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Henri Titchen

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Posts posted by Henri Titchen

    how to test a lens

    in Lenses & Lens Accessories

    Posted · Edited by Henri Titchen

    Hi,

     

    This is usually a job for a skilled technician. There are two aspects to test a lens, physical issues and optical issues.Simple tests however can be carried out photographing test charts.

     

    There are often use three pieces of equipment for optical testing of cine lenses.

     

    MTF tester

    Here is an example of an MTF tester used for testing PL mount lenses.

    http://www.keystone-intl.co.jp/contents/carlzeiss/tester/MTF_Tester_K9.pdf

     

     

    Lens Projector

    Here is an example of a lens projector used for testing PL mount lenses.

    http://www.chrosziel.com/data/chrosziel/produkte/documents/Projektion_E.pdf

     

     

    Collimator

    http://www.motionpicturecameras.net/MPCnet_Collimator_Colimador/Chrosziel_Collimator_Instruction_Manual.pdf

    http://www.chrosziel.com/data/chrosziel/produkte/documents/Kollimation_E.pdf

     

    Cheers.

     

    how to test a lens if it is good or bad?

    Hong Kong & South East Asia film labs

    in Film Stocks & Processing

    Posted

    Dominic, yes you are correct, it is a definite risk.

     

    Some other risks worth considering are poor handling of the packages. Once I received film that had badly dented cans with some minor damage to stock inside. Posting/shipping in the heat of summer might result in the package sitting in the sun for hours....it can't be good for the film.

     

    H

     

    Doesn't mean it's safe to do so. You were lucky. Perhaps you park without paying - and you often get away with it. Doesn't mean you'll never get booked. It's a risk that you'll get your images ruined.

    Hong Kong & South East Asia film labs

    in Film Stocks & Processing

    Posted · Edited by Henri Titchen

    Hi Chris,

     

    Your idea of using an asian lab is interesting.

     

    Some assorted points that "may" help with decision making.

     

    1) Australian labs seem open to bargaining especially for students

    2) Due to the current difference between the Aussie and NZ $ then Park Road Post and other NZ labs mentioned by Dominic Case may be a good choice.

    3) I have posted low ASA stocks internationally with no apparent x-ray fogging. Make sure you don't send unprocessed stock via "surface mail" it may take 3mths to arrive.

    4) I tried to use an asian lab but found that language was an issue.

    5) The Aussie $ is very strong at the moment, (especially against the Euro). Might be worth looking at European labs.

     

    If you find a lab in Asia that you are happy with please let us know!!

     

    For short ends I would try the NSW shop called "The Stock Shop". They have a lot of 35mm....not sure about 16mm.

     

    H.

    DI Resolution

    in Post Production

    Posted

    Sorry, NEGATIVES you said.

    As far as I know, the sound negative is also made on a special type of colour stock, specifically to avoid the need for B&W processing.

     

    The only Kodak sound negative films I have heard of are 2374 and 2378:

    http://motion.kodak.com/AU/en/motion/Produ...uction/2374.htm

    http://motion.kodak.com/AU/en/motion/Produ...uction/2378.htm

     

    These are both B&W process. Using D-97 developer. This means the lab processing sound negs needs to retain a B&W developing machine.

     

    H.

    DI Resolution

    in Post Production

    Posted

    From my understanding most of the larger labs retain B&W processing machines as they are required extensively for developing optical soundtrack negatives.

     

    Can you actually get real Black and White prints made at all now? Considering the complexity of the chemical processing required I can't imagine anybody not having converted all their existing monochrome chains permanently to colour by now.

     

    Or can you get chromagenic B&W print stock that will work in a colour processor?

    Arriflex II - C

    in ARRI

    Posted

    Yes, these cameras IMHO when properly maintained with good lenses and a skilled operator are suitable for "big screen".

     

    I am currently seeking advice.

     

    Can a full feature film be shot on an Arriflex IIC? Will the look of the film be good enough for the big screen?

     

     

    Thank You!

    Diego

    More Crazy Eyemo Q's.

    in 35mm

    Posted

    See attached photo from an eyemo I repaired.

     

    I don't know the cause. It shows how these gears can be damaged.

     

    I guess it was some sort of jam that damaged the gear.

     

    Yeah, I've stripped the gears in a Krasnogorsk 3 while running polyester based film through it. The gear that stripped was not metal though, I think it was made of fiberglass or some similar material. All the gears in the Eyemo are brass or steel, as far as I can tell, when I took one apart. I've shot over 10,000 ft of polyester based films through it and never had a problem, even with jams occurring, the camera just usually stops. I think the gears and the associated mechanisms seem strong enough to be able to handle it.

    post-6939-1261870788.jpg

    More Crazy Eyemo Q's.

    in 35mm

    Posted

    Remember that a polyester (estar) film jam in a camera may strip gears. Acetate/tri-acetate tears more easily and is less likely to damage a camera.

     

    The gear at the base of the drive sprocket/s in my eyemo is brass. (Many of the other gears appear to be steel.)

     

    Though not as thin as the above mentioned ^ film, there are several different lab films that are available in a thinner polyester base. I've experimented with several different ones, wound on daylight spools and used in an Eyemo. Some of them can fit about 200ft on a regular daylight spool. I don't know if those types of films would be suitable for your intended application due there specific characteristics, as they are intended for lab use rather then as camera negative.

    35mm Motion Picture vs DSLR Timelapse

    in Visual Effects Cinematography

    Posted

    I am a big fan of film however this is one application in which digital SLRs IMHO generally win against 35mm film.

     

    1) Resolution of the new digital SLRs is incredible, as are ISO ratings! E.g. Variable ISO from 100 to 102,400. (Fewer problems in dim light).

    2) No registration issues, image is as steady as the support. No need for pin registered film SLR or modified motion picture camera.

    3) No problems with ageing filmstock in the magazine on long takes or in warm conditions

    4) Digital SLRs are small and easy to mount.

    5) Digital SLRs are cheap compared to many of the alternatives.

     

    From my understanding not much stop motion uses film any more. Digital SLRs are more commonly used. This is a similar application to timelapse.

     

    Take a look at the wonderful digital SLR results in the following BBC clip (not posted by me).

    http://www.youtube.com/watch?v=aCyoqaM_4sM

     

    Cheers,

    H.

     

    PS: I have a single frame capable eyemo :-)

     

    Would like to ask if anyone has experience comparing the quality of a traditionally done 35mm motion picture timelapse with the timelapse you can now do with many DSLR cameras.

     

    The stuff I have seen online that was done with DSLR cameras looks a bit jumpy, flickery, and not as polished.

     

    Anyone with experience with both who would like to share, I'd really appreciate it.

     

    Thanks,

    -Tim

    Vistavision workflow?

    in 35mm

    Posted

    Glenn,

     

    Could you please post some photos.

     

    If they are difficult to upload you can put them on Flickr of Photobucket etc.

     

    I'd like to copy your success.

     

    Thanks From,

    H.

     

    Of course I know Vince. Call the sales dept and ask for Rik, get a quote for DI scanning. The best they could do is $0.50 per frame. Which would have cost about $25,000.

     

    This is not for the feint of heart.

     

    You need to be a Matlab, Labview, and C/C++ guru.

    I built my own hardware and wrote software to scan it myself at 78 lp/mm for about $1400USD.

     

    here's what you need

    Nikon scanner

    Motor with an encoder

    2 or 4 gang 35mm film gang

    Labview

    Nikon SDK

    MS compiler

     

    Write code that interfaces to scanner, calibrates, scans image. It will take about 3 weeks at 24x7 to scan 50,000 frames of VV with quality control.

     

    For processing full 16-bit uncompressed images, color correction, image stabilization, etc.

     

    Matlab

     

    When the cash flow is more positive, I intend to buy two or three VV cameras and I'll modify them for a Leica mount for my next film, a feature.

    DIY Tank Processing (16mm)

    in Film Stocks & Processing

    Posted · Edited by Henry Titchen

    The Kodak manuals on cine film processing are located at:

    http://motion.kodak.com/US/en/motion/Suppo...nline/index.htm

     

    The manual related to Remjet removal is:

    http://motion.kodak.com/motion/uploadedFil..._h242_h2402.pdf

     

    These all apply to lab use. Amateurs use different methods. There are some useful tips on APUG regarding remjet removal:

    http://www.apug.org/forums/forum216/37994-...torial-use.html

    http://www.apug.org/forums/archive/index.php/t-55051.html

     

    Henry.

    WANTED: Russian/Eastern European 70mm negative film

    in Cine Marketplace

    Posted

    Hi,

     

    Hope someone can help.

     

    I am looking for any unexposed Soviet/Eastern block 70mm motion picture film. For example 70mm negative made by ORWO.

     

    Interested in B&W or Colour. Even very old film OK, (as long as it doesn't smell of vinegar!)

     

    Please send me a private mail if you can help.

     

    Thanks From,

    Henry.

     

    PS: I'm also interested in clear 65mm or 70mm acetate leader.

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