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Dirk DeJonghe

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Everything posted by Dirk DeJonghe

  1. Dirk DeJonghe
    There is no reason to convert DPX to TIFF unless your software can't handle it. DPX is by far the most preferred format for professional exchange. At this very moment I am doing a commercial for a very famous beer, downloaded from London, and my work will go to LA for final finish. DPX in/out. DPX can be 8, 10, 12?,16 bits with or without alpha channel and can have embedded soundtrack as well. I can capture realtime DPX with 16 soundtracks embedded. In my operation, say the customer wants to change a few seconds in a 90 minute feature. In DPX operations, you rerender the sequence of a couple hundred frames. In Quicktime you have to rerender the whole 90 minutes. It all depends on your available hard- and software capabilities
  2. Dirk DeJonghe
    DPX is 10 bit and then best use in LOG encoding, if you use linear encoding use 16bit DPX. DPX can be 8, 10 or 16 bit.
  3. Dirk DeJonghe
    You need a tape splicer to splice Estar base. An ultrasonic splicer will work as well. No cement splices possible.
  4. Dirk DeJonghe
    On a Macbook you will be best served with Quicktime ProRes 422 HQ or 4444. DPX will never play back in real time unless you have a fast RAID array.
  5. Dirk DeJonghe
    The early versions had the footage scale too close together, the later version solved this.
  6. Dirk DeJonghe
    We recorded digital files to camera negative stock for several productions, all high-end commercials (think SuperBowl) or parts of a coming US feature film; in all cases it worked very well to achieve the film look from Alexa files. However the operation is not 'cheap'.
  7. Dirk DeJonghe

    23.98 vs 24

    Dirk DeJonghe replied to Eon S Mora's topic in 35mm

    In Europe and other PAL countries, the viewers are conditioned to the 4% increase in speed and pitch since all movies on TV are transmitted 1:1 (film frame to video frame); in fact most of the theatres ran the 35mm projectors also at 25fps. I know that Titanic was 15 minutes shorter. Numerous feature films that I worked on and where I was present during the premiere were definately shown at 25fps (stopwatch in hand). I even called Kinoton and they confirmed that the standard projectors were set up for 25fps in 50Hz countries. Only in postproduction mixing studios and labs could true 24fps projection be found.
  8. Dirk DeJonghe
    The 100ft Pan-F will probably have KS perforations instead of BH perforations usually used in MP cameras.
  9. Dirk DeJonghe
    We have a number of customers from Spain and Portugal. They ship to us via FedEx. We can arrange pickup at your door. Files can be returned via hard disk or download via ftp.
  10. Dirk DeJonghe
    If you have a 1080p 'scan' from a telecine versus a 2K 'real scan' from a real scanner, then there will be a noticeable difference, with my equipment: less grain, better image stability, better sharpness, less weaving side to side, less registration error, etc. Of course, a scanner is more expensive to run than a telecine and usually customers only scan selects after editing; The difference is much more than just the amount of pixels.
  11. Dirk DeJonghe
    Have you considered shooting on real film, even S16 will give a very nice B&W result, saving the additional expense of adding grain. Fedex knows the way from Sydney to Kortrijk (SFS).
  12. Dirk DeJonghe
    If money is no object, we can record the digital images to 5222, then scan back to DPX. Been there done that; it was used for last year's Coca Cola Superbowl commercial and also for parts of an upcoming Hollywood Christmas family film (both in color). Otherwise, in Baselight there is an excellent digital grain plugin where you can modulate highlights and shadows differently to match real film stock.
  13. Dirk DeJonghe
    James, Dominic Case's book is a very good starting point. Most of what you ask is still done here on a daily basis
  14. Dirk DeJonghe
    We do plenty of 16mm prints for loop projection. Do not project an original reversal in loop unless you want to get rid of it. Loops do wear out and with a negative you can make as many prints as you want, a minimum of two is recommended in case something happens to the first one; loop projection is a specialized business. We apply a special lubrication to the print that allows it to run smoother and last longer.
  15. Dirk DeJonghe
    There should be a small screw on the bottom of the viewfinder tube, about one inch in front of your eye. Unlock it and slide it forwards or backwards until the image is upright. It could also be that you need to rotate the viewfinder 360 degrees if there is no internal stop.
  16. Dirk DeJonghe
    You can still order it from Kodak, what is the problem?
  17. Dirk DeJonghe
    The current version of 7222 has a very different smell than before, the image looks more like a Plus-X that a Double-X with deeper blacks. Running sensitograms we had to reduce the development time a bit. The stock could very well be made by another company. I have run Double-X for more than 30 years and I can identify it from color or Plus-X by smell in the darkroom. Anyway, the images look very good and that is what counts; Here is a sad youtube video: https://youtu.be/JDzQ1gx71EI
  18. Dirk DeJonghe

    Alpha Lab

    Dirk DeJonghe replied to Heikki Repo's topic in 35mm

    Good idea for one big production, what will you do if you have two big productions not in the same location?
  19. Dirk DeJonghe
    Anthony, If you hop on the TGV to Lille, you could look over my shoulder at a few samples of the 'new' Double-X in action. I can't post it here for obvious reasons. We worked on the feature film 'Tzameti' shot on 5222 that won the best foreign film prize at Sundance. 'Two years at sea" won in Venice (7222).
  20. Dirk DeJonghe
    Agfaphoto was a spinoff of the consumer photo films only. The main Agfa still makes aerial and some MP stocks as well as medical products. Anthony, is your project 35 or 16? Traditional or digital finish? The trick to reduce grain in 22 is to expose it just enough, printing lights 18-22, not more.
  21. Dirk DeJonghe
    Agfaphoto went bust, the real Agfa still makes excellent color print film and B&W sound recording film in Antwerp; The real choice is between Kodak Double-X and Orwo UN54 and N74. We processed about 60 400' rolls of 7222 in the last two weeks and it looked beautiful; There seems to be an unpublished improvement in the 7222 stock, we needed to adjust the processing slightly and the characteristic acidic smell of Double-X is no longer there.
  22. Dirk DeJonghe
    Have a look at this interesting documentary about Kodak: http://lens.blogs.nytimes.com/2015/03/22/still-hoping-for-future-kodak-moments/?_r=0
  23. Dirk DeJonghe
    I feel that the first priority is to use the existing films to the full extent possible before asking 'specials' from Kodak; It is already hard enough to get 'normal' stock such as Intermediate color stock in single perf. It is a matter of having enough footage per emulsion type to keep the manufacturing chain open. There are only 300 people at Kodak still making photographic film including MP. The 7222 seems to have changed for the better recently, it used to have more grain and a typical acidic smell that is gone now, they didn't tell anyone but it certainly has changed.
  24. Dirk DeJonghe
    Dennis, I don't have any unexposed 7276. We process some from time to time for customers. Would gladly do the sensitogram if I get some stock.
  25. Dirk DeJonghe
    Yesterday I had a request from a film school to do a transfer to DVCam. They receive Quicktime ProRes files from us since years. I think they want to show the 'old' way to students??
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