Daniel Miler

thanks guys 

How do you guys floorplan? 

Do you use a software? if so which one? I'm very frustrated with shot designer which has an awful user interface IMHO, and is very limiting. 

thanks @Mark Dunn and @Dirk DeJonghe

Yes it was 7219 500T

haven't dealt  with these numbers in several years now, and really forgot how to read them. 

I only know it seems way off, but could someone remind me how to read this stuff? 
this is what I got from the lab reading of our gray card: 

I tested my Bolex Rex4 and it seems the viewfinder is way off. The frame exposed on the negative is about 13-10% wider than what I see in the viewfinder (the difference can be seen in the image i uploaded from the tests). I also noticed the viewfinder is not so stable, that is, the eyepiece moves a bit which causes slight changes in frame size and position. 

Has anybody had any experience with trying to fix this kind of problem? There are no film camera technicians in Israel so its either trying to correct it myself or leaving it like this and I would like to give it a try if its not super complex (I have slight experience with home repairing old mechanical cameras, though mostly stils cameras). 

any advice or even links to tech/ repair manuals would be greatly appreciated. 

On 5/13/2019 at 6:31 PM, Simon Wyss said:

For 24 frames a second you have to give the crank shaft three revolutions per second. The camera’s governor will brake your energy to a selected speed, no worry about rhythm. You can of course set the speed dial to greater speeds, then you won’t have the governor act against your movement.

Thanks Simon, that is super helpful info!

So if I understand you correctly if I roll faster than the fps speed set on the camera (for example 24 fps, and rolling faster than 3 rolls p/s) the camera's governor will break up the energy and roll the camera at a steady 24fps. But if i roll slower then the set speed (say 1-2 rolls p/s at a 24fps camera setting) then I will get the camera rolling at a variable and changing fps according to the slight changes in my rhythm.  

Is that correct? 

I am going to shoot a short film soon on 16mm. 

We want to shoot a dream sequence in the film in hand crank. We did some testing on my bolex R4 (which were going to use for that sequence) and it looks real nice. 

Its gonna be all tripod - dolly work, and the main concern is the physical difficulty of hand cranking for a whole 2 days of shooting! and of course, trying to operate the camera while hand cranking. (was thinking to get an assistant to crank for me...)

second concern is about keeping the rhythm. How to make sure I keep (relatively) the rhythm I want? and is there a way besides a-lotttt of expensive film exposing tests to learn which rhythm is "normal" speed (24fps)?

Any tips on these or other points regarding hand cranking would be greatly appreciated!

Cheers

Daniel

Thanks everybody for your replies!
 

Happy to say our material came through with no damage from the x-ray ?

Thanks Robert, thats very reassuring to hear!

Hi Dirk 

Thanks for your quick and informative reply! 

when you say there was an increase in the Dmin that is like fogging if i understand correctly? just need to overexpose a bit to overcome it and i lose a bit of latitude, right?

and an increase of 0.02 is about how much in stops? 

BTW I did one of my first short films on 16mm with your lab... In praise of the day, produced by Philippe lacote if you remember ?

Brought in two rols of unexposed 500t/7219 from LA and it was X-ray scanned in the airport ?

Is there any chance that the material is still good? Did anybody have this happen to him and and could share from his/ her experience of what came out of the stock? 

Thanks

great idea

thanks robert!

Thanks Robert,

You mean shoot a gray chart, and then project and measure the gray chart off the projection, right? 

thanks for the info Tyler and Robert!

I have two 100' reels of vision3 7219 which were purchased from kodak some 10 years ago...

did anybody here use this stock after so long and could help me guess how bad it's condition should be? It was kept in the refrigerator for about half of that time and the rest of the time in a closet in the shade. 

I just want to use them to run some camera tests and am wondering if the results should be good enough to estimate sharpness or even exposure...

thanks

Daniel

Im about to shoot a short film on 16mm, and were gonna use back projection (the projection itself would be digital, and its material shot on digital camera).  I would appreciate any advice since i never did this. 

my concerns are mostly two: 
1. whats the best way to expose/ measure the projection? 

2. should I take any special precautions to avoid flickering? or will it be fine just as long as the camera and the projector are set to the same frame rate? 

if i plan to use hand cranck, I imagine there is no way to avoid  variable flickering, right? 

Thanks 

Daniel

Thanks all

Only had a chance to look at this now, some very nice ideas here, very helpfull!

I am going to give a class about movement in cinema, would love to have some suggestions for films with interesting camera moves (from the storytelling point of view), or if you know of any articles / interviews relating to the subject.

Thanks!

Thanks all

I think I was a bit unclear before, of course the resolution and aspect are two separate matters, I just meant Netflix's strictness about the first might imply their approach for the other...

In any case as Daniel said I imagined it would be their regulation.

so no specific limitation by the networks?

I could imagine netflix as with their 4K fixation objecting to accept wider aspects.

Is this the new scope?

Thanks Phil!

Topboy 2.35:1 Channel 4 UK - Hawk 1.33X anamorphic on Super16

Utopia 2.35:1 Channel 4 uk - Digital cropped

Master of None is 2.35:1 on Netflix

 

'Scope ratio is actually 2.35:1 and I don't think any UK series actually shoot anamorphic, but "Ordeal by Innocence" (BBC) recently had a narrow letterbox on our 16:9 set. I've just measured it, so that would be about 2:1.

 

Thanks for your reply Mark. Ill try and check out Ordeal by innocence!

Broadchurch shot on the cooke anam. couldent find any tech info about Ordeal, but would be pretty interesting if they both went for 2:1 extraction.... I wonder if thats because its an easier aspect for the networks to digest?

Of course traditionally scope is defined as 2.35 or 2.39, but recently with digital I see allot of original aspects extracted from anamorphic material, ranging from 2:1 to 2.66:1.

I am trying to find if any major tv series were broadcast in scope aspect ratio?

I know some shows such as The Walking Dead and True Detective s02 were shot anamorphic with a 16:9 extraction, but looking on line I was not able to find any series broadcast in scope except a british show called Broadchurch which apparently was shot anamorphic for 2:1 screening.

Also the great doco Wild Wild Country was shot scope (seems anamorphic).

Any other thoughts?

Hi all

I was wondering is it possible to use a lens doubler on anamorphic lenses? If so is it the same kind used for spherical lenses or are there specific doublers for anamorphics?

Thanks