Juha Mattila

Im not sure but I think reversal, because they vere after of 60s newsreels.

Thank you for this Dom! I just love these oldtimer craftsmen how stand so calm on the edge of the abyss.

I love this movie! One of my all time favorites. We screened this last year in our film club in Helsinki from my lovely 16mm print. Eisensteins have written a great essay about this film where he famosly writes: “Suppose some truant good fairy were to ask me … ‘Is there some American film you’d like me to make you the author of – with a wave of my wand?’ I would not hesitate to accept the offer, and I would at once name the film that I wish I had made. It would be Young Mr. Lincoln directed by John Ford.”

Thanks again Landon!

Thanks guys! Yes, I will get separate HDD drives for my media files. Only OS X and apps on my SSD. So it seems like 256GB will be enough for Resolve. I wonder why Blackmagic recomends to have 512MB or more?

Hello, Do I really must have 512GB drive for OS X and aplicatons like they say or would 256GB would be enough? Im thinking of getting bootable PCIe SSD for Mac Pro 5.1. If someone can enlighten me I would be gratefull!

Actually Color supports 4K resolution but I wasnt planning to do grading my self so maybe it would be safest to use DaVinci for conversion so there wont be any any problems. Thanks Tyler!

Thank you Tyler! What do you mean by Color been glitchy? Your are saying Resoleve would be better option for crating proxy files. Can you open that little bit? I was thinking to get Resolve and I actually also have Media Composer 5.5 but I got to admit (shamefully) that I have never use it because I have been too comfortable with FCP7. I would be gratefull to read suggestions what would be best workflow in my situation.

Thank you Michael!

Hello all! Im new with offline workflow so bear with me. I have DPX files which I need to edit offline. I have old Final Cut Studio 3 and Im tend to use Color to make proxies and then edit with FCP. Is there something I need to take in to account when I do that? Will the Color make automatically necessary metadata for EDL so I can relink my DPX files flawlessly? DPX files are mede from super8 scans so there is no camera timecode.

Pentti Sammallahti is one of the greatest! He is also master printer and still working in the darkroom. http://www.peterfetterman.com/artists/pentti-sammallahti

Thank you again Dom and Robert! This has been very helpfull. I will do some more tests and ask the repair prices and then make the decision.

Yes, the separation covers about 70% of the lens, including center. Rear elements are in good condition. Lens is also pretty yellow too I don't know is it because of Canada Balsam or radioactivity. I haven't try UV-light treatment yet. I emailed P&S too. There is one guy here in Finland how has some experience re-cementing still photography lenses. I wonder is there some special centering and collimating tools and knowledge needed when dealing Panchros whitch differs ordinary still lenses?

Thank you Dom! It will be my own use. The guy how told me it's not worth it, told me also that it might not affect too much the image, but I have notised that if I use bright practicals or let the back light go in to the lens I get pretty bad flare all over my image. I don't have other Cooke but I have Zeiss Sonnar 85mm and I know Zeiss is more contrasty lens but there is so big differens with these lensen even when there goes no light towards the lens. Zeiss seems lot sharper too. Sure Zeiss is sharper by default I didn't think it would be that much. Maybe I should test with other Cooke then I see how much there is differens and would it be worth to repair it.

Thank you Olivier! I send them email.

Hello all, I have this ser II Cooke and it has a separation issue on back element. I wonder how hard is it to fix it? I will take it to local repair shop so they take can take a look but I heard that these old hand build lenses can be tricky to put together again. One repair man already told it wont bee worth it to trye. What do you guys think is it worth it to try to fix this lens? If anyone can give me any advise on this it would be appreciated. - Juha

Thanks guys! That was what I was afraid of. I just have to rent a camera then. It's a shame that I cant use my own IIB for that kind of locations...

Hello all, Im sorry if this subject have been covered already but I couldn't find fully comprehensive answer to it. I have Arri IIB with Tobin crystal motor and I need shoot on location under the prevailing lights. Most likely fluorescents. Some say you can shoot 25fps 50hz lights with no problem at 165 degree shutter but I have also reed that it can still produce flickering. Before I do the test I wonder if some one has already done it or knows how it is? Thank you, Juha

If you remove remjet after processing is there a risk that remjet particles will stick on emulsion side?

I remember that Lynch was talking about freedom not to have to cut and keeping the "flow" with the actors when hi was making INLAND EMPIRE. I wonder if he did it differently with Twin Peaks? I would imagine it would be very, very expensive to edit 18h show that was shot with out using slate. I think he is credited one of the editors. If you look only acting performances, of course Inlands acting is phenomenal, but so is John Fords almost every movie and he edited in his camera...

Kodachrome was introduced 30's and is "low-fade" stock. Actually Kodachrome and IB Technicolor are considered to be "non-fade" stocks because properly stored they hold centuries. Kodachrome have best color holding properties of photochemical films. There is also Eastman Reversal (also known Gray Track Kodachrome) which should be pretty similar to Kodachrome. Anscochrome at least from 50's is "low-fade" too. Fuji and Agfa changed chemistry in early 80's along with Eastman and after that they all were considered "low-fade's". However before 80's made Agfa and Fuji print holds pretty good. Fuji might turn little purple and Agfa loses some saturation but holds relly good, better than Fuji. In terms of fade there is no comparing these to Eastman, how it goes pink and might lose all other colors. Kodak SP from 70's is not "low-fade" but sometimes holds pretty good.

There is low fade stocks made before 80's: Technicolor, Kodachrome, Anscochrome at least. Also Fuji and Agfa holds pretty good. Look up 16mmfilmtalk.com.

New prices: Kern Switar 10mm 1:1,6 RX 250€ (reasently overhaulted, but have two little scratches on edges of front element, don't affect picture quality) Kern Switar 16mm 1:1,8 RX 190€ Kern Vario-Switar 86EE 18-86mm 1:2,5 RX 150€ Kern Switar 25mm 1:1,4 AR 190€

Anna Biller's blog: "I did still record the sound for THE LOVE WITCH on ¼” tape on a machine called a Nagra, and that had to be transferred to digital files at Fotokem on a machine which no one has used probably since the last time I used it in 2006. The nice people at the lab wrote me an email after the last shoot we had saying, “Are you done shooting yet? We want to put our ¼” machine back in storage.” I have Nagra III, 4.2 and IV-S. I absolutely love them! There is nothing like human voice recorded with Nagra 4.2.

Hello, Im selling these: Kern Switar 10mm 1:1,6 RX 290€ (reasently overhaulted, but have two little scratches on edges of front element, don't affect picture quality) Kern Switar 16mm 1:1,8 RX 230€ Kern Vario-Switar 86EE 18-86mm 1:2,5 RX 190€ Kern Switar 25mm 1:1,4 AR 230€