Emiel de Jong

The last generation of Kinoton projectors used stepper motors for the intermittent sprocket, even for 16mm... https://www.sprocketschool.org/wiki/Kinoton_FP_30_E Their FP 38 ECII Reference model was built for quality checking prints, with better image steadiness than (most...?) mechanical projector movements could provide. So I guess it is theoretically possible to build a camera with this system. Practically possible is another thing I guess.

Haha, congratulations! And your procrastination habits are about the healthiest I've seen... ?

Apart from that 4000 page manual (you need lots of courage for that as a starter...) there are also some much more friendly training books on https://www.blackmagicdesign.com/products/davinciresolve/training . Download is free and you get all media material with it to start working with Resolve immediately. The books are a beginner's guide, and then more detailed guides for editing, audio, color correction and visual effects. I think they are pure fun!

The 8Z adapter for my super-8 camera... something I had to have when a Dutch dealer in the early 1990's made it available. It was fun, but results were always a bit soft in my experience. Later, when I got into film projection professionally, I always felt that this was just the 16H 16mm projection anamorphic with a different name on it to sell it to the super8 filmmaker. On YT there are a few videos that compare the 8Z and the 16H, differences in sharpness are found, but I still guess this has to do with the calibration of the individual lenses instead of being the result of a different design. They simply look too exactly the same ? A YT video shows they come with either blueish or yellowish coating, and that makes a difference for sure in lens flare color. I once encountered the same lens also as part of a cheaper 35mm film projection combination: a quick google shows this must have been the "Sankor Anamo-Prime". I think too the professional anamorphic taking lenses from Kowa must have been completely different things...

About direct prints from Vision 3 50D: 2 years ago I shot some tests with it and we had it printed, it became clear that the effect I wanted, outspoken colors and rich blacks, was simply not possible. (And I wasn't going for the Kodachrome type of outspoken colors, just the effect I got automatically with negative / positive some ten years earlier.) Somebody from the lab here in the Netherlands explained to me: Vision 3 is designed for digital intermediate, has therefore soft colors, and print film to compensate for that surely existed (if I remember correctly he mentioned some Fuji stock), but is not made anymore. This was 35mm but I guess print film stock availability is the same for 35 and 16.

I was very happy with the services of Dejonghe and also with those of the not yet mentioned lab in Amsterdam: http://www.haghefilm-digitaal.nl

This article mentions "feature films shot with..." and "35mm": http://nofilmschool.com/2017/01/kodak-ektachrome-35mm I am wondering too: will it be available in 35mm, and with negative or positive perforation?

Thanks Don. I will get those screens...

I got some nice Lowel Quartz D sets ( the yellow ones). They don't have protective screens: were those only introduced with the later DP model, or are they just missing? And should it be possible to use the DP ones on the D model? Thanks...

Thanks Kenny, that's excellent; if it's up to me that's exactly what we will do next time. I will check out his other articles too...

Thanks David, that is all very valuable information. If we do another project all-analog there will be some heavy testing before, and then I want to bring in people anyway who are more skilled in this field than I am myself. I love the idea of working with film and film only, but if if the qualities I associate with that cannot be produced anymore with the materials available right now it would be mad to refuse digital finishing. (So, we "were" in the same festival in Amsterdam ! I couldn't be there the day "The Love Witch" played, so unfortunately I have not seen it yet.)

"Unless the timer took you into his hazeltine room for a pass before the 1st answer print, which is unusual." - Yes, this was exactly what happened, except it was a Colormaster. Second session was with the answer print, looking at it directly through a magnifying glass and through different color filters.

Kenny, I don't know... (as you will guess I am not a DOP and this is not something I do every day, I hope you all appreciate that I try to learn about it though...). I remember a conversation I had with the grader when I asked about the negative, he considered it fairly normal. What I did at the first session was asking for a less bright image till I sort of liked what was on the monitor screen, this produced a print which was in parts somewhat too dark, without giving in return the extra saturation and deep blacks I was expecting to get.