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Dirk DeJonghe

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Dirk DeJonghe last won the day on July 16 2019

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About Dirk DeJonghe

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  • Occupation
    Industry Rep
  • Location
    Kortrijk,Belgium
  • 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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  • Website URL
    https://www.postproduction.be

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  1. 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.
  2. You can use the 1/60 setting, you will be overexposing by about 1/3 of a stop, not harmful at all.
  3. 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).
  4. 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.
  5. 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.
  6. 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.
  7. You need to skip bleach, otherwise you end up with transparent film since bleach removes silver.
  8. It was an intial request by a well-known DoP who wanted a 'home movie' look for a Superbowl commercial a few years ago, as if the consumers themselves had filmed the images. This prompted some testing and we arrived at the combination of 500T camerastock plus S16mm sized area. The objective of Intermediate films is to be as transparent as possible, to make an Interpositive and Duplicate negative that matches as closely as possible the original negative in contrast and color rendition. This is not what we want in this case, we want to add some texture and character. The camera stocks have some character (greens, flesh-tones, sky etc) that is added during the process. The intermediate stocks have very little grain, again, not what we want. Grain is 'texture' now, no longer a 'defect', just like some painters use a broad brush with visible brushstrokes against a digital picture (completely texture-free).
  9. We ship about 750 packages per year with FedEx. Never any damage or loss. They are inspected with low dose x-ray scans. With the help of FedEx rep we tested 500T and passed it 2x, 4x, 8x in the scanner. Compared to the control (0x) no measurable density change was found on densitometer readings even on 8x.
  10. The link to my (temp) website is fixed. We use split screen with the original digital image and recorded negative. See my previous post.
  11. 1. process the exposed film received from camera crew. 2. make workprint (eventually transfer sound to SEPMAG) 3. edit workprint on film editing table (if all else fails on the kitchen table with scissors) 4. send edited workprint to negative cutter for conforming (reads keykode numbers on workprint and conforms negative accordingly) 5. prepare for filmgrading by noting shot changes, and discussing with DOP 6. filmgrading on Colormaster, simulating the printlook from the negative using only RGB light changes, making a list of FCC-RGB data (where the lights have to change and printing lights, eventually fades and dissolves) 7. negative laced up on printer, paper tape read in Printer Control Unit, lights out, printstock laced up and start button pushed. 8. after print run, exposed printstock is processed. 9. screen print with customer, note further grading changes required, goto step 6. and repeat.
  12. The MTF curve takes into consideration the resolving power of the camera lens, the filmstock and also the scanner. As a comparison, at the frequency of 20lp/mm, on 1K you will have 30% modulation response, on 2K 57% and on 4K 63%. It is a matter of diminishing returns, there is a very noticeable improvement from 1K to 2K, from 2K to 4K it is much less. These measurements were done on 35mm camera negative, 16mm will be more limited of course.
  13. Because the cyan layer used to be fairly unstable and faded with age. When restoring old faded film, we have to increase the gamma of the cyan layer in order to bring the three layers more parallel, then do color correction. The current printfilms are much more stable now than they used to be before the mid 80s.
  14. Will, We have done dozens of commercials as well as sections of feature films and entire films. On one particular commercial for Vaseline, we used 500T, 200T and 50D to show different timespans, from mid 1800s to Vietnam to present day. It can be seen on vimeo: Another one, completely on 500T to simulate a 1960s film is on Amazon Prime: Guava Island.
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