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Derick Crucius

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About Derick Crucius

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  • Occupation
    Cinematographer
  • Location
    Philadelphia
  1. Thanks a ton, Dom! What would you say is the widest I could go at infinity without vignetting? I do a lot of landscapes, so this is why I ask. Thanks!! -Derick
  2. Hey all, I was wondering if anyone could tell me the coverage of an Angenieux 12-120. Will this lens cover super 16 at all? Thanks, Derick
  3. Ahh wonderful! Thank you so much for the insight, Martin. Its very much appreciated. I'm fine with the perf markings as long as they don't bleed into my image. Good to know!
  4. Does anyone happen to use the Morse rewind tank? Every roll i process in the thing always ends up having perf marks throughout the whole roll on the perforation side. Has anyone else experienced this? What could be the the cause? -Derick
  5. Hey Paul, When you processed this stock, did your negative have the yellowish base color still? I processed as negative and it seems like it has a yellowish/grey color to the stock. -Derick
  6. Michael, when you processed the 7363 as negative, did you find that it still had the yellowish tint to the stock? I just processed this and although still wet and hanging to dry, I found that it still had a bit of the yellow base color to it. Did you use hypo? I used hypo for mine in a rewind tank at about 6 1/2 minutes. Processed as neg for 13 minutes in D76 (the Morse requires 2x the standard dev times, so I hear) Any input is appreciated! -Derick
  7. Hey everyone, a little late to this thread (by a few years). I just picked up a beautiful Rivas splicer and wanted to know if its at all possible to use non perf tape with it? I have like 9 rolls sitting in my desk drawer. If not, Is the single perf tape anywhere or do I have to stick with the double perf tape? -Derick
  8. Thanks Simon, does it matter if I send the negative tails out or heads out? Also, this all gets a bit more confusing working with b&w reversal. In that instance, the base should be towards the lamp with emulsion facing the lens. Im guessing the perfs should be facing the opposite direction than where they would be when splicing, meaning the face the projector?
  9. Yes its 16mm, my apologies. Thanks so much Simon!! Its much appreciated. Would it be the same orientation for a work print as well, or is that A-wide making it different? If so what would the rule be for that? Thank you in advance. -Derick
  10. Hey everyone, Im going to be splcing my negative for print and wanted to ask a quick question. So from my understand, camera original & negative film should be b-wind (emulsion out) for printing. My question is, what should the orientation be for the perf when splicing on my rewind bench. When splicing, should my perfs be facing me or outwards? I know this is probably a novice question, but I want to be sure Im doing it right before sending off to the lab. Any tips or advice about wind and orientation is very much appreciated. Thanks in advance, -Derick
  11. Hey all, Im looking to buy a Rivas or a Hollywood 16mm tape splicer. I have a ton of perfed tape and this is something Id like to acquire for my workprints. It doesnt have to be in the best comestic condition as long as it works well. Im hoping for a reasonable price tag, if at all possible. If you or anyone you know is looking to get rid of one of these machines cheap and fast, please let me know. Thanks in advance, Derick
  12. Hey Everyone, Im selling my Bolex H16 Reflex camera body. It has been full serviced, so no need to send it for any type of repair. The prism was replaced with a bran new one when I sent it for a CLA. Camera comes with: -Pistol Grip -Flat base adapter -Filters -Single frame trigger Asking price is $550 + shipping I can send more pictures on request
  13. David, my apologies. For this specific question Im referring to working with color negative, not reversal. I should have specified that this is an entirely new inquiry. Mark, thats fine. I also have press tapes if I need to use them for whatever reason.
  14. Thanks everyone, ideally Id like to make a projection print in 16, so when I say dupe I mean print. CIN meaning color internegative. The reason I ask if I could make an IN of a timed work print is because Id like to experiment with scratching and paint on the film, and if I were to do this with the negative, the printed image wouldnt be accurate to what I set out to do. Can this be done and would an IN of my cut print yield a good quality image when striking prints for future screenings? How about for scanning? Id like to also get these scanned for festival entries or to release on the web, but Id like to have a physical print to project as well when the opportunity arises. I could splice my negative to match my print, no problem. I have a hot splicer though so Id be using cement. Thanks everyone
  15. Thanks so much for the tips, Mark & David. Honestly Im just trying to figure out the cheapest way to work with what I have stocked up which is expired color reversal and b&w neg. Your advice is incredibly helpful, thanks a ton. Heres just one last question. If I were to shoot on color neg, would I be able to get a timed print, work with that, and create a CIN from that for dupes instead of ever having to cut the camera original neg? Id like to try to take a negative cutter out of the equation, again simply for costs. Id splice my own color neg, but the orange mask makes it hard to get an accurate representation of color. Would a CIN of my workprint degrade the image quality cvs working with the original negative? Best, Derick
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