Juha Mattila

Thanks Perry! I think I will just move along with my super8 K40 project (with out HDR) or this will be just an other excuse not to do it 'yet'...

Is there any news on this? Has any commercial transfer house acquired this?

To prevent halo effect when shooting black and white.

I wonder if it's possible to blacken ACL mags pressure plate? I assume that the plate is chrome and then there is not much I can do... Any input would be appreciated! - Juha

I wonder is it possible to paint the pressure plate? I have ACL II and I have contemplating with this same thing.

What would it be smartest way to work sound when cutting workprint on flatbed today? I was thinking if I have dialog on sepmag and use it only for editing and then you scan your cutted neg or IN and make the soundtrack cut then. Then I wouldn't have claps for sync the sound. Maybe it would be necessary to scan neg before cutting to have claps for sync or maybe to scan only the takes you have selected from workprint…

Hi Dom, I didn't use any core. I spooled the film around stick close to same size that is in mag and then just slide the film off and put in the mag. Now I feel pretty stupid because I did try it again with spoiled film and I press it 100% flat and it worked fine. When I spooled film in dark I couldn't make the film roll flat enough. I will try harder next time. Maybe I should make some kind of jig for my film rewinds… I would be curious to know do you spool your films for Kinamo? Sorry Doug for misspelling your name!

Hi Dough and thank you for your reply. It's not that there is not enough power in spring motor because when I put the cover on the mag and run the camera it eats first loop and film gets jammed. Friction is just too much for the sprocket teethes and pressing shoe. When I pull the film from fully closed mag I can feel it is too heavy. I don't see any dents or nothing on the magus. I have two and both have same problem. I hope it would have daylight spool system. I Even stated to think if I could modified it and make some 25m spools, but I don't want to mess this beautiful historical camera. Shooting without mag cover wouldn't be so bad but loading the film in darkness is so hard. Actually what I did is that I put the cover on the mag lightly and then opener the door just a little to see just enough to load the film.

Geetings all, I just bought Zeiss Kinamo 35mm camera. I love it but I have hard time to rolling the film to mag and when I finally get it done film feeds very poorly. Without cover mag works fine. I think I need to roll the film precisely even that it wont touch the cover. Even then Im not sure that it wont touch the cover. I loaded mag without cover in darkroom to my camera (it was not easy!) and it works now, but I wonder if anybody have any tips for how to load mag way I could use the cover on it. Any advise would appreciated!

Hello, These are still for sale (new items, prices and corrections): Kern Switar 10mm 1:1,6 RX serial num: 611465 / 250€ (reasently overhaulted, but have two little scratches on edges of front element, wont affect picture quality) Kern Switar 16mm 1:1,8 RX serial num: 635583 / 230€ Kern Switar 25mm 1:1,4 AR serial num: 293404 / 230€ Arriflex IIb door (no eyepiece) 30€ If you want pictures or more details send me a pm. These are in Finland and I can ship worldwide. Shipping costs for byers. Payment: bank transfer or paypal.

Hi David, Im very excited about new color reversal film of yours and the prospect of having alternative negative stock, maybe something more traditional look than Vision3. I hope labs will pick up whit you. Now its very bleak considering E6. Andec just stopped processing it and still labs, at least here in Finland there aren't many left. One I have been using is stopping in E6 end of the year. I think lot of exciting things are stirring on field of analog photography and cinematography, but same time infrastructure is going down...

I think Andec in Germany still makes super8 prints from negative.

This could be great for reversals (especially K40) because it seems to have HDR. Correct me if Im wrong but I think this is the first 8mm HDR scanner.

Yes, you are right. I did't mean that this show uses "pseudo artistic" style. That was only about the essay. I think they are using this conventional style in same purpose for creating these whoa! effects. Main purpose is not to create comprehensive artwork but to gain admiration.

This remind me of Manny Farbers essay "Hard-Sell Cinema" -57. It is a great essay where Fabers analyses rise of the filmmakers who uses style for creating pseudo artistic impressions aiming to impose their brilliance to audience.

My heart bleeds tears every time I heard that digital restoration has been done to old film. Because it means the chances to see it on 35/70mm are growing thinner. Movies which where originally shown on film should continued to show on film. I have no objection of showing digitally shot films on DCP but original format should been honored. Finnish film historian and director Peter von Bagh compared this to idea that museums would scan their paintings and only showing flashes on screen. Ok, films and original paintings are different things because film print is a copy, but analogy stands about idea of copying the art work (many films are!) to different medium. Home formats are different thing. They are like art books, but movie theaters are like museums.

When i was watching this my wife asked me from the other room that are you watching timelapse video? Always they use this "same" music in these timelapse works. Beautiful, but maybe too pretty...

Damn! I was really hoping it would be decent cos its so affordable. I will make some tests...

Yes, its my favorite quote from him and he have lot of great aphorisms. Bresson is so unique character in cinema world. He was jansenist, outsider, some sort of mythical figure and he loved Bond movies, specially For Her Eyes Only. Used only 50mm lens (actually there are at least two shots where he used tele-lens: Lancelot: moon shot and Une Femme: scarf flying shot) He was very "deceitful". One couldnt never tell hes true motives. Anne Wiazemskys bio Jeanne fille is very enlighting reading. She paints a picture of this middle-aged guy who is desperately in love whit hes 18 yers old "model". There is also lot of funny stories, like when Mr. Bresson is trying to make contact whit hes other "model" donkey Balthazar, but Donkey just turns his head and ignores Bresson who says sadly: "He dosnt care about me". I have always think that he was kind of cool hearted genius who had a mystical connection whit hes "models". According Wiazemskys book the reality was quit different but then again when watching Balthasar and Wiazemsky on screen you can feel mystical connection between them and camera. So at the end one is not sure anything about Bresson intentions. Was he really in love whit Wiazemsky or was he just trying to get the performance he wanted. "Choose your models well, so they lead you where you want to go." -RB

Andec in Germany have super8 blow-up to 35mm, but the cost is 8.5€ (9.25$) per meter. Too expensive for me. Maybe if i have a shorter project. Firs have SD scan - edit - cut the super8 leaving onely what is going to be on print (almos like neg cut) - blow-up - neg cut - print... Actually 16mm print would do me fine but it would be approx same price and there is no direct digital printing on 16mm, not that i know anyhow. I hope that projected print stock will restore some magic of K40. "My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water." - Robert Bresson

Dont give up so easily! Forget Dolby and get a optical track. For my taste optical mono is very good. Brain will give you illusion of stereo when it puts together pic and sound. I never liked surraund sound. It feels it bit detached from picture. Image quality of photochemical process is superior compearing if you teke DI rout. If you can find two prints and watch them side by side you will see the difference. Im not even going to start about difference of 35mm and DCP... Im shure there is still theters that have 35mm projectors dusting in side of these video projectors. Film can survive, but onely if we believe it is worh of all the sacrifices we make. If we look at the "quartz crisis" at 70s. Almost nowbody didnt belive mechanical watch can survivie but here we are and clock is still ticing. Altought it almost did die. So much instruments, macines and know-how whent to dumbster. Sounds familiar? But there was enough people who belived in mechanical watch and maked the necessary sacrifises. Of course swiss clock industry wasnt same as before "quartz crisis". It had to focus on luxury. Digital is here to stay and there is no denying it, but its up to us wheter film to have a some role in movie industry or it vanishes. Im sure there will be time when people gets tired of digital images (in audio there is already some sort of renaissanse) and are willing to spend money on analog arthouse film. Different story is will there be any means to make photochemical movies at least not whit the quality that has been achieved before "DCP crisis".

Are you suggesting not to use any "calming" with DI if your goin to print it to film? Not that im fan of a grain reduction in any how. I love grain, but i also love fine grain look of low speed film, but it is different story when you reducing grain in DI. I got this super8 project in relation wihich i have post here before. Im still trying to find out the best way to blow-up K40 to 35mm. Problem is that K40 was created for projection. Scaning it is bit problematic, but analog wetgate blow-up is far to expensive for me. I gues i need to do warious tests whit scans and printings. Using Cinevator is quite cost-effective so i will give it a try. My goal is to get as close as possible (economically and technically) to have same look on 35mm print that i have when i project my K40 on screen. There is just something magical about projected K40, saturation of colors, luster of grains, methapysical glow...

Hi Tyler, Actually i meant to ask about DI rout. Difference of printing digital file to internegative with Arrilaser or positive with Cinevator. Sorry about confusion.

Hello! Have anybody made comparison whit these two? I have never knowingly seen direct film print made by Cinevator. How much it differs from using internegative? Does internegative give more organic look to the final print than direct printing? Although from DI to internegative film looses great deal of organic look comparing to analog neg to pos process. Its actually striking to see these side by side. Analog process is so much better. Anyway I wonder how big difference does these two modern process have? Thank you fore any input!

Notes on the Cinematographer by Robert Bresson