abrazo luis!
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------- Original Message -------
On Sunday, February 5th, 2023 at 4:14 PM, Ж <[email protected]> wrote:
> Hi Janis!
>
> Not sure if Luis Macias uses this list.
>
> But maybe his work called The Kiss, may interest you:
> http://luismacias.es/thekiss/
>
> It consists of re-shooting from different films formats, both analog and
> digital.
>
> Best!
>
> Ж
>
> // kkinema.com.br // textodecinema.com //
>
> Em dom., 5 de fev. de 2023 às 17:07, Janis Polar <[email protected]>
> escreveu:
>
>> Thanks for all the great advice and tips. I follow up on some things.
>>
>> @Nicole:
>>
>>>> - some testing to determine exposure
>>
>> What do you mean by that? Create and process testframes?
>>
>>> I'm curious why you want to go from video to film and back to video.
>>
>> - I think general curiosity to try it out/experiment with this.
>> - color: I would hope the film would give the colors some extra ‘filmic’
>> characters
>> - grain
>>
>>>> - either utilizing an animation motor (Rex 4 or Rex 5 compatible) to allow
>>>> for a longer exposure
>>
>> This would be for the bolex? I don’t know those motors. A screen should be
>> bright enough for a 500t stock, no?
>>
>>>> OR depending on your film stock, opening up your aperture more than you
>>>> might want to for focus situations and sharpness.
>>
>> I also thought about filming it with a Krasnogorsk and a sharp EF lens
>>
>> @André
>>
>>>> If not frame by frame you’ll need a camera with Crystal sync motor or a
>>>> motor which can synchronize with the sync signal from the monitor.
>>
>> Is this the standard for non-spring-loaded cameras? I guess your suggestions
>> makes sense, unless i purposely want the flickering.
>>
>> @Anna:
>>
>>>> So, if you want extra grain, you might wanna use 500T
>>
>> @Jimmy:
>>
>>> For stuff with motion you should look into adjusting your shutter
>>> speed/angle to avoid flicker, depending on the refresh rate of your
>>> monitor...but that could also be an interesting thing to experiment with.
>>
>> That could actually be interesting and very much suiting the clip, since we
>> experimented a lot already with light flickering with off-sync shutters.
>> Only difficulty: No way to test how that looks before its processed…could be
>> to strong/too off with the digital flickering.
>>
>> @Jeff:
>>
>> Thanks for the lab recommendation. Why doesn’t direct printing on film
>> create grain? Cause positive film does that way less?
>>
>> Best
>> Janis
>>
>>> On 5 Feb 2023, at 10:36, Nicole <[email protected]> wrote:
>>>
>>> Hi Janis,
>>>
>>> I'm curious why you want to go from video to film and back to video. What
>>> effect is it you are trying to achieve. I work back and forth between
>>> formats often, but mostly go from film to video without going back unless
>>> it's for a screening where they only screen film. I'm just not sure what to
>>> suggest without knowing what it is you are trying to do exactly.
>>> I hope my question makes sense! Also, the still looks really interesting.
>>> I'd love to see the whole video.
>>>
>>> Nicole Elaine Baker Peterson (she/her/they)
>>> Founder & Head Programmer, Media Monsters
>>> [email protected]
>>> twitch.tv/media_monsters | [magiklantern.com](http://www.magiklantern.com/)
>>>
>>> On Sun, Feb 5, 2023 at 7:43 AM Colinet andré <[email protected]>
>>> wrote:
>>>
>>>> If not frame by frame you’ll need a camera with Crystal sync motor or a
>>>> motor which can synchronize with the sync signal from the monitor.
>>>>
>>>> All the best.
>>>>
>>>> Envoyé à partir de
>>>> [Courrier](https://go.microsoft.com/fwlink/?LinkId=550986) pour Windows
>>>>
>>>> De : [Anna Kipervaser](mailto:[email protected])
>>>> Envoyé le :dimanche 5 février 2023 00:55
>>>> À : [email protected]
>>>> Objet :Re: [Frameworks] Digital Master to 16mm/35mm --› Scan back to
>>>> Digital
>>>>
>>>> When I film off of a monitor, I do single frames, like you would on an
>>>> optical printer. So I move the video one frame, and use a shutter release
>>>> to take one frame (on I) on the Bolex, then advance the video, etc etc
>>>> etc. This method requires some obvious things and some not so obvious
>>>> things:
>>>>
>>>> - some testing to determine exposure
>>>>
>>>> - making sure the lens of your camera is centered
>>>>
>>>> - making sure that the monitor is level
>>>>
>>>> - either utilizing an animation motor (Rex 4 or Rex 5 compatible) to allow
>>>> for a longer exposure OR depending on your film stock, opening up your
>>>> aperture more than you might want to for focus situations and sharpness.
>>>>
>>>> This method reproduces exactly what's on screen when done right. So, if
>>>> you want extra grain, you might wanna use 500T or if you want extra
>>>> artifacts like age fog, you might wanna use old 500T.
>>
>> I've had success filming off computer monitors with 16mm and super 8. For
>> stuff with motion you should look into adjusting your shutter speed/angle to
>> avoid flicker, depending on the refresh rate of your monitor...but that
>> could also be an interesting thing to experiment with. You could also
>> experiment with different blending modes in your editing software to combine
>> the 4k and 16mm...could be especially crazy if there's some flicker in
>> there. But I digress :)
>>
>> On Sat, Feb 4, 2023 at 10:57 AM <[email protected]> wrote:
>>
>>>> On Sat, Feb 4, 2023 at 10:57 AM <[email protected]> wrote:
>>>>
>>>>> Hello
>>>>>
>>>>> I have an experimental music video project which only operates with
>>>>> analogue/optical effects. It was all filmed with digital cameras high iso
>>>>> - so its veeeeery grainy (purposely so, see sample still). Now I would
>>>>> like to perform a final step over: Print it on 16mm (or 35mm film) and
>>>>> then scan it back in 2k or 4k
>>>>>
>>>>> There are three ways I imagine this can happen, tho have no previous
>>>>> experience:
>>>>> - 16mm print out and scan back to digital: quite expensive to do, even
>>>>> for 4min.
>>>>> - 35mm print out and scan back to digital: probably cheaper - though
>>>>> maybe the resolution is too good / the grain no present enough. Then
>>>>> again: Maybe this is just the necessary amount of information/sharpness
>>>>> needed to render the digital grain/artefacts clearly
>>>>> - Use a Bolex or Krasnogorsk and film the digital master from a screen or
>>>>> projector, develop the film and scan back to digital (?): does this give
>>>>> you adequate quality? I'm especially interested in this technique since
>>>>> its the cheapest but also because i imagine the 'sloppiness' of the
>>>>> bolex/krasnogorsk adds a movement/breathing that could be quite
>>>>> interesting for e.g. the shots that were filmed on a gimbal.
>>>>>
>>>>> Questions:
>>>>>
>>>>> - has any of you experience with filming from a screen / projector? If
>>>>> yes, I'd appreciate some tips regarding technique.
>>>>> - I guess in all the cases above it would make sense to have a digital
>>>>> master that is rather a little more overexposed than underexposed?
>>>>> - ho do overexposures end up on the film negative/scan back? does it get
>>>>> more organic or does it stay rather digital in its aesthetic?
>>>>>
>>>>> I hope I could express myself understandably.
>>>>>
>>>>> Best
>>>>> Janis
>>>>>
>>>>> --
>>>>> Frameworks mailing list
>>>>> [email protected]
>>>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>>>>
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