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New UltraPan8 2.8 film "mayday!"


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#1 Nicholas Kovats

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Posted 20 April 2014 - 11:56 PM

Presenting my Bolex UltraPan8 film of last year's 4th annual Mayday bicycle charity race for the Bicycle Messenger Emergency Fund found at bicyclemessenger.org. This year's Mayday 2014 race and events can be found here, i.e. https://www.facebook...filter=upcoming
 
 
metadata:
camera = Bolex UltraPan8 2.8 
camera_re-manufacturing = Jean-Louis Seguin bolextech@gmail.com
lens = 5.9mm Angenieux retrofocus 
exposure = T11-T22
frame_rate = 48
film = Kodak Vision3 color negative 200T
film_re-manufacturing = Edward Nowill edwardnowill@gmail.com
lab = Niagara Custom 
scan = John Gledhill bitworks.org

Edited by Nicholas Kovats, 20 April 2014 - 11:56 PM.

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#2 Jeremy Cavanagh

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Posted 21 April 2014 - 01:45 PM

I have to confess I've looked at Ultrapan8 as a play thing, to produce pretty pictures, thoughtful and artistic maybe but not narrative.

 

This completely changed my perception.

 

Gorgeous.

 

Thanks.


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#3 Josh Gladstone

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Posted 21 April 2014 - 02:28 PM

Just watched it on a 4k tv and it really looks great! I just wish vimeo would do higher bitrates


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#4 Nicholas Kovats

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Posted 21 April 2014 - 02:40 PM

Thank you, Jeremy. It continues to be a labour of love. More to come. 

 

I have to confess I've looked at Ultrapan8 as a play thing, to produce pretty pictures, thoughtful and artistic maybe but not narrative.

 

This completely changed my perception.

 

Gorgeous.

 

Thanks.


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#5 Nicholas Kovats

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Posted 21 April 2014 - 02:43 PM

Thanks, Josh. I keep fantasizing the same thing. Can you try downloading the original .mp4 file and let me know how it compares on your 4K TV? Right hand click in Windows on the Original link below and save as.

 

×

Download mayday!

472225443_100x75.jpg

 

 

Just watched it on a 4k tv and it really looks great! I just wish vimeo would do higher bitrates


Edited by Nicholas Kovats, 21 April 2014 - 02:44 PM.

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#6 Josh Gladstone

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Posted 28 April 2014 - 08:35 PM

Let me first say it does look great. At a reasonable sitting distance, all of the issues I'm about to list are much less noticeable. However, looking at it up close, say 2-3 feet away, the compression is noticeably blocky and really very unforgiving with the grain. There are sections where the encoded grain in the image seems to almost 'dance' or 'breathe' as opposed to being randomly organic every frame. And the reds in people's skin tones, the blacks in the tires, and just all the details in general get blotched all together in little squareish blobs. And it's a shame because you can tell that the detail really is there on the film, it just gets killed in the compression.

 

Now again, sitting 6 or 7 feet away from the tv, these things are much less noticeable. At this viewing distance and screen size (it's a 39" display), while it's not as sharp as something projected on film, it is very passable, and you really only notice the encoding blobs if you're looking for them.

 

Was this the original file you got from bitworks?


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#7 Nicholas Kovats

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Posted 28 April 2014 - 09:22 PM

 

Josh,

 

The 100 ft scanned roll generated  a 12.3 GB JPEG image sequence consisting of 7,849 scanned frames that were 2532 x 780 x 24 bit depth each. This was imported into my NLE, edited, cropped then transcoded to a smaller MP4.   

 


Edited by Nicholas Kovats, 28 April 2014 - 09:25 PM.

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#8 Josh Gladstone

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Posted 29 April 2014 - 12:57 AM

Well, if you want to export a ProRes file or a higher bit-rate mp4 and upload it to a file hosting website, I'd be happy to compare it.


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#9 Nicholas Kovats

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Posted 29 April 2014 - 01:00 PM

Hi Josh,

 

I'll see what I can do over the weekend. What bit-rates are you looking for? 


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#10 Josh Gladstone

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Posted 29 April 2014 - 05:57 PM

Whatever you can get me really, even if it's just a few seconds of footage. I do 100000kbps h264 for 2k video when I upload to youtube.


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#11 Friedemann Wachsmuth

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Posted 20 May 2014 - 07:15 AM

Amazing.


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#12 Nicholas Kovats

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Posted 20 May 2014 - 11:25 AM

Thank you, Friedemann. I am looking forward to more Logmar footage!


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#13 Phil Rhodes

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Posted 20 May 2014 - 11:57 AM

Explain - I'm behind the times here - is this a between-the-sprockets image, or an anamorphic lens, or both?


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#14 Stuart Brereton

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Posted 20 May 2014 - 12:30 PM

Phil,

 

http://www.cinematog...showtopic=52752


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#15 Nicholas Kovats

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Posted 20 May 2014 - 12:49 PM

Phil,

 

It is as you call it a "between-the-sprockets image". It utilizes the full 16mm width of Regular 8 perfed film and the classic 8 mm pulldown...half the frame height of a standard 16mm frame. Optically centered and double the run time per 100 ft roll of R8 (5 min as opposed to 2.5 min).  It shoots the optical center of any standard 16mm optic. 

 

The example above is reperfed V3 200T color negative. 


Edited by Nicholas Kovats, 20 May 2014 - 12:49 PM.

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#16 Phil Rhodes

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Posted 20 May 2014 - 01:08 PM

Oh, okay.

 

Isn't that effectively as expensive as 16, though?

 

P


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#17 Mark Dunn

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Posted 20 May 2014 - 02:58 PM

Surely half the running time of 8mm., because you don't turn the film over?

Do you mean double the RT of 16mm.?

Phil, no, same frame height as 8mm.


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#18 Jean-Louis Seguin

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Posted 20 May 2014 - 03:15 PM

There are 80 frames per foot so it's the same running time as regular-8 which is double the running time of 16mm.

Jean-Louis
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#19 Carl Looper

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Posted 24 May 2014 - 10:59 AM

Great work.

 

The colour grade is interesting. Subdued blues.


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