Taki Bibelas

If you set it to Daylight, won't it meter for ASA 25 (ie 40/25 160/100)? thus over exposing 2/3rds of a stop? That is why the 85b / tungsten mode works. Because the camera thinks the film is 40 ASA Tungsten but really is it 64T brought down to 40 ASA through use of the external filter.

Your way is logical and even better because you use the 85b instead of the internal 85, but the .2nd should work as well on the lens.

Yes if you set the camera to daylight it will meter for 25asa, but that should be fine because it will engage the internal 85 filter. 64T is 64asa for tungsten and 40asa for daylight.

If Kodachrome was 40 and 25 asa and the 64T is 64 and 40 asa, that means 2/3 of a stop over exposure in either setting (daylight or artificial). The .2 nd filter on the lens will remove 2/3 of a stop so you will get correct exposure in both cases, daylight or artificial.

So in daylight mode it will meter for 25 asa, but the .2 nd on the lens will reduce the exposure 2/3 of a stop, which is correct for 40 asa.

I've been going over this in my head all day, seems correct and logical, but who knows.

I just use one from Hoya, its not all that thin, but I've had no trouble with the PMA on top of it. Like it doesn't throw off the focus or anything.

Thanks, I just got two here from Hoya a 85C and a 2ND. I think the 85C will not be enough and the film will be too blue and a bit over exposed. I found a 85 from B&W that I can pick up before I leave for the trip, close enough, otherwise I'm pretty sure the 2ND and the switch set to daylight should work fine.

Unless I got something wrong ???

Not if the Wratten 85 is M46 (don't start experimenting with step-up rings here ;) ) and attached well and tightly to the Eumig Panorama-Viennon 1:1.9 / 9-30mm, and at least up to a diving depth of 7 to 10 meters. Although the camera is designed for up to (or rather down to) 40 meters, pressure might start to let water make its way in-between if the filter windings aren't well made. But frankly, I think this should work fine. After all, Eumig offered various attachments itself.

 

A colleague shot an entire film with a then-new Nautica as part of a Red Sea expedition for the Musée Océanographique à Monaco, with great results. The Eumig lenses are great pieces, like the Makro-Viennons as on those cams Alessandro uses for his expo work: c.f. here down the Top Camera Guide list

I know they are great, I shot a Documentary with one, and a lot of it was in the water. The dry land images were even better then those from the Nizo 6080, maybe the more closed shutter, who knows, but it was great. All with the last batch of K40. You can see a bit here...

I have never because I wanted to correct for daylight. It would work just like you say, .2 ND = 2/3rds (same as the 85B). But if you were to do that, you would get an uncorrected image you could add red to in post. In my telecine they added red, so its pretty much the same.

Actually if you had the switch to "daylight" It would engage the 85 filter and meter you should not have any blueish image. Your way is a bit better because you don't ned the in camera filter and the 64T is a bit better with an 85B, but the difference is only 200 degrees Kalvin.

I have been having trouble finding a good thin 85b 46mm filter in stock anywhere here in Paris (should of got one in NY when I was at B&H last week) So I will have to try to find a .2ND for the lens otherwise I will glue a .4ND gel on the meter, re notch the cartridge to be 160 ASA and hope it does not come off in the surf.

I never had any problem with water inbetween the camera lens and filter, I just screwed it on fairly tight. I did get water between the filter and the PMA adapter though (though the holes slit in the PMA). It is something to watch for. After shooting, I let it dry and later washed it with fresh water, so I wouldn't buff any salt grains into the filter.

Did you ever just try a .2 ND filter on the lens instead of the 85B ? It would have the 2/3 of a stop you need for the 64T and you would keep the daylight or tungsten switch the way it used to be.

Just two things:

 

1)

 

As you brought up Kahl as a company and potentially using Kahl UT 18 (supposedly Agfa RSXII 50 reversal film), I think it is my duty to bring this thread here (click me) to your attention, which critically discussed Kahl Media Art Film, its film stocks and business practices.

 

This is not intended to be a warning or discommendation to do business with Kahl, just - in case you are not familiar with this subject (which might or might not be the case) - an additional helping information flow to you.

 

 

Thank You for that information.

 

2)

 

When you registered, you were kindly asked to use as username your real first and last name. So far, you have chosen not to do so. However, this is forum board regulation and adhered to by essentially everyone here. Tim Tyler as well as seconding moderators would appreciate if you could hence amend your current username accordingly. You can do it via the "My Controls" menu at the top right side of this browser-featured website. Thanks!

 

If you are not happy with this rule, you can join a debate on this here (click me).

Sorry about that. Taki is my real name, but I added my last name as well. Hope that's ok now.

I never had any problem with water inbetween the camera lens and filter, I just screwed it on fairly tight. I did get water between the filter and the PMA adapter though (though the holes slit in the PMA). It is something to watch for. After shooting, I let it dry and later washed it with fresh water, so I wouldn't buff any salt grains into the filter.

Thanks,I'll give it a try. I was thinking to try the Kulh UT 18 (50 asa daylight agfa) but I never shot it and didn't want test it on my Indo trip this month.

Yes you are correct. I mean tungsten/bulb... lol. I was tired when I posted that.

 

You are tricking your camera into thinking the film is 40 ASA. Works like a charm.

sounds like a great idea. No water gets in between the camera lens and the filter ?

and the pma filter on top of that fits as well ?

Shoot in daylight mode, and use an 85b over the lense. 64t - 2/3rds = 40 asa. I've done it and it works perfect. Even underwater with the PMA. The focus is fine (ie the thickness of my 85b doesn't throw it out of focus).

Not a bad idea, but don't you mean in "tungsten mode" (switch to bulb) otherwise in daylight mode you will have two filters in place and the image will be very warm. Is that right ?

That would work too, but was my other solution valid? Would 64T in a camera that was set to Tungsten meter at 40 and properly expose the film even though giving it a blueish color?

I was wondering if anyone had success using 64T in the Eumig Nautica ?

I know we can...

1-look for velvia, but it's hard to find now.

2-tape a .2 ND on the front of the metering sensor, but it comes off under water.

3-use a filter on the lens, but it just collects extra water drops in the sea

4-try and fit a .2 nd in the gate, but I'm not really up for that.

I was thinking that with the filter switch to tungsten the metering would think it was K40 tungsten and measure for 40 asa. 64T is 40 asa in daylight. So would it measure correctly ?

I know it would be blue, but I kind of like that and can correct it a bit in post.

Just wondering if this filter logic makes any sense ?

Regarding the single 8 version of this film. What cartridges to they use for this 50 asa film, the 25 or 200asa notched ones? Will my ZC1000 know this is a 50 asa speed film? What did you guys do, just under expose or use the variable shutter ?

What's the difference between wittnerchrome 50D and Cineva.

Thanks, getting ready to go with single 8 again....

I have some 16mm and super 8 both just shot at 18 fps (as there was no sound and to save stock). Now that I'm in contact with a couple of transfer places for the TC, they tell me there machines run at 24fps so my films will look sped up when I see them in my editing program that is set to 25fps. Thats normal, but can't they just do the TC at 18 fps?

If I were to project it and video tape it ( I wouldn't ) it wold come out at the correct speed on the computer.

I don't want to have to deal with slowing down images in post to get the speed correct.

What is the best way to transfer material shot at 18 fps ?

not so. the negative stocks are much sharper than kodachrome, i've tested it both with charts and in real

have you tested single 8 (25 asa) I find generaly a low asa positive correctly exposed sharper and with less grain. I've only looked at it visually, not done chart tests.

I've also done the Bonolabs 10-bit HD direct to disk and have been amazed at the resolution possible out of Super 8, especially the negative stocks.

Why do you think the resolution is better from the negative stock? I wold think K40 gives the least grain and sharpest image. You just need to be carful when exposing.

Then when he was accepted transfered again to digibeta and completely re-edited to conform.

 

 

....but to use what I believe is called an .aap file. So save your DV file to your computer and name it whatever you name it and edit away. Then save an .aap file -- I'm pretty sure that's what it's called, I'll have to check again --

Thank you for that information, I wouldn't want to re transfer anything ever. The thing with suoer 8 is that as soon as it is out of the reel for the first time it picks up a lot of dust, real fast. The first scan needs to be the last, in fact I don't like to even look at the film before the transfer. That is why the first time will be to digibeta or prehaps to hard drive. (I will speak to Stuart Debenham later today about uncompressed 4:2:2 10 bit SDI 270Mb/s to Hard Disk). I will also look into the .aap file. The idea is to have the conforming done to something already scanned. Have you tried editing the 10 bit uncompressed files you got without making a DV version out of it?

Direct to harddrive is something I've been thinking about for a while now. I spoke to a place in Switzerlad that can get my films just after development at the Kodak lab. They scan to Hard drive at a resolution of 800X600 using the codec Huffyuv (not great if you are on a Mac). They are called www.cinetis.ch (or Bolex Digital). The other option I was thinking about was doing the transfer on a Flashscan machine to a DigiBeta with a mini DV copy, edit from the mini DV and then get someone to comform the Digibet at a later stage when it comes time to release the film. Any thoughts on this workflow ?