Hi Janis! I think you attributed the comment about testing to me, but I think it was Anna who suggested it. Either way I think yes, she means to take some test frames at different exposures and process them to see what comes out. I love the idea of experimentation for the sake of it, and transferring the work back and forth to get filmic characteristics. I think you will end up with all kinds of texture and artifacts from the back and forth transfer processes. I hope you will share what you get with us! I would say that you could add some "film" texture digitally, but I think we all know those filters are not the same. Best of luck!
Nicole Elaine Baker Peterson (she/her/they) Founder & Head Programmer, Media Monsters [email protected] *twitch.tv/media_monsters <http://twitch.tv/media_monsters> | **magiklantern.com <http://www.magiklantern.com/>* On Mon, Feb 6, 2023 at 12:46 AM Janis Polar <[email protected]> wrote: > 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 <http://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 <[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 >> >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> >> >> -- >> Frameworks mailing list >> [email protected] >> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >> > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org > > > -- > Frameworks mailing list > [email protected] > https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org >
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