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Jonathan Ruiz

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Posts posted by Jonathan Ruiz

  1. 25 minutes ago, David Mullen ASC said:

    I'm saying that color negative improved in terms of total dynamic range over the decades but it probably was not as dramatic an improvement as you'd think. Older movies had issues with deliberate underexposure due to the slow speed of the stocks, so not great shadow detail, which they compensated for by adding artificial lighting. A few cinematographers in the 1960s started playing with overexposure in day exteriors for a more "open" look, such as Conrad Hall. As the stocks doubled in speed each decades, there was also probably some improvement in dynamic range as well, particularly the jump from 25 ASA 5248 to 50 ASA 5250 it seems just by visual analysis.

    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. On 6/28/2022 at 8:33 AM, David Mullen ASC said:

    But even so, color negative back then was not that much more contrasty than it later became.

    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. On 9/22/2022 at 12:32 AM, massimo losito said:

    You're welcome Jonathan!  the 4E is a different camera and don't require the load of the film on metal cores. So I believe it's quicker the load of the film into the magazine. But since it's a pin registered camera , the loading of the mag into the camera was more critical.. As Mark said below, the time of loading the camera is very subjective depending to the assistant skills and also you want to be sure to clean everything well before running the camera again..

    The 4E had a lot of work into oiling the pin registered mechanism.. so that was taking more time.. In general working with high speed film cameras is a slow process compared to digital ones ( like phantoms)  and more risky ( you can have film jams at that speed).

    I hope it help 

    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. 11 hours ago, Mark Dunn said:

    I'm still not sure what you're trying to find out, but if it helps, you can think in terms of a reload on every shot. I don't know about the 4Es, but when this was my job, the camera would not stop and restart at those speeds without breaking. So the film was allowed to run out every time, and the preparation for the next shot involved tweezers and a vacuum cleaner.

    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. 1 hour ago, Mark Dunn said:

    When you have your data off a digital camera, you can presumably view and process straight away if you want to.

    Film has to go to a lab so it may be days before you see the material, so you're comparing apples and oranges.

    I very much doubt anyone not called Christopher Nolan will ever use a 35mm. medium speed camera again.

    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. 1 hour ago, Mark Dunn said:

    The obvious answer is "as long as you need", but you shouldn't be rushed. After each run there are likely to be film chips to be cleaned out, and the prism and gate area to be checked for debris and cleaned, and framing re-checked with the focussing film.

    If you have several magazines you can load up before hand there is some saving of time.

    I'm very interested to hear of one being used. What can you share about the project?

    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. 16 minutes ago, massimo losito said:

    Hi Jonathan,

    to load the mag with 1000 films roll it's not very long. I'll say some minutes.

    The longest part is to load the fresh film on special metal cores ( you need them to go in high speed at any speed with this camera).

    You can't use regular kodak plastic cores because they can be smashed by the incredible torque force... This operation will take time and you'll need a rewinder in a dark room.

    Of course you'll need metal cores on both side of the mag ( supply and receiver).

    To answer to your question I'll say that you probably need 10 min to wind the film on metal core and 5 min to load the mag).

    I hope this help.

    Cheers!

    Max

     

    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. 16 minutes ago, Tyler Purcell said:

    And you're judging that based on low-bit rate 8 bit YouTube clip? lol 

    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. 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): 

     

  10. On 6/27/2021 at 4:02 AM, Dom Jaeger said:

    Not sure what use they are to be honest, and they may have been modified to be faster or focus closer, but here are data sheets on what I believe were the main IMAX lenses used on Dunkirk:

    http://www.hasselbladhistorical.eu/pdf/lds/FE50.pdf

    http://www.hasselbladhistorical.eu/pdf/lds/CF80.pdf

    You won’t find MTF data on Panavision lenses because they’re not for sale and cinematographers generally don’t care about MTF graphs - they care about what the image looks like. Some lenses would have pretty ordinary MTF charts, particularly if they’ve been detuned, but in the right hands they can look fantastic. At the other end of the scale, Primo 70 lenses are as highly resolving and aberration-free as any lens I’ve ever seen.

    Thank you so much! This really satisfied my curiosity!

  11. On 6/26/2021 at 8:47 PM, Tyler Purcell said:

     

     

    On 6/26/2021 at 8:47 PM, Tyler Purcell said:

    I bet if you looked hay I ask, what are you trying to achieve by looking for the MTF? 

    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.

  12. 1 hour ago, Tyler Purcell said:

    Many of the IMAX lenses are just Hasselblad medium format lenses converted. So I'd start looking at Hasselblad specs first. 

    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.

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