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Klaus Capra

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About Klaus Capra

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  • Occupation
    Other
  • Location
    Hong Kong
  • Specialties
    recording. cine/foto

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  • Website URL
    http://cargocollective.com/klauscapra
  1. Hello to everyone, I got my hands on a Bolex p3 2x8mm and after going through an online servicing guide for 8mm bolex cine cameras written I think by a member of this forum, I managed to get the motor to run very smoothly, and after testing the film pulling mechanism with some old Kodachrome it seems ready to start shooting. I'm in Italy and there are no labs here working with 2x8mm. Are there other shops/labs in Europe offering standard 8mm film, developing and telecine besides Wittner tec (just film, no processing/telecine)Kahl and GaugeFilm? Anyone have experience working with double 8mm and processing in Europe that can recommend a good lab? *About 73 euro; http://www.gaugefilm.co.uk/store/p59/Agfa_Aviphot_Chrome_200D_Double_8_Process_%26_Telecine_Paid_Reversal_Film_Can.html *About 66 euro http://www.kahlfilm.de/content.php?nav=17&productid=88 http://www.kahlfilm.de/content.php?nav=62 What I understand from google translate is that the minimum amount they would telecine is 20 minutes, for 20 euro, 1 euro per minute Also, are there other emulsions available besides WitterChrome, Orwo, Kahl, and does anyone know if there is still someone modifying Fuji Velvia 50 into standard 8mm? Many thanks in advance,
  2. Hi I'm interested. I'm in Italy. Are the batteries for the camera re-celled?
  3. So, the safest way is to get film locally and process it locally. Telecine/coloring can be done at that point anywhere. Got it. Many thanks to all! My problem now is.. the Kodak distributor I spoke to in China sells 16mm Vision 3 way above market price, I'm assuming because of import tax. But I see on the Chinese equivalent of ebay 35mm V3 film being sold all the time at good prices, apparently shipped to China avoiding x-ray machines. So because of unexpected circumstances, it may be easier to shoot with 35 instead. Is exposing 35 roughly the same as any other film, or am I jumping the gun without experience shooting smaller gauges first? I see prices on Ebay for Arri II,IIIc, and russian 35mm cameras can be in the same range as Eclairs, and have read in other discussions on the site that processing and telecine can also be quite close. I really like the aesthetic of the smaller formats in experimental films. Do you think the difference in aesthetic results between say Brackhage and Nolan are due to stock gauge, or equally gauge/artistic vision/lens/post? I wonder why experimental film makers, as far as I know, always opted for super 8 and 16.. perhaps because they were self funded artists, and the production cost with smaller gauges was cheaper.. If I were to shoot in 35, is the aspect ratio dependent on the camera system, as it is with standard/super/ultra 16? I want to shoot my films in 4:3.. couldn't find much info online.. Will, the hand inspection bit is pretty good :ph34r:
  4. Learning, learning… Will, the film risks x-ray damage even after it's processed? I suppose I could physically take the film to the closest places, Tokyo/Osaka, hoping to have the film rolls hand checked through the security check. But I imagine this being a luck of the draw, depending only on the staff at that second. Anyone reading have experience trying to take film as carry on luggage? My only other option is to pay extra(or bargain) for the telecine in China, being that all the other cheaper options become more and more unaffordable. Or, take a holiday every time I finish a film… Thinking out loud at this point, but the information may come in handy for film makers living in China, or even other Asian countries with limited sources. Thanks,
  5. Thanks Gregg, A barney should be something made especially for the camera model, or could be mcguyvered with some suitable material assuming the camera is quiet enough as it is? For sure some things may have been lost in translation in the phone conversation with the guy in Beijing; The lab, one of few in the mainland, may also never be approached by independent film makers.. that may explain the high cost? Zac, thanks a million for the idea, I didn't know that the film once processed could be shipped. That means I could process the film in China and have a lot more options for the telecine in Japan, Taiwan, India… Any precautions to take when shipping film? Or is it quite basic? My god, what if it's lost? Thanks,
  6. Thanks Will and Josh for the info despite there being another recent post on camera choices, That's a good deal on Igor Camera, I wrote an email to see if the camera is refurbished before shipping. Both the Arri and the Eclair seem ideal for my projects, each in their own way.. I remember seeing some making of footage of Claude Lelouch's A Man and a Woman, reportedly all shot on 16 and 35 with sync sound Eclairs. The camera was very** loud, and yet there were sound techs with boom mics, nagras just a meter or two away from the DP. How can one reduce the hum in post? Anything to look for in FCP? Or maybe any noise reducing software? In Beijing I received a really good quote for processing, but the scanning/telecine lab recommended to me (by the processing lab) using Arri and Spirit machines quoted me at 160USD per 100ft and around 325USD for a 4 minute film (the guy laughed at me for such a small film and said he'd give me a discount if it was exposed well… …)How do these prices compare to labs out there yonder? Many thanks again,
  7. Alright.. never mind the camera advice How about processing and telecine for those with experience shooting in China/Hong Kong? Would really like to hear from anyone who has worked with film on this side of the world..
  8. Hello all, Have been lurking the forums for information on film and cameras for some time, and have found lots of answers just by researching. Many thanks to all the resourceful contributors.. I'm a film maker currently living in Shanghai. I've been making films with digital, and quite eager to start working with film, so have been saving for a solid/lasting 16mm package. Although my current work heavily inclines towards the experimental/cine poem I would like the have the option of eventually shooting sync sound. I make all my films in 4:3, so anything that isn't easily converted to super16 is good. I'm intrigued by the portability of the Arri 16 ST/SB. But as I understand it, it's a non sync camera. In general the aesthetic of out of sync sound is quite appealing to me; e.g. Fellini, Rossellini & co. but is syncing dialogue and atmosphere sound (by myself) in post really such a work of love as people make it out to be? If one doesn't have money for a self blimped system (sr2, aaron etc), nor the knowledge on post syncing sound, is it crazy to shoot even small pieces of dialogue non sync? I'm available to different easy to hand hold options; Eclair, Kinor. But maybe not the smaller clockwork types like the Bolex or K3 My price range for a ready to shoot camera package with lenses working battery is 1300 euro/1600 USD (film and processing not included). I see some ebay sellers such as DUALL have physical shops that restore/overhaul cameras. Is the above budget realistic? Because I'm living in China it'd be best for me to find something that is ready to put to work without repair as from my research it seems the resources for repairmen are almost non existent! Lastly, I found some labs for processing/telecine in Beijing and Hong Kong using some reputable scanners machines for coloring; but does anyone here have any real experience with processing and telecine in China? Many thanks in advance, Klaus
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