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the journey

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    Fuji Velvia, Outdoors with Leica lens//help with math.

    in Beginner Questions

    Posted

    <p>DB,<br>

    I'm 'stuck' at shooting 1/24th of a second because I'm going to make a motion picture with a VistaVision camera and want super saturated colors. While for normal cinema cameras run at 24fps. I can run the camera anywhere from 1fps to 72fps but then it would be a special effects shot where time is slowed or speeded up. 24fps is usual for cinema. I can adjust the butterfly on the aperture between 180 degrees to 15 degrees (nearly closed).<br>

    There is a misunderstanding, I want to use the lens at maximum aperture, i.e., lowest lighting at sunset/sunrise and perhaps twilight if possible as well as during the day.<br>

    The camera is mounted on a low-hat or high-hat tripod and fully loaded with film, it weighs about 100 lbs.<br>

    There are no ocean or snow shots or sky only shots but landscapes of vast fields, oceans of wheat, sunflowers, lavendar, etc.</p>

    Fuji Velvia, Outdoors with Leica lens//help with math.

    in Beginner Questions

    Posted

    <p>Hello,<br>

    Need a little help doing the math.<br>

    I want to use Fuji Velvia for saturated colors<br>

    this lens<br>

    LEICA NOCTILUX-M 50 mm f/0.95 ASPH<br>

    shooting conditions<br>

    1.sunrise/sunt<br>

    2. mid-day<br>

    The exposure is fixed to 1/24th of a second.<br>

    Will one of these film stocks works?<br>

    Velvia II?<br>

    Velvia 100?<br>

    Velvia 50?<br>

    or is the exposure to fast for any of these stocks?</p>

    <p>Cheers</p>

     

    B&W from color negative or true B&W scanned film

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>ICE uses infrared channel on the LS5000, to scan B&W film it uses the blue LED to get more density from the images. It also has UV. I like Rollei TechPan B&W and Infrared.<br>

    If you want a mediocre B&W image, go digital.<br>

    Get the Nikon SDK and you can force the LS5000 to scan a B&W with all channels if you are really into RGB, IR and UV manipulation but unless you're a Matlab or Photoshop guru, I wouldn't reccommend it and yes I am. <br /> <br /> Frank is right, you can't just desaturate the colors to get good B&W.</p>

    scanned film vs digital

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Rishi,<br>

    Unless the film was shot in Vistavision scanned at 4k (78LP/mm) or 65mm at 8/11k (57/78 LP/mm) chances are you've never seen the true resolution film that is digitally projected. There just isn't content available, Baraka is one of the exceptions. Most digital cameras don't come close to even getting to resolution of RGB film. Instead of sampled color subspace.<br>

    Kodak Vision 3, starts to separate around 20/30 LP/mm at the reds, try getting any decent red in digital camera. I need to look up Fujichrome or Ektachrome specs.<br>

    Most good lenses, Leica 50mm/f0.95 are only good in the center sweet spot at 40 LP/mm. I shot with Rollei stock which can resolve up to 160 LP/mm. My film is basically limited by the optics, which I had the best fast Nikons around.<br>

    The newer theaters installing 4k projectors, should be changing their seating at a steeper angle so everyone sits closer.<br>

    A few films using high res downsampling, primarily for SFX and matte shots, Spiderman, etc.<br>

    The film, Che, was filmed with a Red camera, it looks like video from what i've seen, not close to film.</p>

     

    scanned film vs digital

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>Digital is 'lazy', it is the attitude in films of 'fix it in post'. Productions that just shoot hours and hours of garbage. In post they pay more in time and effort in editing and sorting the junk because they had no idea of what they were wanting.<br>

    When you shoot film, you have to have an idea of what you want to capture, some thought goes into the process.<br>

    Like i posted above, until there is a 3-chip full frame digital camera, it will not come close to film.</p>

    <p>google Bayer, see how crappy RGB is sampled, wavelet compressed, etc.</p>

    scanned film vs digital

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p ><a href="../photodb/user?user_id=1599689">Robert Lee</a> <a href="../member-status-icons"><img title="Frequent poster" src="http://static.photo.net/v3graphics/member-status-icons/1roll.gif" alt="" title="Frequent poster" /> </a> , Feb 21, 2009; 12:54 p.m.</p>

     

    <blockquote>

    <p>... scanning it automatically on a modified Nikon LS-5000. i scan about 800 feet or 3200 frames a day ... i scan uncompressed, 4000dpi, no corrections and they are magnificent frames.</p>

    </blockquote>

    <p>Now, <em>this </em> is interesting. Are you bypassing the AF and AE stages in order to get the scanning speed up?</p>

    <blockquote>

    <p>God, it's got to be glorious to look at on 4k digital projection (or are you printing back to film?)</p>

    </blockquote>

    <p>Robert,<br>

    I'm submitting it to the Seattle Int'l Film Festival, they have one of the few 4k projectors for festivals. I looked hi and low for 4k festival, they are it. <br/><br>

    Many have 2k projectors, but not 4k. I'm not going film out although it is always an option. I want to keep the big frames, with 4k projection, you get the benefit of have audio files at 96kHz/24-bit in 5.1 surround. If I want with film out the audio would be limited to DTS or Dolby 5.1 at 48kHz.<br/><br>

    In the code, I turned off the AF and AE for every frame. Every 7th frame, it does a full re-cal with focus and density. I keep Adobe Bridge running on the side to have a look as the frames come in. There's nothing like waking up in the morning, grabbing a cup of coffee and having a look at the overnight scans. My LCD doesn't do justice to looking at 4000dpi images with a 72dpi screen.... <br/><br>

    To people who oversample images by cranking up multisample to 8x and 16x, you're nuts! Mathematically, you are only correcting for the noise in the scanner NOT the image! The noise in a single image is fixed, no matter how many times you oversample it. You can make the noise sharper and 'prettier' by oversampling but that's about it. If you want to really decrease the noise in the image and maintain shadows, highlights, etc, you have 'stack' the images like they do in astrophotography. Search for the amateur who does shots of Jupiter.<br/><br>

    The big images are spectacular, insane. The 4k projector spec is 4096 x 2160, my frames are 5872 x 3752 @16-bit, so I will get an even bigger bang by having to down-res. Oversampling images really creates a 'super' resolution of an image, maintaining all of the shadows, highlights.<br/><br>

    I have a good friend at Fotokem and they did the film I know that will come close to this resolution, the film Baraka, it was scanned by Fotokem at 8k from 65mm film, they downsized to Blu-Ray, images are spectacular.<br/></p>

    <p> </p>

    <blockquote>

    <p> </p>

    </blockquote>

    <p> </p>

     

    cascading MTF's then choose film

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>here's what i'm looking at.<br>

    let's say i want to use that killer leica lens 50mm/f0.95<br>

    at full open the 40 LP/mm starts at 40% on axis and drops to 20% at the lens edge 21mm.<br>

    so 40% at 40LP/mm is valid +- 5mm from center of lens and the vignetting is ~85% at +-5mm<br>

    let's say i want to shooting conditions<br>

    bright sun, sunset, sunrise l<br>

    andscape and urban<br>

    no snow, or water<br>

    people will be in frame, so skins tones need to be natural<br>

    the exposure time is fixed at1/48 th sec<br>

    if i want to shoot on Velvia 50, what aperture setting are available?<br>

    i would rather shoot wide open and and ND filters than close the aperture.<br>

    if i'm going to eventually scan the frames at 4000dpi at 78LP/mm, does 40LP/mm have enough resolution to do justice to the film?<br>

    thanks!!</p>

    Hi end scanners

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>I'm scanning 30,000 frames of 35mm B&W, VistaVision, 24.7 x 38mm, at the moment. I have automated everything from the motor to the acquisiton to the storage. I even have photoshop scripts to grind through directories which contain already 8000 files at 45MB per file. yes it takes 8 hours to run simple scripts but it is all automated. My LS 5000, runs 24x7 and has been for the past 5 days and still running, all I do is click a button and it runs. I use Bridge to check the incoming images and make adjustments in real-time. I will be done in another 6 days or so. <br>

    My system averages a frame every 38seconds, from acquisition start, capture, verification, inspection, etc.</p>

    <p>I took the Nikon SDK, recompiled for my own use and cranked up Labview/Matlab/Photoshop and process away. If you need to scan images at 16x, something is really, really bad with your images. I ran latest ICE on my images and it did absolutely nothing. My film came straight from the lab in 1000ft rolls, not sitting around in a closet. </p>

    <p>Once my roll is loaded and going, there is no need to worry about dust and scratches, it gets touched by no one and is enclosed in a plastic case.</p>

    <p> </p>

    scanned film vs digital

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>plustek 7200 is NOT a true 7200dpi scanner, that's crap. i had it and tried, complete garbage scanner. true resolution is around 3600dpi. it pads the files to make you think it is giving you 7200dpi files, that's BS. so far the only fast, true 4000dpi 16-bit scanner is Nikon.<br>

    these guys did tests on plustek as well<br>

    <cite>www.<strong>filmscanner</strong> .info</cite></p>

    scanned film vs digital

    in The Wet Darkroom: Film, Paper & Chemistry

    Posted

    <p>digital camera do NOT sample each color at the same spatial frequency. they are limited by the Bayer effect. RGB are sampled differently. <br /> only a true 3-chip full frame camera would come close to scanning film then digitally you would have to process ~135MB@16-bit for each frame, yeah right.<br /> i shot 30,000 feet for my VistaVision short film on high-res, Rollei stock and am scanning it automatically on a modified Nikon LS-5000. i scan about 800 feet or 3200 frames a day. i got the SDK and modified it for my own use.<br /> digital doesn't come close to scanning film. i scan uncompressed, 4000dpi, no corrections and they are magnificent frames. my film frame is actually bigger than SLR frame. SLR frame is 24.1mm x 35mm, the VistaVision frame is 24.7 x 38mm. <br /> my files are 45MB each, of course i script photoshop to grind through any processing on a super quad cpu, 1GB video card, 4GB ram monster computer.<br /> my suggestion, SHOOT FILM -> scan... unbeatable.</p>
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