Jump to content

Julian Fletcher

Basic Member
  • Content Count

    48
  • Joined

  • Last visited

Community Reputation

1 Neutral

About Julian Fletcher

  • Rank

Profile Information

  • Occupation
    Other
  • Location
    London

Recent Profile Visitors

3978 profile views
  1. Hi All, despite getting some wonderful footage, i'm hanging up my Bolex SBM temporarily and freeing up my freezer of some unused film, all listed on the large auction site. There's 100ft loads of Vision 3 50D, Vision 3 500T, Vision 2 200T, Fuji 64D and some Fuji Eterna 250 as well! All selling with no reserve and 1 penny starting bid. Its been kept ice cold in the fridge freezer from day 1, but obviously sold as seen. Link attached to the 50D sale, and the rest are under my listings.Trust this is OK to post, many thanks. https://www.ebay.co.uk/itm/100ft-Kodak-16mm-Vision3-50D-7203-Colour-Neg-Film-Stock-NO-RESERVE/143303603307?hash=item215d8f746b:g:DO4AAOSwK0ldDRFv
  2. Hi, have been researching a few of the film scanning companies out there, and a few of them are offering 2k and 4k film scanning of super 16mm. I have found that at say 2k and certainly at 4k, the whole negative would get scanned (is this overscan?) - i.e. outer edges, sprocket holes etc - and therefore you would have crop the image out. Does this mean that the image you are left with is not technically 2k (or 4k) resolution anymore? If so is it deemed to be an unacceptable practice when a company is advertising the scan to be 2k or 4k, and how do you ensure it does not happen? To be fair, have found this more so with the sorts of companies using scanners like a Fabriek Mueller HDS vs say a Spirit or Arriscan. Would love to have your thoughts, Best Regards, Julian
  3. Hi, thanks for the reply. I have sent them an email to their general inbox, but will try Martin for sure if I don't hear back. Glen - thanks for the reply, with the Frame24 package, may I ask what sort of scan you got with the package, with no additional charges? I used this package with Cinelab a couple of years ago and had to pay extra for a 2K scan. I checked it today and it said 'best light transfer to HD (apple Pro Res) or 2K Scan' - so seemingly one or the other. Its not clear whether the 2K Scan attracts a surcharge. What did you get? Cheers
  4. Hi, I have about 1000ft of bolex home movie super 16mm that I'd like developed and telecine to a quicktime, really just to check the footage. Does anybody have any experience with these guys? They are based at Pinewood so I assume I (or a courier) just passes through the gate and drops it off? Alternatively, does anybody know of any UK based companies that could do a similar job - they are mixed films, so 50d and some 500t all on 100ft reels. Like I said, just looking for developing and telecine to a quicktime. Am very much on a budget!! Many thanks for your help Best Regards Julian
  5. https://www.ebay.co.uk/itm/142622089151?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  6. Many thanks - great info. I am thinking about acquiring one for use on my Bolex H16. I can get a PL to C mount adapter. Do you think I would see a distinct benefit in sharpness vs a) using my Nikon Zeiss ZF lens (designed for 35mm) b) Switar 16mm bolex lens. (I shoot at f8 most of the time, so any effect due to the prism issue will be neglible). Thoughts?
  7. Hi, I am considering this lens for Super 16mm format. Obviously the focal length is 16mm, but does anyone know if this lens was designed for the 16mm format, or just a generic 16mm focal length lens and marketed as interchangeable for 16mm/35mm formats. I know that some Zeiss lenses have "Arriflex 16" / "Arriflex 16mm" / "Arriflex Super 16" engraved on them - this one just has "Arriflex" engraved. I am told that a lens designed especially for the 16mm format will be everso slightly sharper as it needs to project a sharp image on a smaller area - than say the same lens designed for 35mm format. The lens is Zeiss Distagon 16mm T* t 1.3 It is PL mount. The guy who has it for sale said that he used it on his SR2 on super 16. I have found some pics online of the lens (one is a 12mm, but is visually the same). It has a big silver metal lever or stick coming out of the side. I don't think this a mk1 super speed? The important thing for me is whether its a native 16mm format lens or not. Your help is very much appreciated. BIG THANKS! Cheers Julian
  8. Hi All, I am so pleased that I found this forum. Apart from Frame 24 and Widescreen Centre, where do you buy 16mm film stock in the UK? The best price I can find for 100ft is just under £40 and that's at Frame 24. Any advice and tips would be much appreciated. Cheers Julian
  9. Hi All, I am in the UK and currently get my Kodak Vision 3 16mm stock from Frame 24. 100ft is £36 and 400ft is £108, plus shipping. This is certainly cheaper than what Widescreen Centre is charging. My Bolex takes 100ft loads, so even if I stripped down a 400ft can into 100ft reels, the saving is peanuts really. Apart from getting lucky on ebay and/or getting recans or short ends, has anyone found a better cost for new 16mm stock in UK or Europe? I only get through about 2000ft per year, but its getting a very expensive hobby these days! I saw that B&H photo in New York sell 100ft for $48 which is about £40, so is this the going rate for film these days? All comments / help very welcome! Many thanks Julian
  10. Here are my thoughts talking from bitter experience > Yes, is possible to use Nikon 35mm F mount lenses with a Bolex, but they are a major pain in the butt for a few different reasons. > Picture quality is pretty good and sharp, but always not as sharp as dedicated super 16mm lenses. > Bolex prism issue has practically zero effect from f5.6 upwards and also on lenses 35mm and above. In sunlight, I tend to shoot 50d at f8 mostly. > Major issues are crop factor (e.g. 50mm lens designed for 35mm is telephoto field of view on the bolex) and focusing. Focusing is a problem anyway due to the Bolex' very dim viewfinder, but made worse by the very short focus throw of these lenses. Manual focus 35mm lenses were developed with split image rangefinder focusing aids in mind, so on certain lenses you can rotate the barrel by 1mm and you are out of focus. > Using wider lenses at f8 to f11 helps the depth of field. I used Kodak's DOF calculator app - but remember, the lens has the depth of field not the camera. So, if you are using a 35mm lens on a 16mm camera, you need to select 35mm on the app, not 16mm. > Have also used a Contax Zeiss 50 1.7 with a C mount adapter - same issues as above, and extremely short focus throw. > I also have a Switar RX 16mm lens which was designed for the Bolex originally. This thing is very small, feels like a toy and hard to focus on a more modern H16 SBM. It was designed for turret cameras I think, as its hard to rotate the focus barrel way into the mount. In all honesty, you can get by with 35mm lenses but makes the Bolex even more difficult and agonising to use than it already is. I will be looking for a used Zeiss super speed prime lens in the future, and may even ditch the Bolex altogether. Good luck and email me if you need more advice. Cheers
  11. Your footage looks great - may I ask what lens you are using on the Éclair?
  12. Thanks for everybody's input so far. So imagine the scenario, we are in a park, nice summer's day. 3 year old daughter running around. I am trying to capture her on super 16mm. I use 50d, shut down the shutter opening on the bolex to its minimum (i.e. most closed setting), and with my lightmeter - I meter 1/200secs approx. at 24fps. That gives me around f8. The variable shutter on the bolex has no effect on viewfinder brightness btw. I can't use a tape measure to measure the focus so I have to rely on what I am trying to see in the viewfinder. Of course, I initially focus with the lens wide open, but resorting to that every time (unless its a static object) is impractical. I choose to do the above, as it allows me to keep the lens open only to f8. If I was shooting 200t, or 250d - I'd be about f16 or even f22. Then I wouldn't see anything in the viewfinder - let alone to keep focus or even to the follow the action. As a rule of thumb, I think I am doing the right thing keeping to 50d - but the whole thing is really getting me down. Anybody got any suggestions or answers to the original question? Cheers everybody.
  13. I think that approach works well for static objects, but trying to shoot young family who are moving around - focusing is tough. Using S16 SBM, 16mm Switar RX, Kodak Vision 3 50D.
  14. Hi, I am fed up with my Bolex SBM. The viewfinder is so dim, I can't hardly see it at f8 and its a pain to focus. I am almost tempted to switch to super 8 and go for a Canon 814 or 1014 XLS - which have split image rangefinders - but appreciate the extra resolution 16mm gives. So, my questions are a) Does the Canon Scoopic have a split image rangefinder style focusing aid, in the viewfinder? I did read that the earlier "grey" coloured model does, but the later model doesn't. I massively prefer focusing aids with a split image / lines which come together when in focus. b) Does the viewfinder go dim as the lens is stopped down? Your help would be much appreciated. If anyone has knowledge of any other 16mm cameras with such a viewfinder, it would be much appreciated. I attach an example of what I mean. Cheers Julian
  15. Hi All, I’m about to get my super 16mm footage scanned in. Just want to confirm what aspect ratio I should ask for, for the transfer to be in? My output will be blu ray 16:9 (so 1.77). I know Super 16 is 1.66. My key thing is to ensure that there is max detail and resolution in the frame – i.e. the information captured by the scanner properly fills the 16:9 frame, so I don’t have to crop or “zoom in” to fill it – resulting in less resolution and probably lower picture quality. Could you help me with this please folks? Its being done on a Spirit in HD. Many thanks. Julian
×
×
  • Create New...