Jeremy Cavanagh
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Everything posted by Jeremy Cavanagh
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Thankyou for that information, very useful. I will pass it on.
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Developed a roll of Wittner 200D super 8 using E6 from Tetenal and had a strange outcome where after hanging it to dry we found the emulsion to be milky as though it hadn't developed. However, over the next 30 minutes the milkiness cleared as we watched and a strong clear image emerged. Now I am a novice in developing film so it could've been something myself and the friend working with me had done but earlier that day using the same chemistry we developed a roll of Ektachrome 100D and it had been clear as soon as we opened up the top of the Lomo tank. As well a film archivist was with us plus an artist experienced in developing both positive and negative film and neither of them had seen this sort of thing.
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Keith, That's an interesting idea but would it have to be a DS8 camera so as to have a pressure plate or would you build one plus how would you mount the light source?
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David, Excuse my out of date knowledge on telecine and my next to non existent knowledge of neg film but when scanning neg isn't a turquoise filter used to cancel the cast?
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A fantastic achievement with no technical background. Yes a number of projects I've come across have used DC motors e.g. Cine2digits used a brushless DC motor and not stepper motors and I assume that's because of the difficulty in matching no of rotors to pulling down exactly one of height of a small format film.
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Thanks for posting this. I was interested your use of an Arduino, a stepper motor and OS X as I have also been thinking about building a DIY scanner having been inspired by the Cine2digits website which is very good and sets out a detailed approach. So far I have only bought a couple of projectors to try and convert. Can I ask, is it difficult to link the turns on the stepper motor to pulling a full film frame down (I'm an electrical engineer but haven't done this sort of stuff for years so part of the attraction for me is discovering how to do this)? I would like to try using a monochrome machine vision camera and using LEDs flash three separate frames and combine them (plus an HDR frame if I succeed with R+G+B frames) in processing to get over the limitations of a Bayes filter but have been warned that it would be very difficult to combine the three frames as a film frame, even though still, would not be steady enough to overlay three scans of the same film frame.
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Super8 Digital Cinema using Beaulieu lenses?
Jeremy Cavanagh replied to Dan Hudgins's topic in Super-8
Nice looking video. -
Heikki, I remeber seeing this clip some time back and being very impressed with its quality. How was it transferred?
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Yes, possibly. However, as the technology becomes cheaper the labs may be able to go upmarket providing quality and expertise that the average film small film maker maker may not want to get involved with, it might only be us excitable nerds who invest in or build our own scanners, but still a sizeable market in itself. But for this to come about the labs will have to want to invest in such expertise. There are still a number of people out there offering substandard transfer services so if they go to the wall first that may provide good labs with a continuing market.
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Thanks for this Dom. BTW, can anyone pop into your company's foyer to have a look at the vintage cameras and equipment, if so I will make a point of doing that when I am next back in Melbourne?
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...but you are right they do have 50D on their website.
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The widescreen centre not much interested in customers.
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Yeah, thought so. Not sure how I can do a DIY pin registered system but was thinking of screwing the whole system down to something like a cement or marble top including the camera and lens (plus fixing that to the projector) and then looking at trageting damping vibration close to where it it affects things. Another thing would to not transfer in real time but at a rate perhaps less than ten frames a second. My idea would
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I just want vision 3 or any other negative stock in double super 8 so I can run it through my Bolex DS8.
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Most impressive S8mm video you've seen.
Jeremy Cavanagh replied to Zachariah Shanahan's topic in Super-8
This clip has been around for a while and it is impressive. Is its quality because a) it was shot very carefully and b) the transfer was also done very carefully. BTW, what stock was it, I can't remember? -
Carl, Are you saying capture separate Red, Blue and Green (plus possibly an IR) scans of the one film frame and combine them? This is something I would like to do with a DIY small format scanner using a mono CCD camera that can do 12 or more bits of depth but I have been warned that residual vibration from advancing a film frame would make it very difficult.
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Forgot to ask, the prices, were they for 16 mm rolls or 8 carts?
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You are lucky. Here in London I haven't figured out where to buy 50D on super 8 though a mate has used it. You would think Kodak would try and get as much 50D out there as possible or am I just being naive.
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Ohhhhh, this means my films are going to be ugly.
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I was shown how to do C41 processing for the first time yesterday. it was 16mm rolls in a Lomo tank and by the third roll the guy who showed me left me to it. To remove the remjet backing we used a combination containing borax and this worked perfectly on the first two rolls and not so well on the next three so perhaps topping up was needed.
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Film is not quite dead in New Zealand.
Jeremy Cavanagh replied to Chris Riley's topic in Film Stocks & Processing
Great news! I wish my fellow Australians had as much get up and go at an institutional level. -
Roger Sharland was a nice guy, generous with his knowledge. I'm a professional engineer and I would need 200 years to try and come up to his level of self taught knowledge. Its not often you see people like Roger in any sector.
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The horses seemed to like it.
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Colour temperature basics
Jeremy Cavanagh replied to David Owen James's topic in Film Stocks & Processing
David, What is your conclusion about the quality of LEDs overall versus incandescents for lighting film and TV (e.g. spiky spectrum)? I'm a broadcast engineer and in the past spent many, many hours 'shading' ('racking' here in the UK, CCU in Australia, etc) broadcast cameras for all sorts of TV shows and I hated CFLs in studios because of the effect the spiky spectrum had on reflecting from different coloured surfaces. No matter what you tried the flesh tones of a presenter, etc sitting under CFL lighting to me always looked like they were lit by flourescents, but, to be fair, that may have been the types bought for TV studio grids rather than for location or film work. I haven't had an opportunity to see LEDs much in operation and am expecting them to be far better than CFLs for television work but wouldn't know what they would be like with emulsions so would value a DOP's opinion. -
Great idea of using video taps.Perhaps something like this could be experimented with where its small and could be built to fold out of the way easily when wanting to use the viewfinder. The real advantage of video taps is that for the generation that know nothing except live video this might make film less of an unknown to them.