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Bryan Darling

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Everything posted by Bryan Darling

  1. I'm selling a Uhler Cine Printer. I picked this up as I thought it was pretty cool, but never have used it. It's for making prints/copies of 8mm & 16mm films. I plugged it in and the exposure lights work as does the motor. One light is for image another for the soundtrack if you have one. It could use a cleaning. I'm asking $150/obo.
  2. This is such a great meter. Used this as my first meter when learning film and photography. I compared it to my Sekonic digital and it's right on. I'm asking $60. Includes meter, case, strap, high slide, Lumisphere, Lumidisc, & Lumigrid Meter is self-powered. Includes fps from 8-128.
  3. I've owned several Bolex cameras and this is by far the quitest and smoothest. It is very clean and in perfect cosmetic condition. This has the larger 10x viewfinder which is the main reason I got it. It makes a big difference in focusing. It also has an adjustable shutter. The following is included: 1- Bolex RX2 Body with all lens caps 1- New Tobin TXM-26B Crystal Sync Motor 4- Schneider RX lenses (top of line with Switar): 1.8/10, 1.2/16, 1.4/25, 2.8/75mm 1- Switar 2.5/18-86 EE (seems to work but not sure how to use automatic features) 4- Bolex Extension tubes for macro work (#1,2,3,4- full set) 1- Filter Holder 7- Assorted Kodak Wratten filters 1- Bolex pistol grip handle 1- 100' take-up The film I've shot through this has been superb, the lenses are very sharp and beautiful. You really will be pressed to find a better camera kit. The camera and lenses were purchased from a private party in Belgium. The seller collects, trades, and works on Bolex cameras. The Tobin motor was purchased in 2006. These motors are not currently being manufactured, this was from the last "batch" The rest of the kit was gathered over the years. I'm asking $1300 obo.
  4. Not that it would beat Frame Discreet, but we have a similar setup using the Workprinter series transfer machines. I've transferred films for artists and consumers alike on the West Coast. Home Movie Store, you can see a couple samples here. Our prices are from $9-$20/roll depending on the service and can transfer files directly an external hard drive for editing use. I definitely think Justin's transfers look very well done.
  5. As with any film from the past, you can't look at it with eyes of today. It's important to look at these things in perspective. You have to consider the social, cultural, political, technological, and artistic conditions at the times these films were created. That's not to say that because a film has been said to be great, you will or "have to" find it great as well. In the end it's a matter of personal taste and aesthetic. I find a lot of people, especially students, say a lot of films are great yet they really don't get it personally. They are just saying what their professors and books have told them and have no real understanding of why the film is great- even though they can list those reasons. That said, there are usually reasons why people say a film is great. It is in analyzing those reasons and working to understand them that you can then make an educated judgment as to whether you feel that film is great, good, ok, or bad. But to pass judgment on any work without really studying and making assessments within perspective of the past is short-changing the work and yourself.
  6. I really recommend Josef Alber's Interaction of Color. I checked it from a local library. It was one of the best books I've ever read on color and ideas of color. It's not so much a practical book but rather an approach type of book when it comes to color.
  7. You can get a SuperMag that holds 400'. Spectra Film will cut down any film you want into any length you need.
  8. I've got a nice Cine Kodak Model A. It was the first motion picture camera Kodak produced. It was made to coincide with the release of 16mm film. Here is a link with more info and pictures of the camera. I'm not sure if 16mm would fit your needs, but if you are interested let me know. Cine Kodak Model A info
  9. I've used this mic for many years. I highly recommend it. I've used it for narrative and documentary films. The audio quality is good.
  10. 2/3 seems a little high to me. 25% is what I've always done, which would be 1/4 stop which I often round to a 1/3 to make it easy. The simplest way to calculate exposures for something like a Bolex is to take your exposure compensation for the light loss of the vf and the difference in the shutter angle from the standard and translate that into an adjusted ASA. That way you can set your meter for a specific ASA and never have to worry about doing any math in your head when your out and about. As a side note, I use the L-508 cine and it has a wonderful function allowing you to dial in your shutter angle. It makes shooting a Bolex and Super 8 cameras a breeze.
  11. Well look at it this way, if your piece isn't accepted then you can do with at you please. Also, where some might not want to do it because they feel they are being slighted, there will be plenty, plenty, more that will and one of those will have their piece accepted, shown, and noticed by many viewers and others. I think that is worth giving up a little piece of film in return for $2k and some good on-screen time. More than likely the copyright is specific to the film itself. And let's say it isn't, well I bet if you approached WGBH about expanding the piece into something more, they would more than likely assist in some capacity to get that realized; since they were impressed enough the first time to accept what you had made before. Otherwise don't participate and do something for yourself with your own money and send it to shop it around.
  12. Boris is a member here. He does a lot with Bolex cameras, trades, etc. He is very knowledgeable.
  13. I would look into Pyro. Pyro works to increase accutance, reduce grain, and dyes the film providing a contrast mask. The great part about that is you never get blown out highlights. As long as you have your shadows, you'll always have details in your highlights. It really is a wonder developer. I've used it to develop 7222 before. No matter what though, you still have grain. It is a not real fine grain film, you'd want Plus-X for that. T-Max and the Ilford counterpart are really designed for T-Max and Delta films, I don't really see them doing much if anything for older emulsion technologies. Also, keep in mind that traditional fine-grain developers mask grain in a way that counters sharpness, since it is the grain itself that provides the "idea" of sharpness/accutance. Fine-grain developers were really popular early on since b&w film was much more grainy than what we use today. By the 50's/60's film was becoming much finer-grained. My suggestion is to go for a film that is finer-grained rather than trying to find a developer to reduce the grain in a higher-grained film. That said, try pyro. Other than that I don't know if you'll get the look your looking for using 7222.
  14. I would message Boris Belay, I bought my body and lenses from him. He's located in Belguim. He was very reasonable and the Bolex was the smoothest I've ever had. As for steadiness, the Bolex is rock solid- provided that the camera is in good condition. Beware of a Arri in bad shape, may be more work than it's worth. It is a piece of German engineering after all.
  15. I agree with you there. However, I contend that there is no reason that one's media should be trapped on a SATA drive 20 years from now. Common sense and stewardship would have you transfer your data over to a newer system as they become available. There is no shortage of time in the overlapping of old and new systems. For instance, IDE is being trumped by SATA, however both have been running parallel for at least 3 or 4 years that I can remember. Even if all the IDE drives dried up tomorrow, the computers available today can interface with both. Moreover, let's say that all computers automatically switched from IDE to SATA tomorrow as well. You can find items that adapt IDE to other interface types, say Firewire for instance. Now that's also saying IDE will be phased out by SATA. But this is just an example. I think that consumers, developers and engineers are more aware of these situations due to the experiences of the past. They are taking these things into account as they create new media, software, and hardware. As we continue to leave behind analog and head into a more streamlined digital world/workflow, I believe these issues will be addressed, either head-on or through work-arounds. Nonetheless, for practical purposes we will need our films in the digital realm in order to work with them. It seems to me that the best way for this is in sequential scanning, and as technology develops and demand increases from not just the commercial sector but from the industrial, prosumer, and consumer sector, the cost will also decrease. There will always be the more costly "Hollywood" versions, but I see the technology expanding into the "middle class" arena, as can be seen in the film-to-video transfer industry.
  16. Well look at it this way, there isn't a image file format I know of that I cannot open today. The world of still images seems more stable than the world of digital video, etc. If there is a file I can't open, there is usually a plug-in I can download that allows me to open said file. As for your 20 year-old Word Perfect file, yes you can open it today, it may just take some finagling. I think computer companies, mainly that of software companies, have become a lot smarter on this issue. While I might not be able to write a file in a format of the past, I can open it and rewrite into some other format. This is becoming more prevalent in today's designs than say 20 years ago, but only because of the experience of what has happened to digital formats and mediums of the past.
  17. I think as a matter practicality for an end user rather than say an organization or company, scanning your film then storing it on hard drives is an optimum choice. As for anything digital, you don't store all your eggs in one basket. You keep a copy on another hard drive. Since both of these hard drives are for storage rather than day-to-day work, you won't be putting a bunch of hours onto them. Hard drives are relatively cheap these days, if you are really concerned then buy a bunch. As a side note, I recently read an article on a study done with hard drives. They found that there was no direct correlation to heavy hard drive use and drive failure. As a matter of fact, sometimes it was light use that gave to more failures. As everything transitions to the world of digital, it's really going to be a matter of shifting perspectives and practices. For one, you will still have your 16mm film so there is your analog archive so to speak. For practical purposes, scanning the film will provide you with a digital archive that becomes very flexible and easy to use in the ever growing digital realm. Since pretty much all forms of post are digital, save for final film prints, it is becoming far more practical to have a digital version to manipulate and use rather than "breaking out" your original film anytime you want to do something. Scanning film also bypasses issues of future unsupported formats, something that plagues video. In regards to who performs these services, there are a number of labs & houses that scan film. There is Monaco Film & Video in San Francisco, FotoKem in LA, I would do a search and shop around. Ask people on here who have done this, like David Mullen. No matter what, it is not an inexpensive endeavor. Consider doing your edited film, or used takes, rather than the entire film. You may find that no matter what, the undertaking is too costly and it's better off taking care of your film original and re-transferring on occasion.
  18. In my opinion, if you truly want to archive it, you'll want to have your film scanned into an image sequence. That way it's independent rather than a particular video format. You can then turn it into any format you want to either now or in the future. Budget will dictate this option, but it really is the only way to archive a film digitally. You can do either 2k or 4k resolution, each frame becomes an image file that can be strung together in an editing program and/or converted to a video format using software. As video formats change and evolve, you'll consistently have to be converting between formats and possibly losing something inbetween. As image files, you don't have those issues. It becomes more about resolution and the file type you choose.
  19. I've had a non-reflex, Rex-0, and Rex-2. Get a Rex-2, it has a bigger viewfinder and other great options and you should be able to get a body for around 200 euros. It was really difficult to focus the Rex-0 for anything moving, i.e. handheld work, etc. If you can't afford it, I'd just use the K-3 till you can. It's really work waiting, don't rush to purchase a camera just to get one. I've used a K-3 as well, and it's actually a lot easier to operate than a Bolex, just doesn't have all the options. As for lenses, I highly recommend the Schnieder RX lenses. They are very underrated and as such very affordable. I bought a top-notch set for $250 - 10mm, 16mm, 25mm, & 75mm. The quality is on par with the Switar lenses of that era. I've shot both neg and reversal film and had prints made shot using those lenses it was sharp. Good luck.
  20. OK, here is what's left of the filmstock: 16mm - Out-of-date - Freezer Stored (1) box of 2x1800' (3600' total) rolls of Ilford P3 200 - rateable from 125-400 ASA or higher - $200 16mm - Current/Fresh Stock (2) 100' 7218 Vision2 500T - 1R - $26/ea SUPER 8 - Current/Fresh Stock (1) Vision2 200T - $12 (1) E64T - $11 (2) Tri-X - $8/ea you can reach me at bryan@tornsprocket.com
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