Hindi Film Gun Pe Done
Laverne Levenstein
The notion of contemporary cinema is problematic in another way, too. Since the 1970s, many people have been used to thinking of the cinema as post-revolutionary, or as an unfinished revolution, or as dragging itself on in a kind of zombie-afterlife pastiche-and-parody mode. First Godard and the French New Wave in the 1960s, then Fassbinder and the New German Cinema in the 1970s, declared in different ways and for different reasons that the old ways of cinema no longer worked. The early 1970s films of Robert Altman led a wave of Hollywood genre revisionism, whose tones of suspicion, condescension, and nagging doubt proved that even residents of Malibu were finding it difficult to go home again. With the creative paralysis of Hollywood in the 1980s came a tendency to view the cinematic past no longer as an inaccessible paradise but as a repository of recyclable clichs. In a later development of that same trend, the reimagination of 1970s American cinema as a golden age of auteur-driven filmmaking led to a new generation of directors working consciously with themes and images drawn from films from that period.
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The CRT recorders can do upwards of 8k onto 15p. The problem is the length of time it takes to record each frame is exponentially more when you do 8k vs 4k. So most of the time, they just record out 4k. I don't remember how many recorders IMAX has, but it's quite a few. The problem is; once the CRT tubes are all used up, that's the end of that. There is currently no replacement for recording high res images to large format which even gets close to competing with the CRT models. They've tried new tubes, but they don't work as well. It's a real problem in the recording world honestly. I'm hoping the density of OLED gets better over time and switching over to an OLED solution would work well. Right now the only alternatives are LCD and they just don't have the dynamic range of the CRT's OR OLED displays.
One more thing to note, very few films are "finished' in 8k anyway. So even if you COULD do an 8k record, who is actually doing the entire finishing process in 8k? Maybe Nolan? But anyone else? Doubtful.
IMAX themselves does the 15P recording actually. They have a fleet of Celco's. I'm not sure if Fotokem even screws with the 15P format recording unless it's just VFX shots going to negative. I think their CRT tube collection is fading fast and they really don't want to use them.
Man I wish Blackmagic would make a Cintel with a new imager, and perhaps an RGB illuminator and monochrome sensor. No other professional scanner is plug-and-play like that, getting an imager capable of 4k S16 scans would make it perfect for my use.
Not directly related to film recorders, but the talk of those big high-maintenance machines reminded me of the Spirit DataCines being sold for $9,000 these days, and how this forum was dissuading people from getting them. Hence my mind drifting to more convenient machines like Cintels.
I met filmmaker Wendy McColm volunteering at the Oak Cliff Film Festival in 2018 where they screened her debut, Birds Without Feathers. Wisely hanging around on her social media, I got the opportunity a few years later to consult on various edits of her next film, Fuzzy Head, which, after a stop-and-start production over the course of the pandemic, brought her back to Dallas to screen at the 2023 Oak Cliff Film Festival and is finally heading to streaming services this Tuesday, Oct. 24.
McColm: My mother, she was magic. She had a lot of magic, and I got to experience that until I was 5 years old. My mom had a lot of magic. She would make our Halloween costumes by hand. She set up a paint easel in the backyard for me to paint on. My mother was where I got my magic.
McColm: We used many different cameras on this film, just because it was shot through the pandemic and it was three-to-five shooters on this film, not at the same time, but anybody who was available, basically, who could stay on the film without having COVID. We used different cameras, different lenses, whatever worked.
Hi,
I just got a Diana Mini a few weeks ago and set my camera to the half-frame setting, which means I should get 76 pictures total.
My question is, how am I going to know when I've used up all 76 pictures? I know there is a little counter-thingy that shows a number every time you wind the advance wheel, but is that thing even accurate?
I'm just afraid that I'll lose track of how many pictures I've taken and then I won't know when to wind the film back and take it to the drugstore for developing.
Help?
8:43AM, 16 January 2012 PDT(permalink)
the film's done when you can't pull it any more with the advance wheel. the counter works fine, but if you load the film properly, you can usually get a few more shots over 76. so don't take the counter too seriously.
ages ago(permalink)
The Pre-Anniversary Speeds have the focus knob in the middle of the door/bed, rather than towards the end, and a different rail arrangement than their later brethren; they would also have originally had either the old-style "tubular viewfinder" different than what would be on your 2x3 model, or the even older "gunsight" viewfinder. Finders seem to have frequently been removed/updated/replaced, however, so the location of the focus knob is the best way to figure out what's what.
I don't think any Pre-Anniversary Speed Graphics were "officially" supplied to the military, but could be wrong - and "civilian" cameras were definitely impressed into service. If it's an Anniversary model, then there's a chance it's ex-military PH-something-or-other.
Your camera is a Pre Anniversary. I had one just like it. All the metal parts were painted grey from the factory. There should be a date code stamped in the inside of the top. It is very hard to read without taking the front standard off the track so you can move the bellows out of the way.
I'm experienced with 4x5 and studio work; it's silver [or here, wood] means fresh film and black means exposed, though that varies on who's doing it. The bumps are on the white/silver/wood side so you can feel them in the dark, much like the notches on the film.
Wierd, I have one of those - a 3x4 Pre-Anniversary Speed Graphic with Graflok back - and on mine, none of the parts are painted grey - everything is either painted black, or left natural metal with, now, quite a patina on it.
The Kalart - or at least, the black-bodied Kalart - is almost certainly a later addition, but it's hard to say for sure from the picture. The body shells changed over the years, and that looks like a later one, but I could be wrong.
The newish Kalart is actually a good thing; the really old Kalarts are less easy to work on - and use - and the old Hugo Meyer rangefinders can only be used for a single focal length, which they were designed at the factory for.
...the curiosity was killing me. The one full holder had Ektachrome that was totally gone, so I cut down some Ilford sheet film and took it out; as of this writing, I still have one full holder yet to expose.
I don't know what the date code is but I'm guessing 1937 to 39. The War time models were painted and had no exposed metal or chrome. Just think if that camera could talk. It might have been one of the first ones in the Pacific, maybe shot photos of Jimmy Dolittle's raiders? Or the Black Sheep?
Valid concerns, every one of them. We all felt it too. As the Heat continued to make big play after big play and big shot after big shot anytime the Knicks made a push, we all sat there wondering, where is the team we rooted for all year, and why are they letting their opponent dictate the terms of engagement in our own building?
This is who the Knicks, with their preseason over/under of 38.5 wins, were dancing with as the calendar flipped to May. For us to now be complaining about the manner in which a second round win was achieved not only lacks a bit of perspective, but some much needed context as well. This is the NBA in 2023 after all, where the 3-point shot is the great equalizer, and no underdog can ever truly be ruled out, let alone one with this level of pedigree and coaching.
In a postseason that has already seen the Bucks win without Giannis Antetokounmpo, the Clippers nearly win multiple games without either of their All-NBA forwards, and most recently the Sixers win without Joel Embiid, the most important thing is that New York found a way to steal this victory from the jaws of defeat.
Most impressively - and most importantly, at least where the rest of this season is concerned - was how they did it. In ending this game on a 23-12 run after the Heat had taken a six-point lead with 7:06 to go, the Knicks finally found themselves.
The Knicks have three days off after tying up their second round series with the Heat at one game apiece, and in that time, I\u2019ll focus on some nuances of this game and look forward to what they can do to nab a game or two in Miami. For today though, let\u2019s enjoy a game that epitomized the phrase, \u201CPerfect is the enemy of the good.\u201D
\u231A\uFE0F 30 Seconds or Less: From the opening tip, even with Jimmy Butler in street clothes, you just knew this wasn\u2019t going to be easy. A Miami Heat team with nothing to lose and everything to gain came out firing, eventually hitting 10-of-26 from deep in a first half that briefly saw them go up by as many as eight. It would have been much more had it not been for RJ Barrett and the returning Julius Randle, each of whom took turns propping up New York\u2019s offense in the early going. The second half saw New York\u2019s mainstays pass the baton to the newest Knicks, as Josh Hart, Isaiah Hartenstein and the previously questionable Jalen Brunson helped carry them home with big plays and bigger shots. In a game that was much closer than anyone would have preferred, the team that has refused to give in all season long came up big when it mattered most.
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