Elliot Rudmann

Relisted on Ebay

Have to agree with Kyle too. It simply comes down to supply and demand. The demand is just too marginal. Regardless, I find the look of color negative converted to black and white in post to be very pleasing, and often cleaner than shooting native black and white stock. More and more people just seem to be moving away from the grainy aesthetic.

Now on ebay: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...2#ht_682wt_1033

For sale is a Bolex H16 EBM camera, professionally converted to the Super 16 format by JK Camera (jkcamera.com) with 13x viewfinder and 1.78/ 16x9 HD groundglass. The camera is in excellent condition, and it is ready to shoot. No problems, no hassles, it will be ready to shoot the second you own it. In July 2008, it was professionally serviced by Dieter Schafer at Procam (a Bolex factory-authorized service facility). I have documentation to prove this. The Bolex EBM uses an electronic motor, and unlike the wind-up bolexs that only let you shoot for about 25-30 seconds, this motor allows you to film non-stop, which makes it an excellent choice if you’re shooting long takes. Camera also shoots at 10, 18, 24, 25, and 50 fps speeds. No more than 2000 ft have ran through the camera since its service. Here are two links to some footage I shot with the camera - http://vimeo.com/10424494 http://vimeo.com/4427598 Accessories that come with the camera: 2x 400ft Bolex Magazines – converted to Super 16mm by JK camera 2 Bolex MM magazine motors – motor that drives the 400’ magazine. 2 rollers in the camera for when you use the 400’ mag. You take them out when you want to use 100’ daylight spools. 1 Bayonet to C-mount lens adapter; so you can use normal Bolex c-mount lenses. 1 handgrip with fresh battery cell. Holds a powerful charge. There is a small crack in the plastic handgrip, but it does not affect performance or the ergonomics of the camera. It is very easy to handhold! 1 extra battery cell - doesn’t hold a charge as long as the other battery, could need to be recelled. 2 AC-powered battery chargers lens port cover cap 2 400’ magazine throat cover caps 1 magazine port cover cap (for when you don't use the 400ft mags). ***No lenses included*** - I do have a Bolex-Bayonet to Canon FD lens adapter available (shown in the pictures) that I would sell separately. Asking price: $2200 Let me know if you're interested, I'm in the Chicago area. I'm sad that I have to sell this camera, but I just need the money. PICS:

Well Tim, I have nothing but good things to say about Nolo. Of course that's an extremely biased opinion because I work there :lol: I'm an assistant who does most of their scanning and some color correction. We offer scans direct to hard drive in virtually any format you could want. Quicktime (Prores codecs), MXF/DNxHD for Avid users, tiff/dpx, anything. PM me if you'd like to get more info. The film for this project was scanned to 10-bit DPX log > brought into Baselight for a one-light color pass > exported as Prores quicktime file for offline edit in Final Cut > then with an EDL from Final Cut, reconformed in Baselight for final color > then rendered out (mastered) as an Uncompressed Quicktime. -This is a workflow I prefer since I didn't want to perfect the color for every single frame I had shot, but only the ones that ended up in the final cut. But scanning and applying scene-to-scene color correction and then delivering to Prores HQ to harddrive seems to be the popular choice for those shooting film who want to avoid the extra costs of tape based workflows. ----- Dimitri - Glad to hear to liked my previous footage! Not sure about the OM mount, but I would email Les Bosher and ask him what he is capable of constructing. He may have one already made. Check out his website http://www.lesbosher.co.uk/ Tom - Those dogs were great actors!

5-stops?! You crazy! I'd love to see how it looked. Is there a link to the video you share? I'd really appreciate it.

Hey Dimitri, thanks for watching and I'm glad you like the footage! I shot 1200 feet total that summer, couldn't afford any more! So the ratio was about 6:1 or 1 good minute for every 6 minutes shot. I've had no problems with the FD lenses except a weird flare every now and then. The FD lenses do the same thing where the aperture doesn't close until you snap the photo, but Les Bosher made me a Bolex Bayonet to Canon FD adapter that engages the iris control lever so you can freely shoot at any aperture. I shot plenty of B&W reversal in film school and it was fun, but it's amazing how much tonal and color detail you can tweak in negative film.

Hey guys, this is a link to a little film I cut together from some stuff I shot over this past summer on my Bolex EBM (S16). I would not dare call it serious work, just some fun I had with the camera and my friends that some of you Bolex/16mm aficionados might enjoy. There is some noticeable vignetting from the Switar 10mm preset I used, but for the most part it didn't bother me. Overall this camera can make for some great looking outdoor footage. Shot on Kodak 7201 and 7246 stocks. Footage was scanned @ 2k resolution on an Arriscan and colored on a Baselight. Enjoy! http://vimeo.com/10424494

Sounds pretty ridiculous. If it's true, he's quite the douchebag.

Thanks for your help guys. What i've typically been doing is just using the 400ft mag as a feeder, and using a spare daylight spool inside the camera to take up the film when I shoot at 50fps, and then switch out every 100 ft, but you have to be careful not to go past 100ft otherwise things could get seriously messy. I really don't have access to equipment or have time to cut down 400ft rolls into daylight spools. Is this something that most labs could do?

Does anyone know if you can shoot @ 50fps on a bolex ebm with a 400ft mag attached? I've read that a WM motor is necessary over the standard MM motor, but I'm not sure if the WM works with the electronics in the EBM. Would greatly appreciate any help!

More like $46 dollars off. http://motion.kodak.com/motion/uploadedFil...March9_2009.pdf It's not listed in their catalogue yet, but it can't cost more than 7219 - $146.18 considering they use more silver in that stock than in 250d. I'd also post this in the classified forums instead of this one.

Not sure if any other people have been experiencing this issue, but every time I convert a quicktime file through Compressor that has embedded source timecode (like RED quicktimes made from their native R3D files), Compressor offsets the timecode. ie. Start-in timecode of original (correct) quicktime file: 05:22:19:08 Start in timecode of converted file exported out of Compressor (incorrect): 05:22:00:00 !!! This is with compressor settings using 100% of source resolution and frame rate! No other weird custom settings. When you preview the clip in Compressor it also shows incorrect in-out source timecode. In some cases, the offset hasn't been as extreme as the example I showed. With RED files (converting prores to different formats), it's often 1-2 frames off. I am using Compressor version 3.0.5 on Apple OSX 10.5.8 w/ 2x 2.66ghz dual-core intel xeon tower CPU. The same problem persists on other Apple computers with different specs, which makes me think this is probably a very serious bug in the program. Using Quicktime Pro doesn't work because when you export from it, it doesn't even preserve the source timecode (it just deletes it). If anyone has any suggestions or solutions (perhaps manually setting source timecode?), I'd GREATLY appreciate it. Thank you so much. Elliot

Just saw this film and was very impressed. Finally a post-apocalyptic film that isn't driven by superfluous visual effects, zombies, or an unrealistic story structure. The cinematography was hauntingly beautiful, subtle, and heavily complimented by set design/location and (tasteful) desaturated color grading. No cheesy performances either, Viggo Mortensen (The Man) and Kodi Smit-McPhee (The Boy) managed to convey a deep and realistic father-son relationship. The adaptation to McCarthy's novel was pretty faithful as well, minus a few flashblacks (probably to give Charlize Theron more screen time). The overly sentimental soundtrack also could have been cut out entirely; we don't need to be told how to feel in an environment so bleak. A great film overall. Another interesting thing to note was that, during some reel changes (noticeably the first and second), the color correction (in the same scene) dramatically changed. Not sure if it was a projector issue or perhaps a lab error, like using bad or over-used chemicals when making the release prints? Any thoughts?

I wouldn't consider Premiere Pro or After Effects for any sort of professional or complicated color correction, but you could probably get away with it. Your success will vary depending on the color scheme of the two sets/scenes. If there's a wider range of colors in your exterior scenes (blue skies, bright red cars, store signs, etc etc.) than in your interior scenes, you may need to desaturate (or selectively desaturate) accordingly. If you can't get someone with good experience in color grading, then you'll simply have to experiment to taste. Given that your exterior shots will be balanced (since you used the 85 filter), it will probably be easier to match that to your interiors instead of vice versa (unless you want to balance out the 101 yellow filters you used, which I assume you wouldn't because they were used for creative effect). Good luck!

They probably just didn't "bake" in a LUT when they rendered out and gave you the files, which is why they look flat. I would contact them ASAP and hope they still have the files on their system. Otherwise you could try applying a basic LUT of your own, although you may not be able to accurately reproduce what it looked like @ Technicolor without using their LUT(s). To be honest, this is probably something a skilled colorist should handle, as trim-pass color grading (for 35mm print) is different than grading for video distribution.

Well, I'd never say never, but the grain on its own would make it very difficult to key out the blue. Assuming you get the highest quality 2k pin-registered scans (arriscan, ps technik, etc) to ensure the most stable image, you will most likely need to have some grain reduction applied. Even the new 500T is still fairly grainy, and when I've applied grain reduction to it, it's mostly in the blue channel. 16mm just doesn't have enough resolution to professionally hold up to any blue screen work. But it doesn't mean it has never been done before. Best practical solution: If you really can't afford to shoot 35mm, shoot a slow speed 16mm stock like 7212 100T - there is significantly less grain, and definitely don't skip out on a quality digital transfer. Good luck

Yes, the labs throw them out all the time. Call and ask them for some.

Hey Michael, try Nolo Digital Film in Chicago - www.nolodigitalfilm.com We scan 16mm/Super16mm film at 2k via an Arriscan, the quality of which will not disappoint you. Give our producer Joe a call sometime with the details of your project and he can work out a nice quote for you. We can also generate tape masters for festival distribution.

Thanks for taking the time to do those tests Paul, like you said the differences are marginal and I notice a slight increase in sharpness from the Ultra 16 footage when viewed at those aspect ratios.

Here's a link to some Super 16 footage I shot on my Bolex that was scanned @ 2k via Arriscan. Not quite what you wanted, but the results should be relatively close if I had shot the same footage from a K3. http://www.vimeo.com/4427598 I can't post any uncompressed quicktime versions of it because the file would be too large.

Hi Jason, what kind of problems are you referring to in these clips? What specifically needs fixing? I would just get picture lock with the offline edit and then figure out what needs to be fixed in the online high resolution version (assuming you're doing the traditional low-res offline to high-res online method).

I've been wondering about this myself, Tim. On one hand the DSLRs will most likely produce a cleaner image than 35mm which may look nicer on HDTVs, however, they will lack the dynamic range of film, something that can be important when light drastically changes throughout the timelapse. Also (realistically)add jpeg compression to the mix (since shooting RAW will add space and processing time) and you have further image degradation on the DSLR end. So I'm not sure if there's a definitive answer on this. The reason why the DSLR timelapse looks jumpy/flickery is because the person probably forgot to drag the shutter. Shooting at shutter speeds faster than 1/2 second will cause this stuttering motion when played back.

I am not an optics technician but I can say with certainty that if you want both of these lenses to function at a more professional level, then you are going to have to send them to a lens technician who can properly service them. Both lenses probably need to be re-collimated/re-shimmed after decades of use; and the other lens with the loose/unsmooth focus ring probably needs to be disassembled and cleaned around the barrel. There are others here with much greater knowledge of lenses who can provide you with more specific information about what needs to be done.

Michael, where are you located? There are plenty of dub-houses in LA, Chicago, New York that can do this type of thing. Sometimes calling the transfer house will expedite the process vs emailing them.