Leo Anthony Vale

just received these b-t-s photos from pinterest:

http://themoviescore.com/behind-scenes-2001-space-odyssey/

some of these are already on the posts,

but so many more here.

yours in tohoscope,

---LV

& here's the French side of the beach:

"WEEKEND AT DUNKIRK" in FRANSCOPE & COLOR

Not to be confused with "OMAHA BEACH PARTY"

<iframe width="854" height="480" src="https://www.youtube.com/embed/vq2zvHcQvyc"frameborder="0" allowfullscreen></iframe>

Here's some pictures I found on google:

https://cdn.brightvessel.com/wp-content/uploads/2015/06/iStock_000019412382_Small3.jpg

https://cdn.brightvessel.com/wp-content/uploads/2015/06/iStock_000019412382_Small3.jpg

The spheres also come in blue and green.

& a back pack for climbing city steps.

---LV

The 40mm is a Mitchell NC/std mount.

The second one is not a camera lens.

It says "18mm reducer lens" on it & has screw mount,

It's a wide angle lens for a Mitchell side mounted view finder.

Their widest coverage is 35mm, and thus need an auxillary attachment to cover

wider lenses & ones longer than 75mm,

Do have a set of Series II Speed Panchros?

---LV

Yes.

I once saw a Google car drive past after turning off of the Birmingham Bridge.

It had an orange sphere on the roof which had which had lens around its equator and above, with one at the north pole shooting

up. So they're covering a dome.

Didn't think they were actually shooting.

They were coming from the general area of the Google office which is in a former Nabisco plant (cookies!).

Which is near CMU and Pitt, so they grab up computer students from them.

---in TohoScope,

---LV

They're Mitchell std/ NC mounts.

Possibly could be B&H 2709, but Cooke series II speed panchros are probably to recent (late50s-early 60s) to have

been made with the B&H mount.

I recall reading a from the 30s or 40s that said some cinematographers, when shooting close ups, would burn two holes in a net with a cigarette uncovering the eyes so they would stay sharp while while the rest of the face stay soft.

Also they would layer nets with concentric circles/ holes cut out, to make the sharpness gradually fall off.

I suppose one would go through a lot of nets.

the bride of frankenstein

foreign correspondent

the maltese falcon

all that money can buy AKA the devil and daniel webster

passage to marseille

the horn blows at midnight

air force

ivan groznii AKA ivan the terrible (parts I & II) so part II has color sequences at the end, so shot me.

it's my 2nd favorite movie of all time, the top favorite is in color, thus not to be mentioned here.

i walked with a zombie (the ending is pure visual poetry)

the seventh victim

how green was my valley

the third man

the man from planet x (I'm a sucker for misty moors at night)

the dam busters

sink the bismarck!

ikiru

inherit the wind (lots of deep focus shots in the court room & gave the world 'devo'.)

suddenly last summer

cranes are flying

dr. strangelove

the loved one

(my all time favorite double bill consisted of the last two titles, sat through them twice if not thrice)

the train

sword of doom

stranger than paradise

...there should be a few groups of five up there.

in TohoScope,

---LV

 

 

.... to say nothing of these horizontal streaks when a light source is in or near the frame - now known as the JJ Abrams lens flare.

 

saw Abrams on Colbert show, he said his wife told him: Enough with the lens flares already.

 

 

I wonder how the negs were edited (A and B rolls with black film stock in between to hide the splices, alternating between even and odd numbered shots, as used for 16mm for a while?) - since 35mm 2x anamorphic uses the full frame height. No place to hide. I can see the narrow splices on some 1960s European movies made in that format. Distracting. I really would like to know how the neg cutter went about it.

 

Orig negs were conformed on a B&H pedestal splicer: www.flickr.com/photos/cinemagear/17825338113

 

The 'Scope model made a splice that is 0.03" wide. About the distance between the projection area on adjacent frames.

 

While evaluating a 16mm print of an Ultraman episode, observed that the 16mm OCN was was spliced The humongous B&H.

 

 

 

 

P.S. gotta love "Close Encounters" for all those great film cameras shown running. In one sequence (Mother ship communication) I can clearly see a Fries Mitchell - painted white (probably for slow motion). Great attention to detail. I'm always a 7 year old in front of a candy store when I see this.....

 

Mitchell GCs for industrial & instrumentation were painted white. Models for entertainment were black wrincle finish,

16mm is one perf per frame. Thus a 4 perf frame would be about 30mm wide.

This is Technicolor's patent for a Method of making wide screen motion pictures:

https://www.google.com/patents/US3396021

You might know it as Techniscope, Cromoscope or Euroscope.

(I've come to prefer the name Euroscope, because of its EU currency connotations)

The frame here is 22.05mm wide, the same as academy & scope frames.

Dom & David are right about the need to design and manufacture all of the auxilliry equipment for it.

Probably why T'color went with system #1.

PS: A late 40s American Cinematographer has an article describing a 2frame 16mm horizontal system named Rotocolor.

Would've used Kodachrome. But apparently no commercial use either.

---El Pedante

Try this link:

http://www.filmcentre.co.uk/faq_lens_m.htm

http://www.filmcentre.co.uk/faq_ic.htm

this page lists coverage of various, mostly professional, lenses

also lots of links.

That's not Mitchell with the "bug eye", it's an original Todd-AO camera, which is actully a 65mm Thomascolor camera from the 30s.

http://zauberklang.ch/filmcolors/timeline-entry/1278/

Which in turn was a Fearless Superfilm camera from 1929-30. That is not a mitchell magazine on it.

I recall a DTrumbull interview about 'Brain Storm' where he says that Kubrick bought a bug lens from Todd-AO.

& it seems the camera with it.

In an interview with SSpielberg about "I.A.", he says that Kubrick told him he has some 65mm cameras that S might be able to use for effects photography. Might the FC be one of them?

http://www.in70mm.com/todd_ao/catalog/vol_2/index.htm

http://www.in70mm.com/todd_ao/catalog/vol_3/index.htm

This one has the baby bug eye in it:

http://www.in70mm.com/todd_ao/catalog/vol_1/index.htm

Also I suspect a 19mm Kowa medium format lens was used for the hand held fish eye shots in Hal's lobotomy scene.

Trumbull used one for the steadicam shots in Brain Storm.

.

This scene takes place in a church where Father Marple is delivering a sermon.

One can see a white line on the edges where the blacks in the foreground meet the back wall.

This might be an artifact of edge enhancement in the transfer.

Edge enhancement can enhance grain.

---LV

I am less knowledgeable when it comes to black and white films, but the films of the 40s look absolutely remarkable in a theater on film, as does "The Twilight Zone" restored and on a large TV, just beautiful. I was shocked when I saw my first black and white film up-close and in-person in the theater, "Gaslight" (1944) in 35mm. Stunning. I am glad there are still black and white films available because it is a truly wonderful aesthetic.

Way back I worked on the Fox Movietone Project & then in neg prep, I got to examine some B&W nitrate prints on the bench. The Nitrate prints had richer tones with deeper velvety

blacks. However, around the same time nitrate stock was being phased out, the amount of silver in b&w stocks was being reduced, which made for prints with thinner blacks.

I suspect the higher amount in B&W negs was also why 3-strip T'color had richer colors and tones,

---LV

5254 did not use the same process as all the later ECII films that followed it.

Thus in addition to '54 film stock, the processing will need to be reintroduced, along with modified processing machines.

& ECII is hotter process, so expect the '54 emulsion to melt off in an ECII bath.

---LV

Am certain it's a Mitchell standard/NC "quick release" mount. rather than the factory mount with the 4 screw holes.

NYC rental houses made prism reflex conversions of NCs and eyemos in the 60s. & would replace an original mount with one of these mounts.

The thumb screws would hold the lens in place. don't use mount a heavy lens in it.

There's not much room between the prism and lens flange, so lens shorter than 50m/m won't fit unless they're retrofocus. You'll have to use SLR lens w/ adapters.

Maybe regular 40s & some 35s will fit.

---El Pedante (LV)

ll

http://library.creativecow.net/kaufman_debra/The-Last-Film-Lab/1

http://www.bbc.co.uk/programmes/p01rhg1l

"Lights out in Europe":

http://www.imdb.com/title/tt0195882/?ref_=nm_flmg_cin_80

If you shoot with a regular 16mm camera which has a TV safe action area on the ground glass,

using the side lines of the safe action area and the top & bottom lines of the projection aperture will yield a 1.17:1 frame.

The difference between 1.19:1 & 1.17:1 is quibbling.

---LV

weren't most of the C-Series made of Cooke glass?

that would be the spherical backing lenses, which PV acquired from MGM's camera department.

The cylindrical anamorphic anamorphic section and the spherical backing lenses aren't necessarily manufactured by the same company.

I thought the E-Series were made from Nikon glass?

The oldest Panavision lenses and probably the B-series were apparently Bausch and Lomb CinemaScope bloc lenses, that were rebuilt with the Panavision "variable astigmatizer" focusing unit. The backing lenses would have been B&L Baltars. The shorter Baltars could not clear the mirror shutter, so they were replaced with newer lenses, presumably Nikkors. But the anamorphic elements were B&L CinemaScope.

I read somewhere that the C-series anamorphic elements were made by Kowa. Their anamorphics were quite compact.

I vote for de Sica.

Maybe i have a weakness for watching people walking around and unrelated things going on on the peripheries.

It creates a sense of the world around the protaganists and antagonists.

---Leo Vale

I'm seeing BW Sea Hunt episodes. Interesting that they shot the pilot in color but not for the first season or two or three.

The pilot/ first episode of 'Voyage to the Bottom of the Sea' was shot in color. But broadcast in "re-edited" version.

The season one boxed set has both versions. The re-editing was mostly changing the main/titles a bit.

The first season of 'The Man from U.N.C.L.E.' was in B/W. But some episodes were shot in color with additional footage, so they could be made into features for foreign release. Though they were shown in the US.

The networks went "all color" in Sept 1965. But broadcast the B/W pilots. I recall the 1st episodes 'Hogan's Heroes' and 'Get Smart' announcing at the end of the show that starting next week they series would be in color.

there was ONE color episode of 'Perry Mason' in 1966.

 

Since China keeps costs down for everything else, Im sure they could with film also.

 

Apparently, they didn't, or at least not to the satisfaction of China Aerospace...

http://www.globaltimes.cn/content/731381.shtml

http://camera-wiki.org/wiki/Lucky_film

http://english.cntv.cn/program/newsupdate/20120910/106503.shtml

http://www.luckyfilm.com.cn/html/MasterSite/EN/index.html

They used to make 35mm print stock, the stills films they still carry are probably stock on hand.

... why cant I enjoy buying cheap film from China?

Because rheir huge film factory, Lucky Color, stopped manufacturing film.

Once 30 per cent owned by Kodak, their websites are now buried with an army of clay soldiers.