lens in the 16mm position, switched the gate to 35mm, and scanned an old 35mm test roll. The first clip is the 16mm extraction, and the second is 35mm. Make sure to watch in 4K to see the grain. Notes: Stock is 250D 35mm negative, super scratchy roll used to test various film apparatuses over the years. I think it was shot on a Standard Speed 32mm... The 16mm extraction couldn’t be stabilized because there were no perforations in the scan, so just imagine it was shot on a well-maintained K3. Don’t mind the framing; that roll is an old camera test framed for 1.85:1 – obviously, the '16mm' extraction framing is even worse. As expected, it looks just like 16mm.

500T is grainy and not very sharp, if the test was done on 50D would have been less dramatic.

You have pin 3 and 4 inverted. The correct pinout is as follow: pin 1 : - GND pin2 : +12VDC pin3 : Video GND pin 4 : Video Out pin11: +12VDC

You could possibly hook a micrometer in the gate opening and place the tip on the cam but moving the cam block is not precise you have to wiggle it a bit to go up and down. My movement was pretty loose and you could visually see the issue by touching on a piece of film in the gate. I moved the cam in one little bit a time and tested until the film was held firm but not too firm. I have to say that after the adjustment was made, all my movements worked perfect in the projector even though I mentioned in previous post that the adjustment would work only with 1 movement.. It's been a couple years I'm a lot more comfortable with these things now, send me a PM maybe I can help you if you have a problem.

I went Thursday 5pm at the Landmark (old Sunset5) to see it on 70mm and after 4 seconds of during opening logo, the screen went black.. and then 4 seconds later it was orange yellow plastic melting with bubbles..the film literally burned on screen like in Gremlins 2! Never thought I'd see that - especially on 70mm it burned for a long time that a lot of plastic to go through! I left and got a refund. Last night went to Regency in Westwood and watched it on 70mm- I loved it. Will go see it again in Imax 70 at Chinese Theatre when it cools down - every screening for the next week are packed.

I heard that back in the heyday of optical compositing, Kodak would put aside the first batch of film coming off a newly aligned cutter/heart and it would be reserved for big shops like ILM. If anyone knows anything about this, please chime in; this is very interesting. I really didn't know how complex it was to perf film, you can see in the video the first heart is for B&H perf and the second one (with the microscope, it's for Kodak standard (KS) - I wish they showed the 16mm and 8mm cutters too and elaborated on the alignment, how long before you need to re-align, are the punch becoming dull after a while? etc

You can see in the test side by side with the 5219 that the ORWO is really unstable. I was watching this video about how Kodak makes film, and you can see how complex and precise the "Hearts" are to perforate the film. Boggles the mind - I suspect ORWO may not have this level of precision, which results in stability issues. Fascinating stuff! Here's the video, I cued it at the perforation section.

You can get this little device: https://www.catlabs.info/product/photoplug-optical-shutter-speed-tester I got one to figure out single frame exposure times for a very custom camera that has no manual ? I setup a small flashlight on a c-stand pointing at the lens mount, and then used the app to calculate the shutter speeds. It worked well and the film came back nicely exposed.

Unless you're a rookie, in a DIY shag-carpeted darkroom with feline assistants, or chain-smoking through your spooling session, dust shouldn't be an issue. Also with that attitude you prob should go on craigslist you'll have more success with your sale ?

I built it for myself, no plan for making commercial machines but may do one or two for close friends.

Thanks for pointing that out it's fixed now. He mentions at 2.35min "You are viewing either a release print from 5244 EXR color intermediate film or direct video transfer from the camera negative” - I added the note at the beginning to make sure people knew which one they were watching.

Wanted to share this film I had in my collection. I never seen this one online anywhere and I'm sure a lot of you would love to view it. The film is titled “Vision, the realization of your imagination” and was released around 1996 to introduce their new Vision motion picture color negative lineup. Narrated by John Sawyer, it demonstrates Vision 320T and 500T. The transfer was made on RobinoScan from a 5244 Color Intermediate release print. In one of the test they push the exposure -5 to +5 stops so the highlights are hard, but that's the way the print is and the transfer is not clipping. I'm sure some of you saw this test film back in the day - would love to hear about it. Enjoy!

If Tyler is not going to take it I'll take it - @tyler's test was great but maybe a second opinion / different camera/scanner could be good ?