Niels kakelveld

Finally the Cyberspace VR surfing that was promised to us in the 90's and 2000's is at our fingertips.

Worlds and avatars beyond euclidean geometry and imagination are reality at last. Meet people from across the world in teasing 3-D, exploring vast worlds of fantasy together, or dance your tail of to your favourite music with a colourful crowd. Finding people online is no longer shackled to text or voice, but now everything is possible all the while experiencing 'real' proximity.

But digital space can also be a gateway to meeting people in real life, not as distant strangers but as close friends. Making for highly emotional and gorgeous experiences that make lasting core memories. Be them saved in the digital domain, on Polaroids or on the retina.

I wanted to mix all these wonderful mediums of expression together and show what wonderful things can come from VR and beyond.

11 hours ago, Karim D. Ghantous said:

I agree. 4-perf 35mm is about 4K worth of detail unless your lenses are super sharp and you're using slow film stock. But it isn't about detail. It's about making a digital version of the negative that's as close as possible to the original.

There is certainly a case to be made of oversampling for archival material.

I got 8mm, 9,5mm and 16mm made pre, during and shortly post WWII, even some 8mm shot on the day of the Antwerp liberation. I have those films scanned at 4k overscan not because there is 4K resolution but I want to preserve as much of the film as possible for archival purposes.

And maybe at one point somebody makes a de-noise algorithm that detects individual grains and can use all that extra info.

I scan my Mamiya 6x7 negatives at 4000 DPI with my Nikon Super Coolscan 9000,  resultant resolution is approximate 8600 x 10700, I think in cinema terms that is 8K? Which is about the limit imo when I use a film like Provia 100 or Ektar 100 as 4000 DPI resolves their grain. Photo 35mm frame results in about 5K, but that is larger than a cinema 35mm frame.

But then focus becomes super duper critical, both on the camera and on the scanner. I can't imagine going beyond 5k on 35mm resolves much more detail.

Certainly diminishing returns.

I had some old 16mm film from the 1920's scanned at FF 2 years ago. Unfortunately the film was warping and curling horribly so the sprocket was curling in and out of the registration sensor so the result was very jumpy.

Thankfully I was able to stabilize the sprockets with Davinci Resolve by making boxes around the edges of the sprockets. With overscan there was enough room above and below for the entire 16mm frame to always be into view.

The reason FF has no guides on the HDS+ is to accommodate many different film sizes, also weird ones like 9,5 or 3mm and very shrunken film.

Nice production!

19 hours ago, Dom Jaeger said:

Cine facilities are in Amsterdam.

https://www.cinefacilities.com/

I send them a message, they said they don't normally work on this lens but can probably take it apart for cleaning and put it back together. I asked if they can give a rough estimate on the price.

They are booked full until 2023 February, maybe I can visit them, it would be sick to see pro cinema gear up close especially the guts.

I got an angenieux 12-120mm lens for my Beaulieu R16 Automatic but unfortunately there is a bit of fungus inside.

Are there any places, preferably in Europe that can take the lens apart and clean/lube everything?

Regards

It looks like they used a Beaulieu camera from Pro8mm, aren't they the most expensive option by far? registration looks pretty poor even by Super 8 standards.

Because it is fun to try new and weird things!

I could shoot digital and after many hours of editing achieve a look close to analog, cheaper too. But why spend all that time editing while I could be walking around in a pretty field in a saturday evening getting some awesome shots?

And the act of shooting analog photos/motion picture is much more rewarding and enjoyable than digital.

Digital fatigue is why so many younger people also shoot analog!

16 minutes ago, Tyler Purcell said:

Exactly 

As well as any vibrations.

Eastman Kodak plant has the two emulsion cascade coating heads (more like blades) standing on their own support pedestals that go straight into bedrock, independent from the rest of the factory.

That way ripples through the factory won't case problems in forming and laying down the layers of emulsion.

It's a kind of magic most take for granted but the amount of engineering and expense that went into the current coating line is monumental. 

And basically all eggs with colour cine film are in one basket, scary to think about. One fire could destroy over a century of work and I don't know if Kodak would be able to muster the funds for repairs/rebuild.

On 10/21/2022 at 6:48 AM, Tyler Purcell said:

Looks like they're just going to be making a still film for now. I can't imagine them being able to make the quantities at the consistency level for motion picture film in color. Remember, they are not a one stop shop. They use other manufacturers to provide the finished product and coating. Nothing like Kodak and in the middle of a crazy time in the EU. 

It is very difficult to coat consistently over kilometres of film base. Any variation in the supply and layers will cause density and grain variations across a roll.

Alas, it is looking like the camera has been cancelled.

https://www.logmar.dk/gentoo-s8/

"Cancelled

On 6/5/2021 at 3:06 AM, Frank Wylie said:

Why?  I time other people's work, and as I am fond of saying, "All my clients are DEAD".

I am a technician.  I take great pride in my work, but it makes for poor reading. 

But you should document your techniques and workflow, your skills are important and shouldn't be lost for the next generation. From what I think the person that was servicing the Canon 1014 at Pro8 didn't write down or teach his skills to somebody else and that breaks my heart.

SwitchActionTP1179Cut.txtTalking about QIC-80 tapes, some time ago I had a project with a bunch of awesome volunteers to digitize 1/2" mainframe computer tapes from the 60s to 80s, NASA related. Not all tapes were readable, but the bulk was and did so with only a few parity errors.

Neat huh? not bad at all.

SwitchActionTP1179Cut.txt

Some Pioneer 10/11 tapes with images that we were able to decode to PNG and a bunch of tapes relating to the Saturn-V rocket with IBM EBCDIC text data, what is on the latter is a mystery!

And here is how a shorter version of it looked like an Furality Aqua:

https://youtu.be/_o4FkNnIml8?t=860

I'm staff at the Virtual Reality rave community PHC. We use VRChat as our platform.

My jobs concern media/photo/video/tech and stream team. Month events deep into the night, lots of fun when things go alright, not so much when there are technical issues.

Made a community showcase for Furality Aqua that took place some months ago. I wanted to show people having a good time together and enjoying a common passion: music and being together.

All of these shots where made in a virtual space with a VR headset and controllers. My setup is wireless so I can walk around the entire living room, but I also had a VRChat mod that allowed me to make a rail setup for the camera(now no longer possible).

One big problem is performance especially with +40 players in my instance, FPS tanks between 15-25fps easily.

The video is a compilation for several events, which are run monthly or bi-weekly.

Tell me what you think ^^

And how do you focus in such darkness so well? I had a lot of trouble with my Canon 1024 auto zoom electronic, was really hard to see.

11 hours ago, Tyler Purcell said:

I think with 500T you'd be fine. Just correct in post. 

I love my Beaulieu 6008, super fast lens, built in meter and all manual if you want. 

Also as a side note, I'm also involved in the community depicted... Been shooting a doc about it for years.

Here is some dance footage we shoot on S16 using 500T, a super fast prime (1.3) and a bit of correction in post: 

 

Wowow, that looks super cool! Amazing job. At which rating did you shoot that clip, 500 or something else?

How did you get such smooth moving shots?

I am sure the 16mm helps with perceived brightness compared to S8.

I want a Beaulie X008 so bad, or one of their 16mm cameras but they are so so expensive. Currently editing a video with the two cartridges that I shot. I took 4 with me but two didn't advance beyond the first frame ?

3 hours ago, Robert Houllahan said:

I think the lighting is all over the place color temp wise, I would / have shot allot of similar stuff on both 500t and 250d and I think 500t with superspeed glass is the way to go.

I would recommend a 1 stop push on the 500t even.

I've also got a bauer s 209 xl with an F1,2 lens and 225 degree shutter. And a Canon 1014 XL-S with a f1,4 lens and 220 degree shutter option. Those should bring in a bit more light compared to the 1014 E f1,4 150 degree shutter.

The Bauer only goes up to 160 iso unfortunately so anything shot with decent lighting for 500t is going to be horribly exposed. Just for the darkest scenes then. I still need to find an eyecup for it.

I read that the Beaulie 6/7/9008S/pro cameras have a mirror on the shutter instead of a split prism so are the brightest S8 camera's around because you don't loos 1/2-1 stop of light to the splitter.

I thought about measuring the FPS, and it may be possible with a sound recording? assuming each revolution of the shutter and/or pulldown claw has a distinct sound pattern it should be possible to figure out the amount of revolutions per second?

Some time ago I shot a club with pretty dark but varied lighting in Super 8 with my Canon 1014 Electronic Auto Zoom.

The meter was all the way to f1,4 at the dance floor sequences so I am pretty pleased it turned out reasonable.

The blue grain is a bit troublesome though, so I wonder if using 250D and pushing it 1 or two stops would have been better than 500t in this case?

I don't know what club lighting is usually balanced to, tungsten or daylight?

Here is an ungraded sample:

Is there a way to calibrate the light meter inside the Canon 1014 Electronic and XL-S? Their electronics are fairly old so I assume their meters are off. Pro8mm says they notice a variance between units of several stops

But I haven't found anywhere on the internet how to do It. I did find a service manual for the 1014 Electronic or XL-S but i could not find anything about the light meter 

While at it, is there also a way to determine exact FPS and a way to adjust if this is off?

Regards

I've got a Canon 1014 Electronic and XL-S and would like to know how they rate the various super 8 stocks around. From what I have read some stocks that are out now there is no official S8 notch , like 200t/250D/500T

I am a bit confused on which rating it would select. On both camera's I always shoot with the red filter removed either by screwing in a screw or a switch. Does this change the rating and make it more or less off?

The stocks that I use are:

V3 50D

Ektachrome 100D

V3 200t

V3 250D wound by Pro8mm

V3 500T

Then I know how I may compensate for the wrong rating either by setting a manual aperture or using the comp dail on the XL-S

Regards