Justin Lovell

Cinelicious does great work, I'm chatting with Paul about his methods and my methods so we can always improve the way we do things. My custom built scanner uses a the 2k sensor of the SI2K camera and has a custom controlled interface for flashing the film and scanning. It all speaks back and forth sending commands to control the projector and camera systems. Great results can be had from many different methods, and I've been developing and engineering this method with a team for the past year and a half. It is finally reaching a point where I am comfortable releasing our 2k/HD scans to the public. Keep in mind that when doing test transfers at different studios, you really have to decide what the look is that you are after. Many different places can provide the same look (color/sharpness/saturation) or totally different looks, based on not only their equipment, but also the technician/colorist running the equipment. That said, the equipment that Roger Evans makes at MOVIE STUFF, is way better than it has any right to be. .. in the right hands. Our new BELLADONNA scanner is a big step forward for us supporting the small format filmmakers. It is also being used in house by the Frame Discreet Cinematographer Collective - as a means to keep shooting film at affordable rates :) RE CODECS: I've thrown up some cineform RAW files side by side with some Blackmagic 10 bit HD files, and pushed the color around hard, they both hold up really well, with virtually no difference. The new technology that cineform has developed is amazing. Especially if you want to do realtime color correction on your own, their NEO4k, prospeck4k and NEOHD packages that come with FIRST LIGHT (for color correction) are well worth the investment. Keeping in mind that you need an INTEL based mac to run the files. ProRes is also another good option, however PC users can only read PRORES, they cannot render to prores. Same goes for cineform, it is free to READ the files, but to render out to Cineform, you must buy the codec. ($130 without first light color correction.. not too bad.) Or just render out to uncompressed/prores instead. best of luck!

I rent mine out of Toronto, willing to travel. Package starts at $375/day and goes up depending on what is required. (not $1200 without lenses like Abel). Just got in the full Linos lens set. 12, 16, 25, 50. 1.6/1.8. very sharp, compact lenses. Also a 16-100 1.9 zoom. and 5.9 angenieux, 10mm switar. PL and Nikon lens mounts available. Records to a solid state touchscreen laptop which can be slung in a backpack for ultimate portability. some posts in my blog.. www.framediscreet.blogspot.com love the camera :D Sure as hell beats the Red Workflow (on set and off).

Are you planning on projecting your film or telecine for digital editing? If projecting, you'll have to control you saturation (better word for this being contrast) by your lighting. If doing a telecine xfer, you could light your film fairly flat (light with a low contrast) and can then manipulate your contrast during the transfer or in post. My results differ from the previous poster about cross-processing. I scan lots of tri-x cross processed here at frame discreet and it has a much lower contrast (wider latitude) than reversal film. That's why I always cross process my tri-x (unless I need to project it). Cross processing gives me more shadow detail and more highlight detail (at a sacrifice of a grainier image, which I quite like). Maybe the other poster wasn't able to supervise his transfer to see how much range there really is in the cross-processed image? Best of Luck! oh attaching some samples. tri-x from BELLADONNA, our raw 2k scanner. SUPER 8 and SUPER 16. First image is the FLAT scan with no correction. Second Image is with a contrast and gamma adjustment to give it more of a 40's film noir kind of look. (the super 8 was under exposed by 1 1/2 stops so not as much latitude in the shadows- and a little softer than normal).

NEW UPDATE! I have removed windows VISTA and tried WINDOWS7 - (compatibility issues with the ebus ethernet driver not being compatible with windows 7 on my laptop at the moment). So, I have reinstalled WINDOWS XP PRO. All my issues have been resolved! Billinear (high quality mode for preview and record) work great! Hard to find - but if you can get the Ultra Slim Bay II adapter from Toshiba (SOLD in USA not canada) then you can remove your dvd drive and replace it with a second SSD via esata for recording. Also I have been warned against using the OCZ VERTEX drives, INTEL SSD has been highly recommended by 3dCC in toronto. They have had far better success with them especially for uncompressed. all the best!

FOR SALE BY OWNER -Excellent condition- 16mm film BOLEX Camera H16 EBM Electric. Power Zoom Vario-Zwitar 100 POE (f/1.9 – 16-100 mm.) Bolex EBM battery charger. – Power Grip. 400 ft Magazine - winding motor. Anatomical handgrip. Universal Tripod, fluid head (Australia). Aluminum case (used) Changing bag – 27” x 30” (new) Package price: $1,800 (reduced from $2,500) Contact: 416-364-3131, Toronto.

One of my lens technicians in Toronto is selling off a bunch of cameras. All serviced and ready to shoot. If interested, give him a call. SUPER 8: Beaulieu 4008 ZMII Canon 1218 DS8 Canon Bolex 155 Macro Canon 518 Elmo c200 (?) 16mm: Bolex R16, 3 lens turret 12, 25, 75 + Zoom Call for pricing, he is reasonable, and repairs most makes of cameras and lenses. (I won't be replying to this post, just call him!) DANIEL: 416 669 7911

- I never said to skip the filtering. I said that you can color correct the footage depending on the color temperature. Careful where you point fingers kent. You may wish to re-read what people write before you comment. I wasn't backing up that statement. I don't really care, but you may run across someone who will take offence to being misrepresented by your comments. agreed.

I have been shooting with the ziess 11.5-115 modified t-3.0 zoom. I have compared it to my SWITAR POE 16-100 t-1.9 zoom. The switar POE is one of the most UNDERRATED zooms ever. It is sharper than my zeiss lens, and it is a 1.9. I use this lens on my si2k mini. If I need primes, I have a 16, 50mm LINOS 1.8, and Schneider 25 and 50mm 0.95. Fantastic lenses. Slightly soft when at 0.95, but versatile, and I find the image to resolve less blue grain on the schneider lenses. I also use the 10mm switar prime which is also great, however colimated for my bolex so a little soft when wide open. My camera package is available for rental. Info and production stills from using the si2k mini: www.framediscreet.blogspot.com http://framediscreet.com/super8mmrentals.htm Recent short shot on the switar zoom: (temp grading applied, not the final look) Best!

Looks underexposed to me. I've been transferring a lot of 64T with great results, even cross-processed 64T and it is all looking pretty interesting. Color correcting 64T shot without the 85 filter isn't that difficult, DEPENDING on the color temperature of the shot to begin with. IE. If the shot is in the shade, and shot without the 85 filter, it will be more difficult to get rid of the blue cast. If the footage was shot in bright warm sunlight, it will be easier to find a more neutral color balance in the telecine. The image also seems a little muddy from the Telecine, where was it done, do you know whether it was done on a typical film chain method- the lack of resolution and muddy image is a typical result of 3 bladed shutter transfers. Some samples of 64t transfers can be found here: http://framediscreet.blogspot.com/ all the best!

I love my NPR because of its Variable shutter, a feature removed from the ACL. The ACL does boast 70fps rather than the 40fps that the NPR maxes out at. The motor isn't that uncomfortable. Its the mags that are the heaviest part of the camera. If someone were to manufacture carbon mags, that would be killer. And threading the camera isn't that difficult, its a coaxial mag so you can pretty much do all the tricky stuff in the light and visually see that it is threading properly.

I had a Sankyo xl-620, it was the first super 8 I'd shot with, and a GREAT camera. Very fast lens, 1.2 lens, plus the 220 deg. shutter. Great for low light. One of the most interesting features was the ability to set the counter manually on the camera. So you could remove the film, and replace it with a different (which you may have already shot 10' on) cartridge, and adjust the counter by just using a pen (or something pointy) to dial in the counter. Very cool.

\Thanks for the kind words :) Here's a link to our transfer suite website at frame discreet: www.framediscreet.com Here's a link to our cinematographer collective blog: www.framediscreet.blogspot.com Love to collaborate with other cinematographers so if you're going to work with super 8 or super 16 and have stock/lens/camera/telecine questions, don't hesitate to drop us a line or email. info (@) framediscreet.com Catch ya!

You can check us out at www.framediscreet.com Our collective of cinematographers shoot on super 16 and super 8 for aesthetic reasons and we do all the supervised transfers in house at the studio. Latest projects can be seen in the frame discreet blog.. www.framediscreet.blogspot.com We don't really cator to the 'home movie' market, preferring to work directly with filmmakers and cinematographers and be creatively involved in the projects that we support. Catch ya!

I have an si2k Mini Package available in TORONTO. Can travel with it, if necessary. www.framediscreet.blogspot.com email link: info (at) framediscreet.com

Frame Discreet Cinematographer Collective announcement.. Some info on my blog. Couple of stills from recent shoots posted in this post. SI2k Mini Camera package available for rental, contact me if you're interested. Blog has bits of info from our RED/si2k comparison test that we had processed here at RED LAB in Toronto. Performance is very similar, except the si2k is 1/8th the size, weight and tiny power consumption. Also the cineform RAW workflow is awesome. You can work with the 2k files natively in FCP or PPro no prob. http://www.framediscreet.blogspot.com

Laptop: Toshiba Protege m750 12" touchscreen laptop with SSD (solid state drive). Issues: Billinear mode incompatibilty. will freeze the DVR application. Cannot use edge detect unless you set your monitor to 800x600 resolution. Anything higher will freeze the application. If you connect a 2 drive raid 0 via esata you can capture 12bit uncompressed resolution NO PROBLEM. buffer only went up to 4% at the highest.

Yeah, that's doable. You can get a 8 or 10 bit uncompressed file and grade it in post. I can help you with that and do a flat scan and you can do all your own manipulations on it. Typically I color grade the footage before it gets encoded as a file to get the best base color correction without any chance of digital compression artifacts. www.framediscreet.blogspot.com has a bunch of samples of different stocks and advice over the past few years.

Can always check out my studio, run by cinematographers. 8bit/10bit uncompressed SD to HardDrive or DVcam www.framediscreet.com www.framediscreet.blogspot.com Currently investigating and in development for true 2k cineform RAW xfers.... shhhhh.... Justin Lovell frame discreet collective Cinematography.Transfers Toronto

SI2K MINI ON LOCATION: Cinematographer: Justin Lovell Frame Discreet Production Just got off a shoot using the si2k mini with helmet cam mount and 12" tablet laptop tethered for recording. Operator Mike Leblanc was using a pair of MYVU video goggles. Lens used was the older angenieux 5.9 cmount. Awesome camera to work with, tons of latutiude, and combined with older lenses you do get a certain softer more filmic feel. Used 3 1k led lights made by flolight/prompter people. Bit of a green tinge to them, which mixed with the flourescents quite well. Some pictures in my blog showing the setup. Also some more technical info about the recording system included. www.framediscreet.blogspot.com Justin Lovell Frame Discreet Cinematographer Collective ...Coming soon... 2k Super 8/16mm scans

The 1014xls is my workhorse camera. It's reliable and built like a tank. I had mine modified to have a stronger drive mechanism. I found the tolerances were not strong enough for the negative film stocks and I was getting jammed cartridges. My technician in Toronto, Daniel, can adjust yours if you think you need it. 416 789 0777 after 6pm. toronto time.) In comparing the 814XLS to the 101XLS I do have this to comment: The 1014xls has more elements in the lens design. It is more prone to lens flaring. However this flare is more of a blue haze that appears over the image. It is most noticeable on negative film stocks. I rarely see the haze when shooting reversal. It appears when shot either towards a bright window, or under overcast days when shooting outdoors. Broad bright sources cause the blue haze over the image. The 814xls is less prone to this. You'll also notice that the front element on the 814xls is concave, not flat, this may be helping to overcome the issue. (as well as the fact that it has less lens elements). To be noted as well: The "8" stands for 8x zoom. the "14" stands for "1.4" lens. The "XLS" stands for 'Existing Light Shutter" Meaning you can have a 220 deg. shutter for low light situations (the standard shutter angle is 150). (Finally a naming system that makes sense!) The 1014xls is not just longer on the zoom, it also has a wider angle on the short end of the zoom. If you want to do variable shutter tricks, you may want to look into the silver versions, the "E" models (ie. 1014E or 814E) "E" standing for Electronic.

just as you suspected, the film is in motion before the mirror covers the film. Shouldn't be a major adjustment to be made, but would prefer to do it with the service manual to reference!

just as you suspected, the film is in motion before the mirror covers the film. Shouldn't be a major adjustment to be made, but would prefer to do it with the service manual to reference!

just as you suspected, the film is in motion before the mirror covers the film. Shouldn't be a major adjustment to be made, but would prefer to do it with the service manual to reference!

oh man.. thanks david. I will check that out right now! Anyone have a NPR service manual?

Hope you can help me out!! Just posted the clip online. I had my Mirror replaced, and I don't know if this probem is with my mirror or with a problem of the way I setup my loops. It looks like a streaking vertically, that becomes more noticable around highlights. It really shows up more when I have my shutter angle below 180 deg. (My tests show the angle at 180 and 70 degrees). Could you check it out, I'm supposed to be shooting tomorrow morning (wed morning) at 8:30am! A little worried that the problem is with the mirror, and not with the loops.. if so, I gotta fix it asap.. somehow! http://www.framediscreet.com/mike/Sequence%2001.mp4 Thanks!!!!