Eugene Lehnert

Yes, it would appear so. How much do supervised HD video transfers cost? I can work in DVCPROHD in the 720p format since I have access to the panasonic deck and I have the drive space. Then at DVFilm I can transfer 5 minutes of video for about $2k. This way I thought I would be able to use still images and create an opening title sequence in After Effects and even composite in a starfield and moon in the scene shot at night. Options that would be out of my reach otherwise.

I am working on a short film and I was interested in finding out the process of using a digital intermediate to go to 35mm film. I am shooting on Super16 and I wanted to actually get a negative cut, but do to some recent problems with shooting I wanted to see if I could fix them using the DI route. I have some edge fogging and I thought that going the route of a DI I could zoom into the image avoiding the sides of the image. I know it would increase grain but I wanted to weight my options. It might actually be cheaper to just re-shoot some film. What can I expect when doing a DI on a film that is about 5 minutes long? Is it easy for me to say create my own credit sequence in After Effects in a high resolution format and use it in the DI?

Why is the flicker only seen with at crystal speed?

I thought that might be an issue as well. It's just that I did load it in subdued light. I was shooting at night. And I have shot lots of film before, but that was on a regular 16mm bolex so I may never have noticed it being a problem. But it still doesn't explain the flicker effect I'm getting. I shot two rolls with this camera before the shoot and both came out fine. I guess I have many tests to perform.

I always close my viewfinder. Maybe there is a leak in there though? It definately is on the sides though. I would think that would just wash out the image overall.

I have a filter key. It was in as far as I know. If the leak appears on the right side of the image is it coming in through the right side of the camera? Could the flickering be related to this problem?

I just got back a few rolls of film and my footage has a lot of Edge fogging and the right and left sides, along with some minor flickering. Most of the fogging occurs on the right side. Footage shot during the day definately has a lot more edge fogging than the footage shot at night. I'm assuming that this is some kind of light leak? Is the image flipped when it passes through the lens? Is the leak coming more from the left side of the camera or the right? Could it be the filter? I am using a Super16 converted SBM bolex. Also, I have some slight flickering in the footage. I was running the camera with a crystal sync Tobin motor. I didn't receive any indication that the film was not running at full speed as the sync alarm never lit up. Could this be a shutter issue inside the camera? Any advice would be appreciated.

I just picked up a new 35mm SLR camera and I wanted to try and shoot some shots using motion picture film in my new camera. I've read about RGBcolorlab but they don't seem to be in business anymore. Or does the site just not work? Does anyone do this anymore?

Cool thanks!

I recently shot a bunch of footage with a new Super16 Bolex I purchased. I've gotten some of the film back that I shot and my shots are consistently uneven and I have some edge fogging. When in a telecine session can I zoom into the image and recrop it? When doing this can I also rotate it to level the image out? I obviously need to get the camera looked overhauled as I did get it off Ebay. The conversion was done out in Las Vegas. The edge fogging might also have been from handling the daylight spools in broad daylight. But other than that the stuff I shot looks pretty damn sharp. Especially with the new 50D stock from Kodak. I could barely see grain in many of my shots. I wish I had shot more tests with the camera.

I recently shot a bunch of footage with a new Super16 Bolex I purchased. I've gotten some of the film back that I shot and my shots are consistently uneven and I have some edge fogging. When in a telecine session can I zoom into the image and recrop it? When doing this can I also rotate it to level the image out? I obviously need to get the camera looked overhauled as I did get it off Ebay. The conversion was done out in Las Vegas. The edge fogging might also have been from handling the daylight spools in broad daylight. But other than that the stuff I shot looks pretty damn sharp. Especially with the new 50D stock from Kodak. I could barely see grain in many of my shots. I wish I had shot more tests with the camera.

Does anyone know of a place that would be close to NYC that can transfer Super16 to HD? I finished a short and I originally wanted to have it blown up to 35mm. But, I just got a new job at a post-house and I have access to a Panasonic 720p deck and a system capable of handling the video, but no teleci. So I wanted to transfer my film to DVDCPRO HD and create my master in HD. Then I would be able to dub to HDCAM possibly or transfer the HD to film at a place in Texas... dvfilm.com. So, to save money, I wanted to have my film transferred outside of NYC hoping I could get a slightly better deal. I would like to perform a supervised transfer. I know they will do this for me at Bono but I wanted to be there when they transfer it. Can I get more latitude during the transfer from film? Or is it just the same as getting a best light and performing my own color correction here at work? We have FCP 5 and we are using the Cinewave card.

You see a film like "Starsky and Hutch" and it is obviously shot to replicate the look of something shot in the 70s like the show, and it kind of does look that way. But the image is so sharp and the latitude seems so great that it does feel more modern. I just have this strange interest to try and create a film and really make it look like it was shot at a specific time period. I associate the way a film looks to the era it was made in. So say a film like "Cinderella Man," that takes place in the 30s and 40s I would like to make it look like films that were made in the 30s and 40s. So I was wondering what really gives the look of a film it's characteristics. I guess there are a lot of factors such as lighting and style but I was wondering if there are just certain characteristics of a film stock that are just hard to duplicate. Do stocks have subtle differences in them like people have different personalities? Or is that we have all this new equipment that can create stellar imagery these days and when given the option to do a DI people choose to use the newer, better equipment than dumbing your image down using old technology? Such as the "Aviator" where an older two color film process is being replicated but with the sharpness and clarity of today's film lenses and stocks therefore creating an entirely new hybrid "feel." Film seems to be all about the subtle nuances in the image. I read American Cinematographer and when I read cinematographers talking about what they did on their films it almost all sounds the same after a while but the films can end up "feeling" completely different. I guess that is where experience comes into play huh?

www.pac-lab.com They are in the bottom floor of an old apartment building on 1st and 1st by the F train. They are dirty but they are quick and I love 'em. The only catch is they process reversal film with the VNF process not that E-6 thing. Even though I've shot a few rolls of the new Ektachrome stock and had it processed there VNF style pushed a stop and thought the projected film looked quite nice with a lot of solid rich color and blacks. But I wouldn't get anything transferred to video there. I'd bring it somewhere else.

When I see old movies like "Casablanca" or "The Third Man" I wonder why these films look so different. What is it? Was it the lack of latitude compared to films of today? Was it their ability to resolve the image? Newer films shot today just feel different. For instance the film "Good Night and Good Luck," it looks great but it feels like it was made yesterday and not 50-60 years ago. Is it that different technologies used back then just had a different feel? Or is also a combination of stocks and lenses?

Cool, thanks. Wasn't sure if there was going to be an extra charge or not. I wouldn't think so, but you never know. I hand processed some film back in college and sent it to Bono films and they freaked out and called me about it when I asked them to transfer it. I had to explain that it was hand processed reversal and that I wanted it transfered as a postivie and not as a negative along with my other film.

I have a roll of reversal that I shot. It's been processed. I also have a lot of negative film for processing and transfer still left to be done. Can I include my reversal roll when sending my film to a lab? Will they transfer the reversal via telecine at no extra charge? I will be calling labs today but I wanted to know what to expect. If anyone has done this can you post your experiences?

Who rents Mitchell's? How heavy are they?

I took my camera out the other night and I didn't have any problems with condensation until late in the night. The temperature dropped below 50 degrees after midnight and I would clean the lens off but it would then fog over shortly after. I was on a lake shooting timelapse stars. The sky was clear without a single cloud. Do I not have to keep my lens warm to prevent this?

Thanks! Is it easy to dial in different frame rates for the 235?

Does anyone know where to rent a 35mm camera in NYC that can shoot timelapse? What camera should I be looking for?

I want to shoot timelapse stars at night using my Bolex. How can I prevent condensation from building on my lens due to the low temperatures at night this time of year? Do I need a heater?

Interlaced video gives video the look of "video." The extra sampling that is only half the image at a time creates that creepy look of video. Progressive just looks more like film because it is shot more like film. One frame is one frame. With interlaced video one frame is two fields. The first field in DV are the odd scan lines and the second field is the even scan lines. The DVX100 shoots progressive then does what a telecine would do inside the camera so you get footage on tape that looks like it may have been shot with an HD camera or Film camera. There is a cheap program sold on www.dvfilm.com. I shot a feature with the PD-150 and used this to deinterlace all the video. It can convert 60i to 30p or 24p. I'm not sure what PAL options there are but it must support it. The software is nice because it only deinterlaces video where motion is present preserving a lot of the resolution. You can get the same effect in After Effects but it is a little softer. But when viewed on a television off a DVD the difference is negligble.

I was at an HD Workshop a long time ago and some Zeiss guys came in they said they were designing an HD lens to be it's sharpest when wide open. So I was wondering if there was a lens specifically designed to be its sharpest in 35mm motion picture photography.

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