Heikki Repo

A few weeks ago I wrapped the super16 shoots on my short film. Today I got to see the scanned material. I'm happy to tell you there were no problems whatsoever with my camera. A few layers of black tape over the leaky spot took care of the flicker problem. I'm beginning to suspect some of the flare issues were also related. So, if you have an Eclair ACL and have problems like mine, you might want to check your camera with a bright led light, especially the front of the camera.

FilmFerrania posted this on Twitter today: "We want to make the film YOU want us to make, so please take a minute and answer our survey! https://filmferrania.squarespace.com/survey/ "

Some of the Bolex are rather notorious for having really dark viewfinders. Part of the problem is the way the camera is built -- the prism diverts part of the light to the vf but it's certainly less than if the vf was built around some different concept. As SR2 and SR3 have mirror they do not have this same problem. Mind you though that the image flickers thus making it harder to focus, not to mention that the cost of the PL-mount lenses is going to bankrupt you... If you are just shooting home movies you could just buy an Eclair ACL or NPR -- both of which are lighter than SRs, take c-mount lenses and were used a lot in the documentary scene. Sure, even with ACL when iris is closed down the image becomes darker and I usually like to focus iris wide open. But just add a switar 10mm and home movie shooting becomes easy as you can set the focus to infinity --- which begins from 3 meters... Another option is to have the Bolex ground glass Laserbrightened: http://super16inc.com/page3.html Anyway, there is a good reason why cinetape, follow focus and focus pullers exist in the professional scene. :)

Also, this is in the FAQ: When will you begin making film? We are on course to turn on the machines and make our first test batches in early Autumn 2014. We will make an announcement soon about the schedule for commercial products. What's the hold up? Our main facility is currently being refurbished - free of charge courtesy of the regional government in Italy. We are also on a deadline to purchase additional equipment from the old Ferrania buildings that are crucial to our operations. For this, we are seeking funding. What's the Italian Government have to do with this? Regione Liguria, the local branch of the Italian Government, has been the most amazing partner FILM Ferrania could ask for. They feel a great need to keep this historic product "Made in Italy" and have supported our team for more than a year as we lay the groundwork to restart. They have worked with us and Ferrania Technologies to schedule the destruction of the old buildings on a timeline that allows us a really good chance at getting all of the pieces we need to build the new kind of film factory we envision. And they just spent €1.2 million renovating our main facility! They want FILM Ferrania to restart and they're doing everything they can to help us.

An update titled Countdown begins has been posted on the website :)

Won't be a problem. Many big budget features are shot with Alexa these days and 2K is quite enough. Amira uses same sensor as Alexa.

Most people process their films at Andec but scan in some other facility. There is one quite good place in Spain: http://ochoypico.com/super8-telecine-english/

http://www.andecfilm.de

It was only for US customers and as far as I remember, while the online shop was on the Kodak website, it was in reality not Kodak's but some other company's.

Me too. Though I have to say, it would be great to have a webstore for ordering fresh Kodak 16mm film in Europe. At the moment I think there are none. Frame24 comes closest, but they sell only "second hand" Kodak film. If one wants to support Kodak directly by (impulse) buying fresh film, only super-8 is available.

No problems there, Pro8mm would then make it from 35mm like they did for Vision3 50D before it was available from Kodak directly. Also this camera shouldn't have any problems with Pro8mm cartridges jamming...

I don't think so. They did update the layout on their website a while ago.

$360 + shipping.

It's on the lens. Photos here: https://www.dropbox.com/sh/3g7184v7n6rkzf8/AAAfv7AT6M2DCpKIzQpXeDx6a As for the tripod, I just bought O'Connor wooden sticks and O'Connor 30 fluidhead but thanks for the offer!

Just to clarify: this item is located in Finland. EMS package to USA costs $120 USD and is insured. If you feel $420 is too much for this lens but you'd be interested in it, make an offer! I'm hoping to buy a better tripod that can also handle my 16mm film camera's weight and to finance it I have to sell some of my gear.

Selling an Angenieux 9.5-57mm f1.6-2.2 zoom lens. Included with the lens Chrosziel zoom fluid dampener and lens hood. Everything is in good working condition, there are no scratches, fungus or separation on the lens elements. Cameflex mount. This lens is intended for R16 and thus doesn't cover S16. However, when cropped to 1:2.35 no vignetting should show up. Would work nice with a BMPCC. Asking $420 USD + Finnish VAT + shipping (EMS package). No VAT for buyers outside European Union. Photos here: https://www.dropbox.com/sh/3g7184v7n6rkzf8/AAAfv7AT6M2DCpKIzQpXeDx6a

Hi David, are you still looking for the CA-1/TS adapter? I'll have one available soon as I'm about to try to sell my Cameflex mount Angenieux 9.5-57mm on Ebay. Tell me if you are interested. -Heikki

I have used Contax Zeiss lenses with BMPCC. Most of this was shot with 50mm 1.7 and 28mm 2.8, some shots with switar 16mm Speedbooster certainly helps since while there are many cheap good SLR lenses available, fast wide lenses are rare. Unfortunately I don't own one since I don't own a BMPCC either -- if there was one for C-mount I would certainly invest in one (since then I could use it with my Eclair ACL as well ;))

Wittner does sell 200ft loads of Aviphot chrome, PXR50, Fomapan and AGFA Scala 200X: http://www.wittner-kinotechnik.de/katalog/04_filmm/s8_meter.php Hopefully Pro8mm does fill the color negative gap.

Pro8mm supporting Logmar is certainly good news, because I'm almost certain that they can supply Vision3 film in 200 ft. loads to it.

BTW: Please do note these two differences when using CineStill 800 to consider the look you are looking for your motion picture: a) C-41 processing gives different kind of colors and contrast than ECN-2 processing b) as it doesn't have remjet, strong lights have halos that wouldn't be there with remjet

Might be related to C41 giving higher contrast than ECN-2. Might be also just marketing. "Q: How do I rate CineStill 800Tungsten? A: This film has LATITUDE! The ISO that one chooses to rate this film is dependent on what the permissible light available is. If you overexpose it (100 or 200) it will still retain highlight detail and fine grain. If you underexpose (up to 2000) you will still retain most shadow detail. So long as the shadow detail is preserved, the negative may be scanned to retain the good color and dynamics. Remember, grain separation becomes more severe with less exposure, and less prevalent/smoother the more exposure a color negative film receives (due to overlapping of T-grain technology and the tonal blending of the dye cloud). Many cinematographers regularly have rated 800T at 1000 speed with no push but the ideal ISO to rate this film at will always be somewhere between 400 and 800 without push processing.."

Take a look at this: http://www.cinestillfilm.com/

Looking for a PL-mount to Eclair TS (ACL) adapter. Make an offer :)

No, they do use two different processes. It's not only about the remjet, there are other differences between ECN-2 and C41: John Pytlak wrote: The C-41 process uses a different color developing agent (CD4) than the ECN-2 process (CD3), so the dyes formed may be different. Other process differences will cause contrast mismatch or changes in speed. As for history: http://en.wikipedia.org/wiki/Eastman_Color_Negative