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Heikki Repo

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  1. Heikki Repo
    I'm sure Robert has taken good care of his Aaton. Please do note though that apparently LTR needs "a bit" more expensive love regularly (~every 4 years) than ACL: http://www.cinematography.com/index.php?showtopic=54808&p=365256
  2. Heikki Repo
    I have lots of good things to say about Eclair ACL (and about Kern Switars & Contax Zeiss lenses on it). Just make sure you get one with the heavy duty motor and French mags. If it's an Eclair ACL II, then it should have those. However, ACL II is also largest and heaviest ACL. Anyway, if you buy from Ebay make sure to test the camera first. It might need servicing.
  3. Heikki Repo
    Thanks Dirk, I'll contact you for a quote when budgeting for my next project.
  4. Heikki Repo
    Hi Hunter, I think the main reasons would be exactly the ones you have mentioned: classic look, higher contrast, possibly sharper image when projected in the old fashioned way (last generation reversal films apparently have higher resolution than negative films -- however, reversal is more difficult to scan so that resolution is lost). I'd go Vision3 route unless you are certain that E100D is the look you want.
  5. Heikki Repo
    Are there any labs other than Andec here in Europe that list prices on their website? For me the lack of price list signals that the lab is mostly interested in bigger customers and that their prices are also more geared towards those clients. That might be a wrong interpretation, but it does affect my choices. When six years ago I produced my first serious short film (Super16, 19 minutes, 5:1 ratio, budget ~11 000 Euros), I had to contact a local post house for telecine. At that time there were two bigger post houses here in Finland offering that service. The first one sent me a quote for 14 000 (!) Euros. Instead of only giving a quote for best light telecine, they sent me a quote for 10 days of edit, sound mix and mastering, online and DVD inspection. And the scan was for Digibeta PAL. After my initial reaction, just guess whether or not I took my business there. Quotes -- I try to avoid asking for them until I'm sure I'm somewhat on the same page price-wise with the company I contact for a quote. I don't like surprises.
  6. Heikki Repo
    Inspiring! I especially like 4:14, the light is really beautiful there.
  7. Heikki Repo
    Hi Tyler, has this information about a new lab been published somewhere or was it heard through the grapevine? There seems to be some speculation about Kodak offering prints of those super-8 (negative) films sent for processing and at the same time Pro8mm searching for a used contact printer.
  8. Heikki Repo
    I haven't seen it yet, but most of it was shot in 35mm: http://www.indiewire.com/article/why-sam-mendes-wanted-to-shoot-spectre-in-35mm-20151103
  9. Heikki Repo
    French, definately with French mags and Heavy Duty motor (this matters most for 400ft. mags). As for 200ft. mags, both are ok. There is a lot of good information here, see menu ACL and all its submenus http://eclair16.com/eclair-acl/
  10. Heikki Repo
    AFAIK, servicing 16mm Aatons can get rather expensive (see http://www.cinematography.com/index.php?showtopic=7988&p=61048). Other than that, the first serious short film I directed we shot with an Aaton XTR. Our DP did like it, it was a good professional camera. On the other hand, if you are looking for a Super16 camera that is relatively modern, good to hold and allows one to use wide range of lenses in different mounts, there is really only one camera capable of it all: Eclair ACL. I have one and I like it. Steady image, reliable camera though without all the latest bells and whistles (monitoring support, variable shutter etc). You'd want to buy a complete package with PL adapter, rods, modded S16 groundglass... As I haven't had funds to buy PL lenses I shot my latest short film with Contax Zeiss lenses (Contax/Yashica mount to C-mount adapter) and for wider lenses I used Kern Switar 10mm & 16mm.
  11. Heikki Repo
    If someone is wondering about the certification process they need to go through... FILM Ferrania writes on APUG: http://www.apug.org/forums/forum390/144666-hello-apug-film-ferrania-part-2-a-3.html
  12. Heikki Repo
    Progress! https://www.kickstarter.com/projects/filmferrania/100-more-years-of-analog-film/posts/1276465
  13. Heikki Repo
    I suggest you shoot one cartridge of test material, process it and scan it. That's how testing is usually done. If that's not possible, you could try taking a photo of the film frame with a good DLSR and macro lens against diffused light.
  14. Heikki Repo
    Please post crops from both scans zoomed to 1:1. Epson flatbeds are usually rather blurry in small details (even V700 which I have) so I'm tempted to say that your film is okay but your scanner isn't. IMHO Epson flatbed isn't sharp enough even for scanning 35mm stills. For 4x5" and 120 it's good enough @ 3200 DPI.
  15. Heikki Repo
    Thanks guys!
  16. Heikki Repo
    Just a quick question: today I noticed that one Super-8 cartridge I had shot creaks a little when I push the sticker in the back, about in the middle vertically. The plastic bends a little when pushed on that spot. Now I wonder: how light tight are these cartridges? Anyone else noticed their cartridge not being 100% solid? Am I in for a nasty surprise of light leaks?
  17. Heikki Repo
    Thanks David! I hope you enjoyed your trips to Finland :) As for your wife studying Finnish -- that's certainly not something I hear too often :)
  18. Heikki Repo
    I just realized that I have been a member on this board for over ten years. I was in highschool when I registered, I had received a super-8 film camera as a birthday present one year earlier and was a complete newbie. While I wasn't that active member here until a few years ago, I remember spending a lot of time on these forums already during my highschool time. I'm really grateful to everyone writing here, to those still active and those who have since then disappeared. My day-to-day work is something completely different from the world of film making, but the small things I have achieved as part-time director/producer/dop are in part thanks to you all and the knowledge you have shared. So -- thanks! :) My latest work I produced/directed/edited, published yesterday:
  19. Heikki Repo
    Hi Nathan! Being myself someone who hasn't gone to a film school and have learned to shoot on film on my own, here are some ideas: 1) Buy yourself a (spot) lighting meter and a film SLR 2) Learn how to expose film with that combination; learn zone system; what is EV and how those values correlate to ISO, aperture and shutter speed. 3) After you have learned to do exposures this way (it'll help you with digital cinema cameras as well) you can move to the next "learn by doing" -- get yourself a 16mm camera or go to some rental house and ask if you can test one of their cameras. Buy some film, learn how to load the film, expose your roll, learn how to unload the film and send it to a lab for processing and scanning. 4) Repeat #3. Practice, practice, practice. And reading these forums and watching youtube "how to load film" -videos. Film is surprisingly cheap to buy and process these days (except super-8). :)
  20. Heikki Repo
    Yes, sounds like one. Cock the shutter and then set the timer. On most cameras pushing the shutter release then starts the timer and the shutter is released after the timer ticks back to start position.
  21. Heikki Repo
    I don't mean to hijack this thread, but since it is on moving colorful lights and how it was done, I think I have to share one music video I found and watched last night. Very inspiring: And here's the making of:
  22. Heikki Repo
    I don't know -- I felt very nostalgious and happy feelings when I watched the trailer. I'm sure it'll be at least as good as Star Wars IV and certainly better than I-III. Some years ago I wanted to share with my wife the glorious experience of watching the original trilogy. As we watched the first movie I constantly felt like I had to defend it -- "oh, this is the later director's cut, not the original one, (I'm sure) it was way better than this!" It just wasn't as special as it was when I saw it first time and my wife wasn't impressed at all. I think JJ is better suited to direct Star Wars. I have had a feeling that this is the movie he has been wanting to shoot every time he has directed one of the Star Treks. To me those felt way too starwarsy. Maybe this time he has the right pieces for the right movie?
  23. Heikki Repo

    Alpha Lab

    Heikki Repo posted a topic in 35mm

    Have you seen this yet? :) http://alphagrip.co.uk/index.php/blog/item/364-alpha-lab-ready-to-roll http://www.alphagrip.co.uk/index.php/blog/item/363-alpha-lab-and-mb60
  24. Heikki Repo
    Some years ago I asked courier companies about x-ray. Most of them replied to me that they x-ray everything. Since then I have sent film many times through couriers and in mail to processing or received fresh film sent by someone to me in mail. I haven't had any problems. As long as you had the film with you on the plane and didn't put it in with the luggage I think you should be okay. Just make sure to overexpose by one stop per decade of expiration + possibly 2/3 stops as you might with fresh film.
  25. Heikki Repo
    I don't think one should not go watch movies shot on digital just because of the medium. It's not just the medium. Having said that, I do however have to note that thus far film is the only medium that really let's me just focus on the story. With digital I seem to get disconnected from the story every once in a while. Somehow blown out whites and the really sharp clean picture remind me that I'm watching something shot on video and then I imagine actors standing in front of the camera, director watching the monitor and scenes being played. While it doesn't make much sense I can't help it. But to be fair, not all digitally shot movies make me feel that way.
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