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Dirk DeJonghe

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About Dirk DeJonghe

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    Industry Rep
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  • My Gear
    Aaton 35-III, Aaton XTR-Plus,
  • Specialties
    All film related activities; full analog film workflow color and B&W; traditional film grading and printing (16, 35mm), digital grading Baselight, digital recording and scanning, film restoration; digital archiving of film (8, 16, 35mm), video and audio.

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  1. It doesn't matter if the pressure plate is in the magazine or in the camera. What matters is that the pressure plate must be uniform black anodised, not chrome or with chrome rails such as used on Aatons. Both on 16 and 35mm light will penetrate the emulsion and will be bounced back of the shiny parts of the pressure plate and add a pattern of extra exposure quite visible on grey backgrounds and when the camera pans. I have had several large productions on 5222/7222 this year and I always warn customers about this. An easy way to check is to open the shutter with the lens port open and look what you see at the film plane (without film of course). Another thing: this gets worse with overexposure. I tell customers to aim for printing lights not over 20.
  2. I looked at this same negative again just this afternoon. There is a 3.5 stop overexposure compared to the shot before and after. The printing lights are at about 45 for green. The rest of the shots is around 25 for green. I could have it scanned on an Arriscan to see how it will come out.
  3. Hello, We worked for Yorgos Lanthimos earlier this year, send me your email address and we can talk.
  4. Try running the camera without a lens, in a dark room and look towards the filmgate through the lens mount.
  5. I have two demand drive and one sprocket Treise machine. The second Treise was 35mm only and was dismantled.
  6. My processing machines don't even use the perforations, I can process unperforated stock just as easily. Those processors that use sprockets will most likely be multiples of 4 perf interval as well. On the other hand, the perforators at Kodak only work in 4 perf, so that is excluded as well. Remains only the camera as a suspect;
  7. The fogging is at 4 perf interval while the format is 3 perf. Sorry, Need to remove my facemask, I miscounted.
  8. What David says is correct. The white light of the printer lamp is split into RGB using dichroic filters, in each beam there is a 'light valve' that can be instantly changed to a new setting. The valves are closed at zero and maximum open at 50. The printer is first calibrated to print neutral from an LAD reference negative at the standard printing lights of 25-25-25 using printer trims. The negative is then graded and individual printing lights are then chosen per scene, taking into account pre-corrections for different filmstocks etc. Contrast and saturation can be changed with use of flashing, pushed intermediates, etc. A good color negative would print between 25 and 30 for the green channel, a good B&W negative would print around 20.
  9. You can use the 1/60 setting, you will be overexposing by about 1/3 of a stop, not harmful at all.
  10. I have a Minolta F Spotmeter. If I go down in exposure times past 1m, 2m, 4m, 8m, 16m, 30minutes, I get 50 (1/50 of a second, also useable for 1/48).
  11. Low contrast prints were our normal for TV fiction 25 years ago. No longer manufactured. A workaround is to process the current printstock in ECN2 instead of ECP. Also make the print 2-3 printerpoints lighter than normal.
  12. This is exactly what we are doing on a daily basis. Recording digital to camera negative, not intermediate, and scanning back to digital. Choice of 50D, 200T or 500T for desired texture. Sample can be seen on Amazon Prime "Guava Island" : Alexa footage made to look like 1960.
  13. You are right, I simplified a bit, but the result is the same. I also wonder if the B&W positive stock is going to survive the 41.1°C temperature of the ECN2 developer.
  14. You need to skip bleach, otherwise you end up with transparent film since bleach removes silver.
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