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Jeremy Cavanagh

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About Jeremy Cavanagh

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  1. There are some cheap boxes that will convert 625 to 525 as SDI (digital) but it might take two boxes or so to get the O/P you want. It would mean hanging them off the tripod or in a box with a power supply or strapping them to the back of a monitor. I think Black Magic might do such boxes. I haven’t looked at the 435 closely enough to see how you strip out the existing IVS camera for a different format. One of these days I intend to get around to taking a modern HD machine vision camera, fixing an HDMI card to it and mounting it on a 35 mm.
  2. I would’ve thought that as long as the frame is held in the gate for one exposure then adding another exposure would be too difficult and the frame wouldn’t move (I’m excluding continuous movement transports)?
  3. Hmmmmm, I wonder if they were reading this forum......
  4. My Goodness, Julius Sumner Miller! There's a blast from the past! However, only Australians (and maybe Californians?) would know of him.
  5. Hopefully the Imax theatre next to Waterloo station will show it in 70mm, 20 min cycle from home, bliss!
  6. Robert, I'm building my own DIY scanner for 8 mm and I'm intending to use a mono machine vision camera to do RGB frames and then combine them in software as I don't like the loss in resolution from a bayer sensor (as brilliant a technology as it is). I've been warned off this approach and told that just getting a larger bayer based sensor will get over the loss of resolution however I'm not convinced about this and I was wondering what your opinion was (BTW, I'm an engineer so not afraid of technicalities.......no, a real engineer, not someone who has spent their professional life behind a keyboard.......).
  7. Perhaps Ferania can piggyback on the PR Kodak's announcement is generating but to have a chance they will have to get into the market quicker than Ektachrome and establish a foothold, if only by a few months. The other thing Ferania may be able to do is if they can make the film more easily available than Kodak, this could be difficult for Ferania but Kodak's last mile distribution eco system is pretty withered so Kodak may not enjoy an adavantage here. The other thing is I don't think Kodak has set out how they will make the new Ektachrome available in S8 e.g. it may only be available as a process paid package to go with the new camera which will limit its reach whereas if Ferania makes it possible to get stock in a variety of ways and in both 8 and 16 then that's more attractive. If Ferania has the resources and energy left over to be nimble then they could build a place alongside Kodak and you and I win, if both companies are nimble then that could still pay off for everyone as well.
  8. Question: How noisy is an Arriflex 435 compared with other MOS cameras?
  9. What did you use for the interiors?
  10. Would this have been the camera Arthur C Clarke describes in his book, The Lost Worlds of 2001, being used by Stanley Kubrick to follow the bone thrown in the air that cuts to a satellite in orbit in the finished film of 2001?
  11. Great! Upon reading that I looked up the Prince Charles website and they are adversiting it as 70mm, I missed it when it came to the BFI Waterloo a year or two back.
  12. I can relate to that, removing the side plate to get at the back of the lens and into which various controls are fixed and wires soldered almost sent me crazy, but even worse was the exposure circuit board on the other side of the camera and its wiring 'harness' leading all over the camera. I've yet to succeed rebuilding an 814 despite Gareth's disassembly website and needless to say a technical manual for either the 814 or 1014 is impossible to obtain.
  13. Good point Kyryll! I completely forgot the other use for the term 'shading' that had a different meaning for tube cameras (video) on dealing with irregularities as the tube face was scanned and now used with CCDs etc as you described the noise level from the chip that affects blacks.
  14. "Shading" is the traditional term used in American television for colour balancing a broadcast camera be it whites or blacks (in the UK its traditionally known as "racking" and in Australia just "CCU". This is when working in real time with a camera's output. So if I have understood your question the idea with the "blacks" is to get them black or a dark shade of colour (whatever is required by the production) at a particular video level. If its a single camera you set the green channel at the level you want (using a waveform monitor and a grade 1 picture monitor) then either match the blue and red channels to the green channel or offset them slightly if you need to add a bit of colour to your blacks and this is all done initially using a standard chart. if you have multiple cameras you will then seek to match the other cameras to the intial camera both on the chart then on the set once lighting is up. These days cameras, be they used for film or video, have automated this process while giving the DOP more control to take or in put an intial setting and carry it across different scenes as sensor based cameras are used in much different ways than they were when colour balancing proceedures were used for multiple camera set ups.
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