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james smyth

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  1. My school has a bunch of bolexs and an intervelometer I use frequently. At 1/3 of a second at its fastest, it's not always easy to stop down as far is needed for a proper exposure. I was just thinking, I wonder if I could make a pinhole lens for the camera, has anyone ever tried to do this? I like pinhole photography and I think it would be interesting to bring this concept the moving world.
  2. http://cgi.ebay.com/PRO-VIDEO-12-AMP-12V-B...1QQcmdZViewItem This is what I bought and used it just fine on an Eclair NPR. I able to run both the camera and the video tap off the same battery without any adverse affect on the motor. Though I'm not sure if it's the most healthy thing to do.
  3. http://www.colorlab.com/ Color Lab will do 9.5mm transfers. Just be aware they use a tube sensor and have massive grain issues.
  4. It would be nice if the camera could do interval timing in sync with the projector and output over USB so you don't have to keep swapping cards. Turning a series of images into a video is quite simple. I'm sure final cut has a solution, but I just use Blender for it since it lets me use arbitrary sizes/aspects and a wider variety of codecs.
  5. Yeah, they're still on the Cineglyph, no Spirit. I guess the search continues. Anyway, thanks for helping me understand the whole PsF thing!
  6. http://www.cinematography.net/digitk/digitk.htm When looking for info on Bono, I came across this, and I must say, it looks pretty scary. I've seen someone post here once before that they had a green tint on the left side of their frame when using Bono, and you can see it here. The images seem way too blurry to be usable. There's no date on the article (unless it really was posted just today), I'm hoping it's old when the process was new and they've worked out this mess.
  7. I'm looking for an HD telecine, and one place says they output to 10-bit uncompressed 1080/24p (23.98sF). What does that really mean? When I see 1080/24p, I think 1080i w/ 3:2 pulldown. Is that what this is? Or is this honest-to-God 24p, as in 24 progressive frames a second? That would certainly cut down on drive space waste. Also, by uncompressed, do they really mean uncompressed? Or merely lossless? The place I'm looking at now is Bonolabs. It seems for a one-light transfer for 15 minutes of 16mm will cost me US$288.65 total. In case anyone was curious.
  8. Is there something about a recan that complicates things? I work at an advertising agency and we just finished a six day high-speed shoot and finished with over a dozen recans left in varying stocks. It can be frustrating to load magazines that don't get used, but it's best to have loaded mags and not need them than to need them and not have them.
  9. I have film that I want to get telecined in HD, but I can't find telecine houses in the US that publish prices. Does anyone know of any telecine houses that publish prices? I found one place that a 1-hour session minimum for $1900. Is that really a reasonable price?
  10. Hey, I have aquired some recans and short ends of various Kodak stocks for use in my 35mm SLR. The local film processing lab requires at least 400' rolls. My 1.5' rolls aren't going to be enough. So I'm going to have to develop it myself. The problem being mostly that I don't the resources to purchase the ~100 liters of various chemicals included in the minimum order for an ECN-2 kit. Do you think I could offer a sort of 'waste disposal' where I'll take the chemistry off the hands of a film lab trusting that I can get at least one more load of stills spools through each batch before discarding it the waste? I've read in various places that a regular C-41 process would work just fine as long as I remove the remjet backing myself. My question is, how do you do that? I've read that it can be removed with cotton wool, but I would imagine there would need to be a step before that to make the remjet weak enough to removed by wool. Does it just need a good soaking? People also can't seem to agree if it's best to remove the remjet before processing or after. Also, it is easy to filter out? If I'm going to the C-41 route, I'll be using my school's supplies, and I don't want to contaminate our supplies with loads of black silt. Thanks guys, - Jim
  11. Kevin: That sounds like a pretty interesting experience. Could you guess about how much time you spent in each position? It sounds like an excellent way to hit the ground running, so to speak.
  12. I kinoflows are nice and easy to work with and much safer to handle, but aren't they fairly expensive compared to other lights?
  13. Well, the XL-1 is certainly a more upper-class prosumer camera. The VX1000 I always thought of as being more on the level of a GL1 (but has closer specs to a GL2). The XL series is a jump up that I think is unfair to compare with. At it's price range, the VX1000 is still an excellent contender (much better image than the GL-1).
  14. I guess in some people's minds independent = grainy.
  15. I think it a great camera for the price. It produces a beautiful picture and has a full list of manual controls. Only drawback is the lack of an LCD monitor.
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