Jump to content

Will Montgomery

Sustaining Member
  • Content Count

    2229
  • Joined

  • Last visited

  • Days Won

    20

Posts posted by Will Montgomery


  1. How is your experience with the post house in Dallas?

     

    Video Post & Transfer (VPT) in Dallas is a great and they are student friendly. Terry Hall schedules telecine and he'll be good to talk to about rates. They have several suites, all with great equipment and a very high end HD suite as well.

     

    One very cool thing is that the only charge $.04/ft to process your film (only color negative though) if you transfer there. Glenn Shank heads up the lab and is a great source of info on processing and stocks.


  2. Hey all-

     

    I have no lights of my own and this is a "no budget" film.

     

    If you're shooting film at all, its not quite "no budget." :D

     

    You can pick up some really inexpensive but powerful work lights on stands from Home Depot and bounce them off some white posterboard or something for lighting.

     

    If you'll be transfering this to video and not projecting a print, many of the color issues can be addressed in telecine (although the experts will tell you its tough to fully correct for the Tungsten/Daylight shift).

     

    Look at a movie like Lost In Translation... I think that was shot with 500T... although Fuji makes a 500D I think... They used very little fill light and relied on available light for most of those outdoor night shots and were even suprised themselves when the tests came back so good.


  3. All you probably need is one to get started then just move the empty reel over to the takeup side for storage until your ready to shoot another roll.

     

    I destroyed a roll trying to load it my first time with a K-3 so that was my starter reel. Pretty expensive way to get one though. :blink:

     

    The plastic take up reels that came with my K-3 were slightly warped and kept catching the film in the camera... hense the destroyed film. Stick with good 'ole metal daylight reels if you can.


  4. Yep, did you mean T 2.2, Will ? Otherwise at 22 you'd be underexposed. If it is a problem of manual/auto iris, it should have been wide open, actually. And it wouldn't have been so obvious to correct an underexposed shot as well as an overexposed one...

     

    Exactly, sorry, typed without thinking.

     

    The shot was drastically overexposed... totally unusable in its uncorrected state. And yes, it wasn't nearly as beautiful as it could have been exposed properly, but I was just amazed that it could be saved at all. Interesting that there was some information to work with in the lighter areas. Of course if it had been shot in video there would be nothing to work with.


  5. So I wanted to test an M42 lens someone gave me on my Krasnogorsk-3. It was a 28mm lens and it looked great through the viewfinder. Loaded up some new Vision2 250D and headed out to the park on a really bright day here in Texas.

     

    Brought by new light cine-light meter and took readings on everything before shooting. Most of the readings were about f2.8 to f5.6 depending on the shade. So I carefully set the aperture and shot about half a roll before realizing I wasn't seeing much of a difference in light through the viewfinder as I change the aperture. Then it hit me that the lens was auto and therefore had been stuck wide open on f22 the whole time.

     

    I changed back to the regular Zenit lens and finished the roll out.

     

    So Video Post & Transfer here in Dallas processed and transfered the test on their Spirit. I stopped by and saw them working on it and said, wow, I guess the lens was working, it looks great. They laughed and said, "not really... look at this..." and they showed me the un-corrected stock completely overexposed to the point of hardly seeing anything. I couldn't believe that they could save such a drastically overexposed shot to the point of me only seeing some increased grain, otherwise it was great.

     

    Between the latest Telecine software and this Vision2 Stock, we can sometimes really screw up exposures and see them come back ok on transfer.


  6. Alright, after much researching, I've decided once and for all on the CP-16R with a 15-150mm Angenieux. I have the oppritunity to buy this camera in Super 16 or normal. Price isn't an issue, but I am a beginner. What would you guys go with?

     

    If you expect to go to HD eventually with the footage, its nice to have the extra width of S16. Also optically blowing up to 35mm would be better with S16. The camera can still function fine in regular 16mm, you just won't transfer the extended frame. If you're ok with the money difference, might as well have S16 just in case its helpful down the road.

     

    You may want to check if the viewfinder has been modified to match the S16 frame as well.

     

    Today's film is amazing, especially when transfered well. You'll be happy either way.


  7. all 35mm lenses should work.. I'm just going to soldier with the zoom lens.. dont want it to go to waste

     

    I shot some tests with a 28mm lens wide open to f22 on Vision2 250D when it should have been on f5.6... Somehow the telecine guys got a decent image out of it and the grain wasn't that bad. The new Vision stocks are amazing in transfer.


  8. k3camera says:

     

    Q: What lenses cover the super 16mm frame?

    A: The zoom lens it comes with will cover super 16mm above 27mm or so. Below that, the 8mm Peleng lens will cover the full Super 16 area. A Pentax-screw mount lens designed for a 35mm camera will cover the entire Super 16mm frame as well.

     

    Thanks, that's exactly what I was looking for. I need to pick up some M42 prime lenses in the 24mm range; appearently most lenses for a 35mm camera will give full coverage too.


  9. Does anyone know what the smallest lens is that covers the S16 area?

     

    At 17mm (on the stock lens) I'm seeing significant dark edges on the right while on a 28mm prime lens coverage is fine. I'm guessing somewhere around 22mm but I don't want to do another camera test to find out since this must be a common issue.


  10. I'd suggest picking up a Super 8 camera and shooting a few rolls to get the hang of it, but you might be better off doing the short with a rented DigiBeta cam or even a good 3 chip miniDV if its you're first project... Much easier to work with and easier to get good results quickly. Dialog is easier to work with that way too.

     

    Either way, make sure you check out those negative stocks, they look great.


  11. I was wondering if anyone has shot on 800 ASA?

     

    I have some in my camera right now. I'll let you know how it works.

     

    I have (5) 100' rolls I could sell you cheap. Its been well cared for.

     

    Remember, if you find 800T that its been discontinued and is probably a year or more old. If you do a search on 800T you might find John From Kodak's recommendation about using 500T and pushing it a stop or 2.


  12. One Key issue is to keep the capture file size small. There is a tendency for the Lab/Duplication house to capture in large chunks. I shot a Phama infomercial recently and the 70 minutes came back as a 70 gig file. a little cumbersome

     

    I've had 12 minutes of Super 8, 10-bit Uncompressed HD 24p come back as 91 gigs (yes, I said 12 minutes@91GIGs) with the Blackmagic codec from Bonolabs. But its easier than buying a D-5 deck.


  13. The Vision2 200T when exposed properly will look great. If the lighting is good or you're shooting outdoors, I think it can approach 16mm in quality. The look of the film is much different than any reversal you've seen so its much less "70's" now.

     

    Are you looking at film festivals or video festivals? There will be a big difference if you are editing with Final Cut or Avid vs. actually cutting film...

     

    Bonofilms has a good HD option, but even though their probably the least expensive, its still not cheap. They have a link on the right ad section.

     

    Establish a budget and work from there. You'll be very happy with Vision2 in Super 8, but working with film is expensive even in Super 8. Cinepost in Atlanta is a good Telecine option and their colorists work well with that stock.

     

    Also keep in mind how you will handle audio since you'll need a quiet Super 8 camera and have to record sound separately.


  14. I have some 7231 Plus-X Negative stock ready to shoot, and I noticed something that is confusing me.

     

    The 3200k Tungsten rating is 64, while the daylight rating is 80. Why would the Tungsten/Daylight issue come up on a B&W stock? What type of filter would be used inside on B&W that would reduce the sensitivity?

     

    While the light temperature is different, I thought light was light to meter and the reason stocks are rated differently is because you must use filters to correct for color issues.

     

    I am sure I'm missing something very basic, so please be patient with me.


  15. In the Super 8 world, Pro8mm in LA has always advocated shooting in color negative and then just having the colorist make it b&w; probably because that sold more of their stock.

     

    I've been hearing good things about the latest Tri-X and Plus-X in 16mm; I haven't tried the b&w negatives but I'm sure they will give more latitude. My gut tells me there's a difference, but you might have to really know what to look for.

     

    Other considerations would be cost. If you're talking 100ft rolls, the Vision2 stocks are around $36 a roll while B&W neg or pos is around $18-21. Processing varies from place to place but will probably run close to the same for either.

     

    BUT, many Telecine places that also offer processing might only process color negative and they sometimes can give major discounts on processing if you transfer there (Video Post & Transfer in Dallas charges only $.04/ft if you use their Telecine... $.17/ft if you don't).

     

    So its always good to think of the entire chain when choosing stocks and plan ahead to save money.


  16. Apparently it is a different formulation and that is why Super-8 Kodachrome 40 is being discontinued but Kodachrome 40 16mm is not.

     

    Hate to brake it to you, but Kodachrome 16mm is discontinued also... but there's more floating out there than Super 8. Call Kodak and try to order some direct...


  17. The link I gave for the Product Change Notice Newsletter is where I learn about any changes too. It's the primary communication to dealers too.

     

    So is there a chance that the nice lady taking my order had it wrong? I shot some Kodachrome 16mm this weekend and would like to have a critical mass of 400ft or so before sending it off for processing. It can sit for a few weeks exposed but unprocessed right? I know all the Kodak info says get it done asap, but I can't believe it will make that much difference on such a low sensitivity stock...


  18. Try a tiffen 812 or and enhancing filter.

     

    I had the opportunity to pick up an "enhancing filter" for my K-3... what exactly does it do? If seems to saturate the colors a little more but I'm not sure how or if its worth having in my arsenal.


  19. I see some of these on eBay with the auto switch... guess I'll try for one of those. Just wish I could trick this lens into working properly.

     

    I notice that I seem to shoot with the K-3's lens on the widest setting (17) the most, so I will look for a 16mm lens as well.


  20. The Issue:

     

    I have a Mirage 28mm M42 mount lens that I want to use on my K-3. To make the aperature fully manual, I have to get the little pin to stay in.

     

    I've done due diligence and searched for this topic and I've seen a few posts about pushing in the little pin and jamming it so it stays there. Can't get this lens to do that... any other ideas?

     

    If not, I'd love to hear more recommendations on a M42 lens that works well without having to modify it.

×
×
  • Create New...