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Dirk DeJonghe

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  1. Dirk DeJonghe
    Negcutting is still done, a new feature film is planned for later this year, they want negcut, traditional film grading and later a full scan of the cut negative, Baselight grading and DCP etc. Keykode numbers are essential for both negcutting and rescanning of selects.
  2. Dirk DeJonghe
    There is only polyester sound stock available now. We use ST8D as long as stocks last, after that maybe Kodak or Orwo special order.
  3. Dirk DeJonghe
    I am happy to report that we do optical sound transfers, both 16 and 35mm as well as silver sound tracks on 16mm colour prints. Mono only. We are right now doing soundtracks and prints for a major museum of modern art in a major US city. We can make optical negatives directly from your WAV or BWF files.
  4. Dirk DeJonghe
    David, a number of years ago we worked on a short where the client wanted yellow highlights and blue shadows. It was done via IP/DN. If you flash the DN stock with blue light and use yellow printing lights for IP to DN step, you will get the effect.
  5. Dirk DeJonghe
    If you ship Fedex you won't have any X-ray problems.
  6. Dirk DeJonghe
    It looks like an Aaton XTR without the display on the motor side. I also never saw that kind of video assist. The important facts; it has the magnetic drive of an XTR. Aaton or PL mount is easy to change. I don't have my old Aaton pricelists anymore but I seem to remember they made a simplified version of the XTR without timecode or electronics, I could be wrong, it is about 20 odd years ago.
  7. Dirk DeJonghe
    I have a Minima for sale, send me a PM or email.
  8. Dirk DeJonghe
    Heikki, It is indeed a wrong interpretation. There are other reasons, amongst them: labs don't want the competition to know their pricing, most customers want personalised quotes, prices are more and more complex due to numerous variations and combinations of services. We always try to work out the 'best' solution for customers, sometimes paying a bit more at the beginning to end up with a superior product at the end, or saving money in different ways.
  9. Dirk DeJonghe
    We are still here and in full operation, digital and analog. Color and B&W, 16 and 35mm, traditional film grading or Baselight digital. Thanks to Fedex and the internet, distances are no longer a factor.
  10. Dirk DeJonghe
    Several of her films can be ordered from Amazon on DVD.
  11. Dirk DeJonghe
    If it was transfered on a CCD telecine such as Spirit or Shadow, it is very likely failed FPN compensation. (Fixed Pattern Noise). Ask for a new telecine transfer and show the defect.
  12. Dirk DeJonghe
    Wetgate printing would completely eliminate any base-side scratches. These show up as white on the print. Any colored scratches are on the emulsion side and will not be affected by wetgate printing. The lighter density unsharp area, to the right of the base scratches, appears to be a printing defect (D-line) and is a reason to reprint free of charge. If you have the same defect on a telecine transfer of the same negative then it is a pressure mark due to something in the camera touching but not scratching the emulsion side. I would ask the lab to examine the negative and if the D-line is a printing defect, offer to pay the difference between dry and wetgate printing. You would then get a new print without the camera scratches.
  13. Dirk DeJonghe
    Looking at it, I think it is a bit of dirt stuck in the printer gate. If it is not on the negative, the lab should reprint this reel. Is it during the entire length or just a section? On a Model C printer there is air pressure at the gate to prevent dust sticking in the gate, but it could still happen. Because the film is moving continuously, what would be a camera hair in a camera and show up as a dark spot near the edge of the frame, in a contact printer this would show up as a 'D-line' (technical term the lab people will understand). It would be helpful to examine the negative first, there is still a possibility it might be pressure sensitization (exposure by pressure on the emulsion). The white scratches to the left of the D-line would probably disappear if printed wet-gate.
  14. Dirk DeJonghe
    They are the zoom and focus bars for the Cooke family of zoom lenses, nothing to do with the camera.
  15. Dirk DeJonghe
    You can order fresh LF20 Black Leader from Filmotec.
  16. Dirk DeJonghe
    For sale: Aaton manuals (new), 15€ each plus postage. Select XTR Prod or XTR Plus, about 95 pages each, English; info@postproduction.be
  17. Dirk DeJonghe
    DS8 film is 16mm wide and needs to be cut in half after processing. The perfs are different from 16mm so it won't run on standard equipment.
  18. Dirk DeJonghe
    The Relative Humidity is important. In winter, with low temperatures and central heating, indoor air may become very dry. This is when you get the sparks when touching the doorknob etc. B&W has no antistatic protection, colour has the carbon backing. If you keep RH around 50% or higher, you won't have any problems.
  19. Dirk DeJonghe
    I can say I have rewound millions of meters of exposed film, both reversal and negative, colour and B&W. It is never a problem with colour. B&W might be a problem in extreme circumstances (very low humidity, easily countered with a humidifier) . We splice camera rolls together into 2000 ft lengths while running it through our fingers to detect damaged perfs or sticky tape repairs before processing. Any static discharge is visible after spending 20 minutes in a completely dark room.
  20. Dirk DeJonghe
    Kalle, Have him contact me, I can help with the respooling and the film stock as well as the rest of the process.
  21. Dirk DeJonghe
    Static is never a problem with colour film because of the remjet backing which contains carbon and is conductive.The main concern is not overfilling the spools so the film doesn't jump the ridge on the inside of the flange. Kodak doesn't tape the tail to the spool and there is no slot. I use a very low tack paper tape to start the tail on the core. Using a stronger tape may cause jams when the camera runs out.
  22. Dirk DeJonghe
    if you take the magazine off, you will see two rollers with a rubber coating (o-ring). These are the ones driving the takeup spool. When you push the magazine forward to the ready position, these rollers will contact the plastic film spool and open it slightly since the shape of the spool edges is angled.
  23. Dirk DeJonghe
    The roller driving the edge of the spool also pushes the flanges apart to let the film pass easily. When you remove the exposed spool from the camera you should let it fall by gravity, not pull it by the flexible flanges that assure a certain protection from edge-fogging.When self-spooling 400ft loads to the Minima spools, you twist the film slightly to fit between the higher rim of the flanges that stop light from fogging the edges. Regardless, it is advised to load the Minima mags in as subdued light as practical, complete darkness or a changing bag is a good idea.
  24. Dirk DeJonghe
    No, 200ft metal spools won't fit. The plastic spools are driven by the edge, not by the centre. Most labs have a reasonable supply of empty spools for their customers.
  25. Dirk DeJonghe
    I looked at the delivery specs, it needs to be a 23.98 progressive (a 1:1 from 24 fps with slight sound retime should be OK I think) and a 29.97 progressive from our 24 fps progressive. A pulldown will be generating blended frames or freeze frames as previously discussed.
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