KKB22

you may try to verify the built in 85 filter control vs cart notching as seen below.

this info is for the 200t cart - how to allow use of the built in 85 filter as the 200t cart is incorrectly notched from kodak. the principle for 85 filter control is the same for any cart if your camera is fully compliant to to the standard.

s8hôôt

Thanks man!! :D

E64T should be notched as a tungsten film, so the orange correction filter should be in place for daylight exposure. With a manual exposure camera, base your exposure on EI-64 with tungsten light and no filter, or EI-40 outdoors with the orange filter in place.

I recently shot a cartridge of the 64T with an old manaul Sankyo camera. The 85 filter did not fit into place like it should have. Is there a trigger in the camera or on the cartridge that I can over ride to make the filter come into position?

There is a screw hole on the top of the camera that you trigger to remove the filter for tungsten lighting but that isn't what I am after for exteriors.

This could be a very bad question, but I would love to use 7218 for Super 8mm and do a telecine at home. I own one of those old slide or film to video conversion kits, an old Bell and Howell auto load projector and a video camera with an adjustable shutter to eliminate flicker.

Basically my question is, since I would be transferring the negative to video, I suppose if I did an invert on the image to create a positive image (with Adobe Premiere 6.0 on my lab top), would this work? Or do I have to shell out some money to have it professionally telecined?

Thanks!!

THANKS!! :lol:

I'm a student at filmschool, and am wondering what brightness range one can capture on most of today's negative stocks. I've heard 7, 8, even 11 or 14 stops. What is the reality? And if printing a positive for a theatrical exhibition, what is the brightness range that is actually discernable? The book "Practical Cinematography" by John Wheeler says 7 stops but I couldn't find why elsewhere in the book. I know that television (Standard Definition) has a brightness range of five stops. So why the 7 stops for the preceding?

Thanks for all your help everyone, I'm not writing a paper on the physics of lenses, I'm just a Camera Operator/Camera Assistant studying at film school with a very curious mind. For me personally, with anything I study, I need to know why as well as how. Heh. :lol:

I'll contact Carl Zeiss.

Hey,

 

Tim's DVinfo tip is good. David is the one of the most knowledgeable people on this forum. However, I'm not sure we know what you want to know. We just know how lenses behave, not as much about the physics of why. You may have to go to an engineering referrence to find the answers you seek. It has to do with how light is bent and managed. The rules we all know are consistent due to those inherent physics of light and optics.

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I should've been more specific, yes I wanted to know the actual physics of why longer focal length lenses have less depth of field. Like you said, all the cinematography books I research give the characteristics, but not the physics.

Thanks anyways, sorry about the mishap.

Longer focal-length lenses have less depth of field, but a longer lens is not necessarily a telephoto lens if on a larger format camera.

 

A "telephoto" lens means something that produces a very narrow field of view. Now on a small format camera, a relatively short focal length may do this.

 

"Telephoto" lens can make the depth of field seem lower because the background behind the subject looks larger in frame, and thus it is easier to tell that it is not in focus. On a wide-angle lens, the same background looks farther away, which makes it harder to tell that it is soft in focus.

 

But that's not the same thing as focal lengths and why they affect depth of field.

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So it is purely the field of view that affects the depth of field? The focal length only determines the field of view?

I've tried to research many many sourcies, even the ASC manual, and not one will tell me why telephoto lenses have less depth of field than wide angle. All the manuals tell me what they do, but I want to know why. What happens optically that creates a shallower depth of field. :blink:

Cheers

are there any full time proffesional cinematography courses in AUS.

What are the good institutions

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Check this site out. The school is APA International Film School. It is a two year film school in Sydney which I am currenty undertaking. The strength of the school in my opinion is the Cinematography program. You get heaps of set experience.

http://www.apa.edu.au/

THANKS!! Looks like I'm going with the most affordable camera I can rent that will film in reverse.

Cheers

:D

I want my subject that I will be filmming to move in reverse, and I really, really don't want the video strobing effect that is often created when creating these effects in post. I've noticed that cameras like the Arri LT and others of that sort can film at reverse speeds. Does one load the film into the take up side of the magazine expecting it to run to the feed side? If this isn't how it is done, does one film the subject normally then assemble the negative frame by frame in reverse? Or is there some other process entirely different to what I am thinking?

Cheers :D