Brian Drysdale

The 1920s has a wide range of visual styles, depending on the genre and when in the 1920s.

Ektachrome 7225 was a lower contrast stock, as explained here:

March's "Learning from the Best" is covered here: https://lwks.com/blog/recapping-learn-from-the-best-a-month-of-invaluable-insight?utm_campaign=April '24

I used to shoot with a CP16R, which didn't have a 180 degree shutter, at 25fps, without flicker issues under lights, but TVs had a bent bar, instead of a straight one.

From the Aaton 7 LTR sales brochure of 1979, there was an optional 188/172 shutter for shooting 50HZ 24fps that you could purchase at the time.

You'll also need insurance for the equipment.

Sometimes rental companies will allow you to practise on the kit on their premises.

I'd be surprised if anyone shooting video or film would use shutter speed for the fine exposure adjustments, they'd tend to use the iris for that. 

Some of these fast shutter speeds are carry over from stills photography, so you're less likely to use them on video or film unless you're shooting for a visual effect. You'll come across them when shooting slow motion. Film and Video shutter speeds have tended to be a combination of frame rate and shutter angle working from a 180 degree shutter, although this can vary from camera to camera. Plus you may be able to vary the shutter on individual camera models.

On video cameras, you tend to have shutter speed settings based around the frame rates used in PAL or NTSC counties, e.g. 1/50. 1/100 etc or 1/60, 1/120 etc

You may be able to work in 1/3 and 1/2 stop increments using shutter speeds on individual stills cameras.

Here's Wikipedia on the subject, there appears to have been an element of rounding up of the numbers for convenience ; https://en.wikipedia.org/wiki/Shutter_speed

Here's an eclipse in India in a BBC series fronted by physicist Brian Cox.

I guess it's possible someone may buy the assets and keep the Cantar audio recorders going as a product.

Lightworks are running a programme on aspects of video creation over a number of months. Each month covers a different aspect, it's not about how to use Lightworks, but each area in general. It could be of interest to students and new filmmakers, since it does a wide range that could serve as an introduction.

January covered video editing: https://lwks.com/blog/recapping-new-year-new-edit-a-month-of-video-editing-tips-and-tricks

February covers audio: https://lwks.com/blog/recapping-audio-month-a-month-of-music-and-sound-filmmaking-advice

March will cover "Learning From The Best. Celebrating Oscar Season by investigating what lessons can be gleaned from the masters"

I shot a film, which had a lot of night street scenes, which used 7222 and Ilford Mark V B & W negative. At the time, I could only get 7222 in 100ft rolls, so only got used on a limited number of night shots, which were lit, but it was quite grainy. Most of the night shots were on  Ilford Mark V, I tested forcing one stop, but there didn't appear to be any advantage over just printing it up. Having recently had a 2k scan of the film, the grain on the poor street lighting shots was very grainy, brighter street lighting held up much better, but still had noticeable grain. 

The lenses used were f1.4 and 0.95, the camera for the night shots had a mirror shutter and was run at 18fps (both for pacing and the extra exposure).   

There is an option to fit a video assist, but the quality isn't really good enough to check focus unless you have a modern camera fitted, even then you may have difficulty, since the CP16R doesn't have a fibre optic viewfinder of the same quality as say an Aaton or Arri 16SR. It's of more use for judging performances and framing than the focus.

The CP16R will do the job, although you'll need to have a camera that has been converted to Super 16, or be willing to get the conversion done. The weakness is the electronics, which you should check out before purchase, since repair doesn't seem to be an option with these.

33 minutes ago, Patrick Cooper said:

Brian, that's what I assumed would happen if the track wasn't slowed down on the timeline but simply exported as 24ps - frames being discarded. In the case of 25fps being converted to 24fps, I guess one frame would be dropped for every second. I wonder if that would have any effect on the smoothness of the footage. 

I suspect it's to avoid issues with the audio. There are a range of frame rates that you can convert to, and you wouldn't want the sound to change pitch at the higher frame rates.

I don't use Resolve, but there is online info on changing the frame rate.

I've got Lightworks, where you can make a conversion to 24 fps when making a copy of a 25fps sequence and when exporting the 24 fps copy, it's at that frame rate. However, it appears to still have the same running time, so may just have dropped frames.

You may be able to select a 24 fps export on your NLE or change the frame rate of your sequence. The audio will also slow, which may be noticeable, You may not need a pitch change, but that depends on the nature of your soundtrack. There's a 4% speed difference, so the film will be longer.

24fps on NTSC frame rates has its own artifacts, but I guess they're so used to these, they're blind to them.

That looks like a Steadicam Mk2. Compared to the picture, the big difference is the two handed operation, this was developed on "The Shining" by Garrett Brown. Modern Steadicams have a vertical post arrangement on the sled as introduced on the Steadicam III, the high brightness, green CRT monitor with valves has been replaced by a LCD monitor. 

The important thing to consider is clearing the mirror shutter of the Arri BL4.

A 32mm lens would probably be a good all round lens, although a 35mm is more common. The 25mm may have too much distortion for close ups, unless that's what you want. It really depends on the style you're going for.

Although not an Arri, years ago, I shot with a Bolex H16 that had a flicker issue because of damage to the drive shaft that the external motor was attached to. The motor worked fine on a different camera.

LWKS are running an education programme on both Lightworks and editing in general over 2024.

https://forum.lwks.com/threads/lightworks-in-2024-—-education-content-community-and-more.250597/#post-272487

It may be of interest to those interested in learning more about post production.

New articles are added weekly, which can usually be found here: https://lwks.com/blog
Also, on the last Wednesday of every month, a live video show with guests.

"The Wager" has been BBC Radio 4's book of the week:  https://www.bbc.co.uk/sounds/series/m001tr2w

So you can run the movie in your head.

The F 7 is a great head, but it's heavy if you're shooting documentaries (I've used it with an Aaton on one such production). Your F7 looks a lot larger than you need for a 16mm camera, most are closer to the one seen here: http://www.ronfordbaker.co.uk/products/fluid-heads/fluid-7/

As mentioned, try testing the Sachtler 100mm bowl heads or similar.

The marketing said that HD was the same as a projected 35mm print.

There's "Saving Mr Banks" about P.L. Travers and Disney going head to head over "Mary Poppins" as he attempts to get the film rights.