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Will Montgomery

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Posts posted by Will Montgomery

  1. Video Post & Transfer in Dallas, TX can definitely do it. They've transfered 16mm shot at 16 fps to regular miniDV and corrected for the speed. They actually do it really well, they have something called "Metaspeed" that they developed that allows this. But David is right, any pro telecine place should be able to help you with that problem.

     

    www.videopost.com

     

    I don't work for them, just use them on a regular basis with good results.

     

    p.s. That's for 16mm... for Super 8 (and 16mm) talk to the guys at www.fstp.com. They have great service too and don't mind talking to you.

  2. Bottom line: will the new film increase the overall volume of Super-8 film sold, and ultimately increase earnings of the product line? Being "good news" is not enough.

    How's the product line going now? Have the other Vision stocks in Super 8 sold well? We hear about Super 8's "rebirth" but are the sales numbers suporting that conclusion?

     

    I thought I read in Super 8 Today that Kodak is pretty happy with recent sales...

     

    And John, why aren't some of the Kodak Super 8 product people involved with these forums? You're a great rep for Kodak here, but it seems like having some give and take with Super 8 product people would be helpful for everyone... as long as we don't gang up too much! : )

  3. Like I said, I don't know what the budget numbers are working out to be in your case, but if you're really getting 16mm quality out of Super-8 for less money, it sounds good to me. If you're getting sub-16mm quality for the same price as 16mm, it seems pointless.

    Good point David. I continue to shoot both Super 8 and Super 16mm for personal projects, but because I'm spoiled and only do higher-end transfers, the only cost differences are in the price of stock for me. Processing 16mm negative is $14 for a 100' reel and Super 8 negative costs $13 for 50' (same running time of course.) And on many projects I shoot both and cut them together... the quality difference is pretty big. I can't stop looking at some of the Super 16 footage I've shot, and can't wait to see it in high def in a few years.

     

    I've also noticed, as far as the "film look" issue goes, the better the transfer the more "filmy" it can look; bad rank transfers can have hot spots that make it look more video like while a good colorist is capable of evening out the brighter areas.

     

    Of course, for a real dirty film look, have your Super 8 transfered by a "DVD Mill" and you can get dust, hot spots and all sorts of artifacts to give it the real home movie look. Of course they usually only handle reversal stock.

     

    One big price difference between Super 8 and 16mm is in Kodachrome. Paying $38 for 100' to be processed is painful, but I've tried it and it does give that "Hollywood Home Movie" look like what the stars used in the 50's.

  4. There's been some talk around this forum about "Good Night and Good Luck." being shot in Vision 500T stock and made B&W in post. Beautiful film... I'd suggest this to your producer and you can use that film as a proof about how well it can work.

     

    Even with 500T, you'll probably see less grain than with Double-X if both are lit well. But it will be a different "look;" try some tests and you'll know quickly what will work for the project.

  5. Did a search on the forum and found some interesting information, just a few things I'm still not clear on.

     

    Is this a true statement:

     

    The stock is processed the same way, but the telecine needs a special Kodak device that will allow you to "emulate" various stocks.

     

    If this is true, then who has these machines and will it cost more money because of that? I thought higher-end telecine houses were already pretty good at emulating stocks if they have a good exposure to work from.

     

    Everything I shoot is for telecine so it seems like this would be a good stock to try; but can it emulate more extreme stocks say like Kodachrome (25 or 40!) or a Tri-X or is it just there to emulate different Vision stocks? How about TECHNICOLOR! That would be fun.

     

    With Vision2 50D I found such a beautiful daylight stock I can't imagine trying to emulate that with a 500 or 320 rated stock...

  6. Is the grain there to act as a focus mechanism sort of thing?

    Actually, I'm not sure if that was the intention, but it will allow you to adjust the focus of the viewfinder... once that "grain" is sharp, then focus the lens.

     

    I recently had my K-3 modified to Super 16 and the tech worked the viewfinder mask to match the Super 16 field but that grain remained. Its only a problem in low light situations or in bright light when you have to use a low f-stop. You'll get used to it, and it won't show up on your film. Shoot some of the new Vision2 50D on a bright day and you'll be amazed.

  7. Fordelabs keep coming up for a reason... they're great. And they can handle any type of film you can imagine except K40 which of course is only done by Dwayne's photo in Kansas. Fordelabs has great people that actually seem to care about your film.

     

    I've had good results with Bonolabs and Pro8mm (yes, they process Kodak Vision2 stocks) as well.

     

    Make sure you send your film FedEx or some type of carrier that will pay attention do your DO NOT X-RAY markings on the package. This is really important, I learned the hardway on some Vision2 500T recently where the stock was x-rayed and a nice reocurring fog showed up.

  8. I have some really great shots on a Vision2 50D roll that I would love to grab stills from for large photo prints. I'd rather not cut up the film if possible, but I would think that to do a traditional enlargement I would have to cut out the frames I want enlarged.

     

    I'd like to do a photo blowup to 11x15; I know it would be VERY grainy, but that might just ad the right character to this particular shot.

     

    Should I try to do a high-res drum scan of the negative frame? I'd have to cut it up for that...

     

    Can traditional chemical color prints on paper be made from movie negatives? Or would it make more sense to get a really good high-res scan and do a Lambda print or Light-jet print from that?

  9. I forgot my color chart at work so I did not have one to shoot and these rolls are camera test so I can test the camera and the lenses I have.

    Later

    T.c.

    While a color chart might be useful, an 18% grey card is more useful for the telecine/colorist in film. They can use that to get a neutral starting place. I've seen them at big photography stores for like $5 or you can buy a nice fancy one with a plastic case from Kodak for like $40. Next time you order film from Kodak just ask them for a grey card too.

     

    Also for the K-3, grab a focus chart from work or make one up on your laser printer to test the lenses and camera. Sometimes K-3's have issues with the pressure plate moving and the shot going out of focus. In those cases the first frame or two of a scene might look sharp and then get blurry.

  10. Looking for all the links I can get to view the

    quality and feel that is produced by the K3

    before I buy one for my music video productions.

    Keep in mind that the quality of the footage you'll get out of it is more dependent on your lighting and photography skills than the camera itself... modern film stocks are pretty amazing and the K-3 can do a fine job if its in good shape.

     

    Then of course your transfer and colorists make a huge difference as well. In other words, you can get beautiful amazing images but there are so many variables you can't look at someone elses footage and assume you'll be able to achieve the same level.

  11. do the 16 cameras w/cranks come out looking DIFFERENT

    than the motorized camera?

     

    What are some cautions to know about this topic?

    Assuming you are taking about spring wound cameras and not the very old hand crank type (i.e. old silent movies from 1900-1920)...

     

    The film itself and the lenses have the most impact on the image as long as either type of camera is in good shape and well maintained.

     

    "Motorized" cameras are generally steadier in keeping the film moving at the desired frame rate. They also allow longer uninterupted shots. They are usually crystal sync which will allow you to sync the audio track later if needed.

     

    "Hand Crank" cameras can tire you out pretty quick, a K-3 only lasts like 30 seconds on one crank and if you go through a few rolls you'll have a nice indentation in your hand from the key. My Kodak K-100 Turret seems to last about twice that long on one crank and its easier to crank it too. But the upside is you don't worry about batteries and these cameras can go practically anywhere including the Arctic.

  12. The only slight problems I had was the film on the takeup reel was loose when I unloaded the camera and I lost about 10 ft of film. Is this common.

    Here's a quick tip: DON'T USE THE PLASTIC TAKE UP REELS that come with the camera. With age they tend to warp a little and don't take up the film properly. Use the empty metal reel from the film you just shot as your new take up reel and then do that with each new roll shot. Also, you can ask for your empty reels back after development if you want some extra. When you send film in for processing, you probably want them to prep it for telecine so they'll combine multiple rolls onto one big one. In that case they may not send back your empty metal reels unless you ask for them.

     

    Another Tip: Order 16mm film directly from Kodak, [1-800-621-FILM (3456)] try the Vision2 250D and the new Vision2 50D and shoot outside on a nice day... you'll be amazed at the quality... play around with slow-mo too. If you're used to working with video, real film slow motion is pretty cool - shoot at 48 FPS and film water moving or leaves falling or throwing a beach ball or something.

  13. In the USA, the Transportation Security Administration allows hand inspection of ALL motion picture films, regardless of speed, if you request it, provide a changing bag for hand inspection, and leave enough time for the inspector to check the film by hand.

     

    Thanks for the input John, you're presence on these boards is really invaluable to film makers here.

     

    It seems like even with a changing bag, its more likely that they would damage the film one way or another... unless I get lucky and have someone who is really well trained. Seems like I'd have better luck just FedExing directly to my lab from where ever I am rather than trying to carry it back on a plane.

  14. I recently shot this footage on my S-16 modified K-3. The text in the sign was completely in focus through the viewfinder when I began rolling. The first shot is from the first 3 frames which were in focus, then the 2nd still is about 6 frames later where it became out of focus and stayed that way through the rest of the scene. I will of course run a focus test on the camera, but I was interested in what might cause something like this...

     

    Could it be:

     

    1) The pressure plate not pressing the film properly? (I carefully check upon loading to see if its seated properly)

     

    2) Something in the S-16 conversion causing issues? The gate's too big or something?

     

    3) An issue with the transfer house? (this was done on what they call a "Y-Front" at Video Post & Transfer in Dallas, a very good telecine house in this market)

     

    Any ideas would be appreciated, and I will shoot a focus chart to double check with each lens I have.

    post-7911-1134006264.jpg

    post-7911-1134006283.jpg

  15. I shot about (6) 100' rolls this Thanksgiving of family stuff. (3) Vision2 500T, (2) Vision2 50T and (1) B&W Negative.

     

    I was visiting relatives in North Carolina so I had to fly from Dallas. I shipped the film there with DO NOT X-RAY all over it. After shooting, I was in a hurry and threw the film into my suitcase thinking that maybe the whole X-Ray thing was a myth anyway.

     

    Boy was I wrong. The 500T came back with a pulsing fog. Since I shoot with a K-3 I'm never quite sure if it's the film or the camera but the lab guys looked at the transfer and agreed it was probably X-ray damage.

     

    The 50D came back fine and looked truely amazing... the colorist said it was the first time she worked with this stock and it was wonderful. No damage was visable.

     

    So, if the bags did get zapped by a powerful x-ray, what would be the general limit to the speed of film so it wouldn't show damage?

     

    Of course in the future I will send everything FedEx with DO NOT X-RAY all over it.

  16. What about the Zenitar 16mm 2.8? Is that lens worth getting for a K-3? What would be the focal length equivilent? something like 30mm?? I see them on ebay and am concidering a purchase along with the Peleng.

     

    chris

     

    I just bought a Zenitar 16mm from Russia (man, its still weird getting something from there) and it gives a great wide view. The problem is there isn't a fully manual setting for the aperature so you have to wedge in the pin somehow to be able to change the F-Stops manually. I hate to have to "break" it to work properly.

     

    The other issue is lack of a standard filter mount. It comes with 3 filters, a green, red and yellow filter but I wish I could get an 85 for it.

  17. If you want a real bargain video tap, just duct tape a digital camera with movie capbilities to the camera, zoom it until it approximates the framing and put little shims under the camera until the angle is close and... BAMM!

     

    Sure its not really a tap and not very useful for framing, but hey, you get the bonus of audio recording and with a little audio filtering with Soundtrack in the Final Cut Pro bundle, you can even remove the camera noise!

     

    If you have a digital camera already, its free!

  18. For a profesional look I would shoot with a boilex h16rexVI...rick solid registraton compared to home movie super 8 format. A wedding only happens once or twice so think big. super 8 is not up to the jobs

    If you go with 16mm either buy 3 cameras and have them all loaded and ready to go or hire an assistant to load for you, even then I'd get 2 so you always have one ready. Missing a moment at a wedding could make for a very bad day.

     

    :unsure:

     

    Super 8 can be fine for this application, especially if they are looking for the "home movie" look. Fast loading is a bonus, but I'd still pick up 2 of the same camera since they are so cheap.

  19. Kodak still makes black-and-white films on a regular basis, so they are fresh. As David notes, they have been improved over the years, especially for physical characteristics.

     

    Perhaps another American naming invention... like French Fries.

     

    image-wise, it's a classic silver halide technology, pre-T-grain.

    I have seen how the stock gives a unique look even though it seems many people are shooting color negative and removing the color in duplication or telecine instead of shooting actual B&W stocks.

     

    I assume this is done to get faster speed films, but the look is different.

  20. Do these two stocks intercut nicely or is it better to stay with one or the other?

     

    I have a shoot coming up that will have outdoor and indoor situations. The indoor scenes will probably be during the day and include sun through French doors and minimum fill lighting. Seems like Double-X would work well on those scenes but bright sun on outdoor scenes would like the Plus-X.

     

    The project will be telecined and is not bound for projection at this point.

     

    Are both of these films current runs and fresh or has Double-X been sitting around at Kodak for a while?

  21. Why do you think the resolution is better from the negative stock? I wold think K40 gives the least grain and sharpest image. You just need to be carful when exposing.

    Resolution and sharpness are slightly different animals, and I'm sure someone else can give a real explanation (there have been posts about this before) but even if its counter-intuitive, negative film can indeed give a sharper image. Next time you have film transfered, ask the colorist to explain (but not in the session... it could get expensive!)

     

    Actually most Telecine Colorists I've worked with love the unique color K40 gives (especially in 16mm) but for most purposes the Vision2 stocks give much more detail in the blacks and a low-contrast look that's popular now.

     

    From my untechnical background, it makes sense if you think about it, the blacks are now white (clear) on the negative so and subtle variations are easier for the scanner to pick up then trying to distinguish between very subtle shades of black on reversals like K40 or Ektachrome. (I may be completely off base here).

  22. The one thing to look out for on those M42 lenses is that they have a FULLY MANUAL setting for F-Stop. The Super-Takumar Pentax lenses do, but alot of the 3rd party manufacturers left that off and only offer a preview button that doesn't help very much.

     

    There have been a few posts on this subject, probably worth a search.

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