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Jonathan Ruiz

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Everything posted by Jonathan Ruiz

  1. If you could estimate how many stops of dynamic range 25 ASA 5248 had vs 100/125 ASA color negatives of the 70's vs 400 ASA color negatives of the 80's, how many stops would be for each? Even a rough estimate for one of those 3 would be good. I am just curious and would like a ballpark estimate compared to modern Vision3 500t stock (estimated to be around 14 stops give-or-take fractions of a stop). It's fine if you can't.
  2. Sorry for the late reply (6 months later), but I am not sure exactly what you mean by this sentence. Do you mean in the printing process during the 1950's for theatrical prints and making b&w seperations or future color camera negative stocks that came out in later years over the decades?
  3. Compared to a non slow-mo 35mm pin-registered camera (like the Arriflex ST with max frame rate of 60 fps, or the Panavision Millennium XL2 with max frame rate of 50 fps), how much time would it take to load the mag onto the camera? BTW, thank you for answering my Sept 16 and 17 questions. I did not know that you answered them untill the date of this post, when I saw the notifications for your answer posts.
  4. Did the reloads of entire reels of film just happen on the fastest frame rates or was this also true for the slowest frame rates (420 fps) (source: http://www.highspeedfilm.de/35_4b.html)? Also, when shooting on these cameras, would the entire reel get exposed for each shot for any frame rate being shot (420+ fps) or just at the fastest? And what I was trying to ask with my previous post was: when multiple reels were being shot in one day (at the same time, with each reel in one of multiple cameras or one-reel-after-the-other in a single camera or with one-reel-after-the-other in each camera with multicam set-up), was there ever a case when each reel would get developed simultaneously, at the same time as each other, the next day after they were exposed (maybe for dailies, rushes, ect.)? Because this is at least part of what I meant by "best case scenario" for film when doing very-high-fps slow motion shots (with non-pin-registered slow-motion film cameras).
  5. I was just thinking "what if you had multiple reels to shoot in at least one day". Like a number of frames shot to number of minutes to load the camera ratio, considering the frame rate. But in the 90s or 2000s, when the use of film for slow motion shots peaked, were there ever days where the film would get developed the next day after most or all of the film was shot and exposed? Or even on the same day? Also, during those peak decades (the 90s and 2000s), were there days when multiple reels of camera negative film were developed at the same time, for the same production? Because I think if that were the case, it would affect that footage shot to time till footage first seen ratio. I am just trying to come up with the best case scenario for film during its peak, in terms of that ratio.
  6. I am not working on a project nor planning for any future project. I am just curious so that I could compare to shooting on a similar digital camera with similar frame rate and image quality and loading off the camera's RAM and getting the footage on external storage memory (like with the Phantomflex 4k) to see, comparitively, how long loading would take.
  7. Thank you for answering my question, Massimo. If you are willing and able to answer, do you know how long it takes to load a 1000 foot reel into a Photosonics 35mm 4ER camera (the pin registered high-speed camera)?
  8. If there was more stops of DR than bits, it probably would of shown color banding or be encoded to a lower contrast but still show as much detail, not crush the shadows or blow out the highlights of the image (I think, IDK). I think if you were concerned with that, it would probably be better to look at the 10 bit HDR 4k Blu Ray itself than that YouTube clip (but I think there might be an HDR option in said clip, I'm not sure, I haven't checked).
  9. When you say "greatly expanded", do you mean just fractions of a stop or less, or at least one or more entire stops?
  10. How many stops of dynamic range did 5248 color camera negative film from the 1950's have? There is a 4k clip of Bridge over the River Kwai on YouTube and it had some crushed shadows and blown-out highlights (though maybe not to that great of a degree):
  11. How long does it take to change 1000 foot film reels in the Photosonics 4b or 4c? (If you can answer for both, that would be great.)
  12. Thank you so much! This really satisfied my curiosity!
  13. I want to see if I could match or surpass Kodak IMAX film in the blue layer of the film using the sharpest medium format or Panavision Shero 65 lens used at its sharpest aperture with a full-frame 8k digital sensor using full-frame lenses with vista vision sized image circles (no higher than MTF 40 on either film/sensor + lens system). I'm not trying to shoot a movie or anything, I'm just curious.
  14. What specific Hasselblad lenses are they? What were the ones they used for Dunkirk? I know that you could look up the focal lengths and apertures on websites such as the ASC website, but they didn't mention the specific lenses that they used. Same thing with the Mamiya lenses used for the Dark Knight Rises. Also, there are no specs that I am aware of for the Panavision Sphero 65 lenses. Maybe I'll just look up the sharpest 6x7 Hasselblads and Mamiyas at the focal lengths mentioned in the ASC and British Cinematographer websites, but I am not sure where to find info on the Panavision Sphero lenses on lp/mm resolution or MTF.
  15. What is the lp/mm resolution of IMAX lenses at MTF-50? MTF-60 would be better in my opinion (if you have that info, but you don't have to give it out).
  16. What is the resolution of a rotary prism camera like the Photosonics 4b or 4c vs a Pin Registered camera like the Photosonics 4er? (If you can include mtf contrast loss data, then it would be good).
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