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Will Montgomery

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Posts posted by Will Montgomery

  1. Glad Bernie could help with the Scoopic. He saved one for me that was completely dead...lots of film chips jamming the mechanism after years of student use.


    Those cameras work really well for what you're doing. Makes you're piece stand out over any video camera...hope you can do more. They're perfect for music videos and live performances (except the 100' load issue).


    Bernie did the U16 thing on one of my crystal Scoopics. Great job. Not as practical as S16 but a nice and relatively cheap alternative for Scoopics.

  2. Do it all them time.


    You gain some detail especially in resolving the grain, and for shows which are originated in 4K it is a requirement to scan the film in 4K.

    I agree with Robert...even when finishing to HD, a 4k scan of Super 8 makes a subtle but noticeable difference. Of course it helps when it is shot on a decent camera and actually in focus which doesn't happen very much with Super 8.


    It's nice to have the extra resolution to make pan & scan and zoom decisions. You can reframe in post easily without loss of quality.


    4k (and 5k) scan rates have come down dramatically recently...I guess because the ScanStation machines have proliferated.

  3. Nice to be able to use equipment like the One-Man-Crew from Red Rock Micro & my Ultra16 Scoopic MS on a music video shoot this weekend.


    There are so many great tools out there with the DSLR "revolution" but it's fun to use them with film cameras too.


    This One-Man-Crew is the original version but I've used it with an SR2 before. I plan to do the upgrade to handle heavier cameras.



  4. If you are planing on scanning and finishing digitally, I would shoot 500T and remove the color in post. The extra grain in 500T actually looks good in B&W. As far as anything being lost, if it is scanned well then all of that is adjusted in post (DaVinci Resolve is a great platform to adjust this.)


    In her room you may be able to add more light so keep that in mind. The more light the better...you can always remove light in post but trying to "add light" in post never looks as good as the real thing.


    The main difference you're talking about is negative vs. reversal when you talk 200T vs. Tri-X. Tri-X will have a higher contrast than the negative film at first but you can get the negative closer to that high contrast look if you want in post. Negative will also help you hold the highlights without blowing them out as much.


    The 310xl may have a wide aperture but it doesn't have the best lens so keep that in mind.

  5. Hmmmm...that makes me want to re-scan that footage. That was done on a Spirit 2k many years ago, but I know their machine was immaculately maintained.


    Bernie (at Super16Inc...my go-to Scoopic tech) believed the flickers were due to tiny alignment issues in the rollers and mechanisms of that Scoopic. Unfortunately there's not a clear way to adjust each piece because adjusting one piece moves another one and so on where as Arri's and Aatons are setup for precise changes and adjustments...at least that is how he explained it to me :) .


    I've also wondered if the crystal sync (after market mod) on the camera could be affecting that.

  6. Here's my wind-up Eyemo that we talked about (happened to be sitting on my desk as I read your post). Love that is was built in the 40's and can make images rivaling the latest & greatest digital cameras...except perhaps in sharpness due to the ancient but full-of-character lens.


    This camera shot this (Double X, Spirit Transfer):



    Another motorized Eyemo with Nikon mount lenses shot this on 50D (ending has some nice faces):






  7. I recently bought a Canon Scoopic from Du-All Camera, it cost me just about 1K€. Fully serviced ofc. So far I've only run two test rolls, and the results were quite good. Downside is it's standard 16mm and it's apparently almost impossible to modify for Super16. Registration is excellent and as far as I can tell running speed is quite accurate and stable, though I haven't tried synching sound to see if it would maintain sync for longer periods of time. It's comfortably handheld and easy to operate. Again downside, the fixed zoom lens, which is a very good lens, but it is fixed. Also it only takes 30m rolls and has no interchangeable mag.

    My two cents, make of it what you will. Cheers and good luck in your endeavours!


    Scoopic is a great option that is under $1000. I've had 6 of them and I have noticed most of them can have a little flutter only noticeable in skys. If it was an Arri you'd be able to make tiny adjustments to the mechanism to get rid of it. With the Scoopic you don't have as much ability to adjust; they were meant for shooting football games and vacations...not for making features.


    However, on the M, MN & MS models (I've had each) the lens is really great. I've had colorists ask me what lens I was using on some transfers because they loved it so much. The fact that it is motorized is a big plus...constantly winding a K3, Filmo, Bolex, K-100, ect. can be painful and difficult on long shoots. You can find a crystal sync mod but I don't believe that is critical. Ultra 16 conversion is easy while Super 16 is nearly impossible or at least impractical.


    Here's an example:


  8. I would consider raising your camera budget to £2500, finding a more modern 16mm camera that is tested and works, then selling the camera when you're done. Check around where you live to find out what cameras are still regularly serviced in your area. In the U.S. it's much more easy to find a tech that can work on Arri SR's than Eclairs and the parts are much more plentiful. Not sure about the U.K.

  9. BMD have been very creative thinkers in this wall-mount design. It's exciting to see what they're developing now. As I've said before, Australians tend to be innovators - they can come up with the unexpected and win with it. How's that for a bit of a plug.


    It is undeniably sexy. And I do love BMD as a spunky little innovator. I'm sure they will get the scanner figured out.

  10. Yes I think you would have to set it up permanently on the "left eye side".. I actually only came across one "left eyed " DP all there years I was an assistant .. and he had an SR of course.. he was also left handed.. so the pan bar was on the "wrong" side too


    Yes, we are a rare breed. Struggling in the right man's world.

  11. One little trick I found was to get a cheap variable polarizing filter that rotates to change the polarization...take out the glass and use that to mount the anamorphic lens to the camera lens (probably will need size adapter rings too) which will allow you to fix the anamorphic lens with rods and still be able to focus/rotate the camera lens.


    Remember that the anamorphic lens must remain fixed and level or you'll get really trippy 70's "I'm so stoned!" effects.


    In looking for a photo of such a setup I ran into this which could be helpful although It doesn't seem to have a bracket to mount to rails:





  12. Every scanning pro I've talked to has had the same issues with it discussed here. Plus the non-movable sensor so 16mm is only captured at 2k. One house in Atlanta that shall remain nameless wanted to use it for 16mm dailies and found it not even suitable for that.


    Looks very cool. They just need the sensor to catch up with the looks. If BlackMagic decides to make it kick ass, they could...they just have to decide to do it and listen to their clients.

  13. These days it seems best to get a completely flat scan with no noise reduction and treat it as a "digital negative" and almost make "work prints" from that with a basic color job applied so when you show others the edit they don't cringe (or just apply basic coloring in the NLE). Then when the edit is locked sit down with the colorist and pay him lots of money to make it look amazing.

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  14. It could be that the original Scoopic's viewfinder isn't affected by the change in aperture but I doubt it...I see I substantial difference in brightness as aperture opens and closes on the MS...


    If you get it to work it will be a great camera to have even as a backup.

  15. I would look for an Arri 2C. Tons of parts out there, tons of magazines, and quite a few people can still work on them. If you look around you may find an unmodified one for $1200. If you can go up a little ($3000?) the later model Arri III's ads pin registration which will make a noticeable difference in steadiness. Both models give you flexibility in 200 or 400 magazines, reasonably priced lenses and accessories.


    If you need to stay in the $500 range and there are no other considerations, a spring wound Eyemo would be fine.

  16. With how loosely the Eyemos seem to wind the film up I would be hesitant to try and fit more than 100' in there. There have been quite a few times when unloading the film was running past the flanges. Seemed to happen with three different Eyemos. Usually have to manually tighten it up.




    I don't think I'll ever see classier home movies.

    Thanks. It was really fun to have the 35mm Arri 2c at the soccer games. Put those soccer moms with the $4000 DSLRs to shame. What I love is that I can go back and re-scan the film to 4k when I get around to it. Don't think the VHS home movies will hold up as well. :)

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    Hey Will, in case you missed it on another related thread I had this is what I did as an edit with the first roll of 500T they telecine'd for me......em....my first roll of cine film EVER actually haha.....

    Here's is what they gave me:


    .....and this is what I did with it as a proof of concept for the client:



    don't like the lettering i put over it so ignore that! The good thing is it was approved and have green light to roll camera! Ive since shot another roll of 100ft and have just received a fresh roll of 400ft 500T to continue the project.....


    It has a very cool 70's look to it. When they do type over it you should use After Effects to track the camera flutter and track the overlays to that and soften them just a little so it looks like it was done optically.

  18. Honestly the most important piece of the puzzle will be who is coloring the film. Any of those scanners will do fine in the hands of a competent and qualified colorist.


    Some of the best looking images on film I've ever had were scanned in SD but were colored by an amazing colorist that brought out the film's fullest potential.


    All of the machines listed there will do great, especially if as you say the operator knows what they are doing. I'd go with the least expensive and spend the difference and more on the colorist.

  19. I have your basic wind-up Eyemo and I have a couple Steve's Cine Modified Eyemos with crystal motor but unfortunately not reflexed. The motorized ones have been completely gutted and re-made basically. The gate and the sprocket drive is the same but the spring is removed and electronics put in. With a reflexed viewfinder this was like a $25,000 mod back in the day. Then they were used as crash cameras so that's throwing a lot of money around. Result is that many of the modified ones were damaged in crashes.


    The wind-up Eyemo is small but incredibly heavy and a big chunk of solid feeling steel. Can see them being used as weapons in WWII.


    With 1 minute per reel they aren't exactly practical for much but the one I have with a Nikon mount makes some beautiful images and the old wind-up one with the Eyemax 25mm lens has it's own charm too.



    Wind-up Eyemo:


    Crystal Eyemo (Steve's Cine Mod) with Nikon Mount:

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