Dirk DeJonghe

The problem is to have the film camera in phase so that the first frame of a new shot on the screen comes clean on the negative and not a mixture.

I need to film a computer screen, about 2K -4K resolution. The footage is at 25 fps;

I am trying to use an external sync box (from PAL days)  but cannot shift the phase so my film frame starts at the same time as the digital frame, giving a half frame dissolve instead of a clean cut;

Any suggestions how to handle this?

In the mid 1990s we worked on "The Red Dwarf". It was shot on S16 colorneg at the request of the coproducer, a TV station. Prints were made on 35mm sound recording film ST8. Won several awards.

I also have an Oxberry Cinescan 6400.

Oxberry is no longer, they have been taken over by Prasad (India) same as DFT and Sondor. Except for the Oxberry shuttle,  I don't know how much of the Oxscan parts are Oxberry DNA.

It all started somewhere in the 1930's with Bosch Fernseh, they provided television for the 1936 Olympics in Germany, then build telecines such as FDL60 and 90, then were bought by Philips. With the help of Kodak parts the Spirit was developed. The company was then sold to Thomson France, who rebranded it as Grass Valley because they had a better reputation. Then DFT and resold to Prasad.

I think the rolls have been opened and exposed to light on both sides, one side more than the other one.

Regarding the automatic colour changes in 'Candle' this is unintended action on the part of our new Scanstation. We had not read the complete manual yet (other Scanstation owners will understand). We no longer use that button in the Scanstation software of course.

Has anyone else experienced this. I ordered 80 rolls of 7213, got 20 after a delay. Two weeks later nothing more. Even worse for 7219.

Double-X was introduced 1958.

The official spare parts and service for Aaton cameras are at Cinefacilities:

Cine Facilities
Service center for Aaton cameras

Nieuwzeelandweg 5B - 10
1045 AL Amsterdam The Netherlands

Telephone : +31 (0) 6 55 78 47 65

Emails :
danny[at]cinefacilities.com
mail[at]cinefacilities.com

Just has my Aaton 35-III serviced there.

Here is a link to Jon Chema's 'LA State of Mind' where he used our RFG Digital to Film to Digital process.

LA State of Mind RFG process

We do about 2 or 3 jobs a week, mostly commercials.

Maybe you should read 'The Negative' by Ansel Adams, This will give you then answers to your questions and more.

Of course, digital was not yet invented then.

Each loop belt (one for each color) had pins on which the matrix and processed printstock (sound track already on it) were held in contact to allow the dye to transfer.

I don't know about any coatings.

My visit must have been in 1975 or so, just before I bought my first Model C printer. I had been invited by B&H to see Technicolor in operation. This plant was later sold to China because it permits mass production of prints on cheap B&W printstock (then).

They showed me the entire process, it starts with a model C type printer, just printing the soundtrack from the negative in a loop cabinet. The film then gets processed in a B&W machine and is then transported to another floor where the imbibition process takes place. Each machine is about 100 ft long (distant memory) where three matrix films are coated with ink (YCM) and then contact 'printed' on the filmstrip that already has the photograpic soundtrack. All this in a continuous motion, film roll after film roll is spliced in the darkroom before the soundtrack printer and only taken apart after screening on the projector at the end of the chain. Keep in mind that the matrix films have to be in perf sync, even one perforation offset would be a disaster.

The matrix film absorbs ink according to the density required in the print. Quite a technological achievement. 

Joe Dervin is right, I was going to post a correction to David's post about no photographic emulsion but no longer needed.

I visited Technicolor London in the mid-70s when they were still running the IB process, they even gave me a few samples of matrix films. The minimum order then was 200 prints.

Before attaching the magazine to the camera, after loading a full roll, give a sharp know with your fist on the cover of the loading side while holding the magazine upright in normal shooting position. This will move the fresh rawstock slightly and prevent it from rubbing against the backplate. 

During transport loaded magazines should be stored upright, not flat.

It is the then current standard color negative film, 1st generation. Corresponds roughly to the 7247. About 30 years old now. Can still be processed in ECN2.

We did the labwork on Guava Island. The brief was to make it look like 1960. The digital images were recorded to 35mm 5219, academy frame and then scanned back to DPX Log. We received a version that was not the final frame, so we had to adjust our recorder to allow for the largest sizes, even as the majority were more cropped. Anyway, the director was happy.

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.

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. 

Hello,

We worked for Yorgos Lanthimos earlier this year, send me your email address and we can talk.

Try running the camera without a lens, in a dark room and look towards the filmgate through the lens mount.

I have two demand drive and one sprocket Treise machine. The second Treise was 35mm only and was dismantled.

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;

The fogging is at 4 perf interval while the format is 3 perf.

Sorry,

Need to remove my facemask, I miscounted.

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.

You can use the 1/60 setting, you will be overexposing by about 1/3 of a stop, not harmful at all.