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Roberto Pirodda

Member Since 19 Feb 2009
Offline Last Active Jan 02 2018 05:54 AM
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Posts I've Made

In Topic: Super 8 wetgate Transfer to HD. Who does this?

21 October 2017 - 10:28 AM

Well, i do a sort of wet gate with diffuse light too. To me diffuse light helps with my sysyem since i have tested collimated light with worse achievement . I soak the film with vaseline oil then pass trough mechanical cleaning system. This way dust and dirt are removed and the film remains wet. Finally i scan the film emulsion for the highest quality. I can scan from sd to 2.5k  to image sequence. This system works best with reversal, with negative film the difference is not noticeable aside dust and dirt removed.

Here a brief description. (hem , the voice is robot,sorry for some weird pronunciation)

https://www.facebook...68955433624491/


In Topic: Does anyone here have anything BAD to say about Ultra 16?

12 October 2017 - 10:29 AM

I have done conversion on all my Bolexes and never noticed steadyness issues after. The exposed area is the same more or less, the main difference is the wider aspect ratio vs S16 frame. The main issue are the codes on the side between perforations, so you can not scan all frame width.


In Topic: Bolex EBM - Focal Flange issues with new MFT c-mount lenses?

18 May 2017 - 12:06 PM

I have used Peleng 8mm lens on a Bolex reflex and it delivers very good images for its price , but you can use only f 5,6 iris.  More open or closed iris will degrade quality very quickly


In Topic: Bolex EBM on/off switch modification

14 May 2017 - 03:03 AM

well, there is electronic inside EBM ofcourse , but you must only connect + and - connectors ( 12 volts)


In Topic: cheap camera + excellent glass = same result as.....

13 May 2017 - 01:45 AM

Agree with Dom.

 

You will get the best results with your personal control over camera and lens.

 

Le Prince used two similar lenses in a double mount, one for taking and one

for focusing on a ground glass. That was in 1888. The Lumière people

focused directly on the film. That was in 1894. Jackson Rose used the

rackover system with Bell & Howell’s new camera in 1912. Vinik used a side

ground glass and a mirror shutter. That was in 1917. Arnold & Richter offered

a mirror shutter in 1936-37. Bell & Howell offered the rackover system anew,

for 8mm shooters, from December 1938 on. Paillard-Bolex had a critical focuser

with the H cameras since 1936, an eye-level finder with it from 1939 on, and

finally a camera slide or rackover in 1953. Pathé introduced the pellicle reflex

finder in 1946-47. Paillard brought a double-prism TTL reflex system in 1956

and Beaulieu an up-and-down mirror shutter March 1958. The Eclair ACL has

a waving mirror arm.

 

Every system has its advantages and its pitfalls. The point is that you take

control of the lens by the aid of a system after the system has been adjusted

by a technician.

 

It may not sound comforting that all camera makers, believe me, all of them,

had or have film flatness as main technical problem. The problem is easily

seen by everybody who looks through the lens port of a movie camera

loaded with film, shutter open. When the camera is tilted under a light it

should, in theory, be reflected mirrorlike by the film. There is a little room

allowed for the film, about two or three hundredths of a millimeter, a thousandth

of an inch. Flange focal distances and the adjustment of lenses usually under-

match for this reason, I mean to say that the lens almost always sits that little

distance closer to the theoretical film plane in order to project the theoretical

plane of best sharpness into the photographic layer pack rather than onto its

surface. The film is never as flat as a sensor, one of the brutal truths about

the success of video over film.

 

Well , a good serviced cinecamera can deliver supersteady frames. My Bolex EMB has nothing to envy those pin registered cameras. An electronic video image, with its artificial/flat look can only forget the warm/pastel look of cine film. To me the "brutal " truth about success of video over film is only related to its immediate availability 


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CineTape

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rebotnix Technologies

Tai Audio

Gamma Ray Digital Inc

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

Paralinx LLC

Ritter Battery

Glidecam

CineTape

Broadcast Solutions Inc

Metropolis Post

Aerial Filmworks

Abel Cine

FJS International, LLC

CineLab

Wooden Camera

Opal

The Slider

Willys Widgets

Visual Products