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Will Montgomery

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Posts posted by Will Montgomery

  1. Loop formers definitely will scratch film. Doesn't mean it happens on every camera all the time but I had that issue multiple times until I had them removed and never saw it again with that camera. Got pretty good at making the loop without them and preferred it for loading.


    Don't forget to clean that gate before loading each reel! :)

  2. Ektachrome 100D should be coming back out for 16mm soon...I would test that stock but of course David is absolutely right about the lighting style...you'll have to test quite a bit.


    If you don't have a ton of experience in lighting and film use, you can even try to simulate the ASA of whatever stock you use with a digital camera (i.e. 100 ASA) with the same lenses get it to where the lighting and exposure works then replace the digital camera with film and test to see what you get. Something like the original Blackmagic Pocket Cinema Camera with a S16 sized sensor set to flat might get you in the ballpark.

  3. Second, 2 perf has hard frame lines so buildup of emulsion particulates on the bottom of the gate is very common. . using less feet which means you can use less negative.

    Good point here. 3-perf is definitely a great option...saves 25% in film costs but gives you flexibility in post.


    Personally, I feel 16mm requires a lot of work to look good these days.


    True. Unless it's the look you're going for...like new Redford movie or Walking Dead or even a high-end home movie look. When you're in the 35mm world however there are more and more arguments to go digital (***gasp!***) with the most modern cameras.

  4. My suggestion would be to buy 400' loads and have a reliable lab spool them down to 200' A-Minima loads. Bigger labs probably have a stash of the A-minima reels and know the winding requirements; just call around. It does add an extra step to be able to use the camera and takes planning but it is an excellent (and expensive) camera.

  5. As far as the Scoopic lens, I really can't emphasize how amazingly sharp it is throughout most of the aperture...this is the MS & MN models; don't have experience with the original grey model.


    There is a commonly found wide angle adapter specifically for the Scoopic but I've never felt the need for it.


    I have and rent high-end Zeiss glass for my SR2 and yes I can tell a difference, but for what I use the Scoopic for the lens is perfect. If I'm shooting in extremely low light, I'm going digital my friends; an extra stop or two isn't going to make the difference most of the time.


    Another plus to the lens is being able to zoom in, get tack sharp focus then zoom back out quickly to frame. This is actually one of the best aspects for me although not unique to the Scoopic.


    When I pick up the Scoopic I'm letting go of absolute control, I'm going for quick, easy, quality image and less missed shots. When I want to control everything I bring out the SR2.


    It's all about what you're comfortable and used to. I was really comfortable with my K3 especially loading it...but I was very UNCOMFORTABLE with winding it constantly and missing shots because of that.




    The big problem is not the price tho... it's the re-loading and the film. The film wind is backwards, so you're always winding your own film. Plus, the camera has a difficult threading pattern which makes it not easy to re-load in a run and gun setting.


    That's what labs and multiple mags are for. :) I still have original Kodak A-minima loads in the fridge, but if I'm re-loading I just have the lab do it for me for free (as long as I promise to process there.)

  6. The bolex is a superior camera to the Scopic in pretty much every way. Not just the gate, shutter, pressure plate design, but also on the electronic cameras the drive system is stellar. The interchangeable lenses are a key advantage, especially since the Scoopic's lens isn't that fast or wide. Yes the Scoopic is cheap and fine for entry level, it's just a limited camera in my view.

    Perhaps superior depends on your needs. Even though the lens is not interchangeable, I've had multiple colorists ask me what lens I was using because of how amazingly sharp it was, especially for regular 16mm. Honestly never seen the need for another lens and I use my SR2's with Zeiss glass constantly as well.


    I've never owned a Bolex so I can't speak to it; the pressure plate design may very well be superior and I'm sure it's a finely made Swiss product. But on a practical level, the Scoopic is hands down the easiest loading 100' 16mm camera ever made and that makes a big difference when you're changing reels at an event.


    The built-in battery and motor drive is excellent, compact and easy to use as well as the built-in meter which I've used constantly for the run-n-gun type shoot...usually taking a reading then locking down the exposure.


    For anything where I can put a camera on sticks, I'm an Arri/Zeiss guy. When I'm shooting backstage at a concert or home movies or any event that I can shoot film at, the Scoopic rocks.


    However, I would put the A-Minima at the pinnacle of run-n-gun shooting but that is a much different price point.

  7. I received a Wolverine 8mm scanner as a gift. It's plugging away right now on a reel. Before even looking at the quality of the scan, what I notice is the amount of time it takes to actually scan a 50' reel. Like 1-3 seconds per frame. It advances the frame then adjusts the frame to line up properly before scanning then moving to the next frame and repeating.


    You must have a ton of time on your hands to use this thing.


    My goal is just to scan some reels for reference before choosing what to send out for real scans.


    It does have a switch to handle negative film which is a positive (pun intended) but really honestly it's just for knowing what's on the film...and an 8mm viewer would be much quicker. But if you can put it in a separate room (the constant clicking will drive you crazy) and let it do it's thing then a crappy little reference scan isn't so bad.


    The other minor plus is that it is very easy to use...

  8. 175 pounds for color :blink:


    Seems expensive until you think that it's equivalent to 4 rolls of Ektachrome 100D which is going for $48 each at B&H photo in NYC. Although equivalent isn't probably the right word since it's an older stock...

  9. Sounds like you're on a similar journey to me about 10 years ago.


    My first 16mm camera was a Kodak K-100. Nice wind-up camera but I really wanted TTL focusing. Next step for me was a K3. Really liked it, especially with Pentax Super Takumar prime lenses...but my hand was getting tired from the constant winding and I was missing shots.


    My next camera was a Scoopic MS. By far the easiest 16mm camera to load and the MS has an EXCELLENT lens although it is fixed. It's like a combination of Super 8 camera and standard 16mm; the autoexposure is actually very useful and the camera is motorized and very easy to use handheld. Best part is NO WINDING!


    I moved to Arri SR2's after that to make use of higher quality PL mount glass and a steadier film path. Love the SR2 but I still go to the Scoopic for handheld work.


    My suggestion would be to look into a Scoopic MS for around $500, then send it to Bernie at Super 16, Inc. to get it cleaned and serviced and if you like you can widen the gate to Ultra 16 (although not that useful really) and that will get you to about $800 but you'll have a great practical 16mm camera in top notch shape.

  10. This is how we learn. :)


    So next time pay more attention to exposure. Make sure you're using your meter properly...look for YouTube videos if you're not familiar with it. As far as seating the film correctly, loading takes practice. Plus you'll get to know the particular "purrr" of your camera and will know when something doesn't sound right.


    Bottom line is keep trying and learning from each try. Eventually you'll nail it and it will all make sense and you'll be like, "wow. this is really cool."


    I've never shot with a Bolex so I can't give you any specifics but plenty of folks on this forum will be able to.

    • Upvote 1

  11. Gah! What a shame. They better be delivering a good product for $25/roll and such a small specialty. I'll stick to Cinelab.


    Kodak isn't in the processing business to kill other good labs...they just want to make sure their big pro customers have access to labs close to the action for 16 & 35mm negative. That's why the Atlanta Kodak lab isn't doing Super 8 or Regular 8 or B&W or any specialty stocks; it's there to support The Walking Dead and everything else is just gravy.


    I will say that the Atlanta lab rocks and those guys love film as much as us or more and have a top notch operation. Plus really cool Kodak film boxes now.


    Super glad that labs like Cinelab are still around for ALL kinds of stock however. They are keeping film alive.

    • Upvote 2
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