16mm test roll

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Patrick
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Post by Patrick »

Ive never heard of an ND filter doing that. Though a center filter, as used in large format photography, would do the opposite. Such a filter is darker in the middle than the outside to compensate for the way that light speads across the frame in lf photography when using wide angle lenses.
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Post by wado1942 »

I doubt the ND filter has anything to do with it because it's supposed to be NEUTRAL! I'd believe the lens could be it. Even though Angenieux is supposed to be a good brand, French lenses are well known for being lousy. We shot a movie on 16mm using French glass a couple of years ago and the edges of all the shots were out of focus while the center looked fine. THE WORST LENSES EVER! We DID shoot that movie Glimpse on 16mm using Angenieux lenses and they looked great but those were primes, not zooms. The question is, why didn't the hot spot show on Roger's monitors if the hot spot was on the original film?
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Post by Mitch Perkins »

MovieStuff wrote: none of the subsequent 16mm transfers for other customers has any sign of hotspot.
Roger
Considering your experience in the area of telecine, I'd bet my left nut on that! ~:?)

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Post by Mitch Perkins »

wado1942 wrote:I doubt the ND filter has anything to do with it because it's supposed to be NEUTRAL!
Well, NEUTRAL! or not, it's an extension of the front element, and therefore prone to adding vignette at wide angles. Add to that possible halation from the (unknown) curvature of the front element, funny things can happen...
wado1942 wrote: I'd believe the lens could be it. Even though Angenieux is supposed to be a good brand, French lenses are well known for being lousy.
Yeah, recent shoot employed WA type zoom on a Beaulieu. It had vignette in top left corner out of the box, and the addition of an ND made it all the worse.

That's one thing I like about S8 cameras with non-removable lenses - it's all sorted out in the factory.

Mitch
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Post by Nigel »

If it was the lens then Roger would have noticed it in xfer.

Which he clearly says he doesn't remember seeing.

It looks like 1960's era stuff. Kinda cool at times.

Lets see what the second xfer looks like.

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Post by Mitch Perkins »

Nigel wrote:If it was the lens then Roger would have noticed it in xfer.

Which he clearly says he doesn't remember seeing.
I don't remember seeing the cake at my 2nd birthday party - doesn't mean it wasn't there. How many 1000's of feet has the guy xfered since? I mean come on! ~:?)

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Post by El Jeffe »

The footage was shot in Big Bear Lake, CA. At Bear mountain after the resort had closed for the season. I do alot of work for the mountain and we do private photo shoots during that time.

Nigel, I really liked the look aswell. Next time I will try to get the snow exposed properly in those wide shots.

I did also have a lens hood on. The B+W 72EW, which was made for shooting wide shots with it on.

I will go send Roger the film back now.

Thanks for all the help guys!
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Post by Nigel »

Hmmm....

That's funny since my colorist seems to remember my footage. Every time I come in for a new xfer he asks about the last stuff and even spouts out a few of the shots. I'm sure that he sees more footage per diem than Moviestuff does.

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Post by Mitch Perkins »

Nigel wrote:If it was the lens then Roger would have noticed it in xfer.
Which he clearly says he doesn't remember seeing.

Nigel wrote:Hmmm....

That's funny since my colorist seems to remember my footage. Every time I come in for a new xfer he asks about the last stuff and even spouts out a few of the shots. I'm sure that he sees more footage per diem than Moviestuff does.

Good Luck
What's funny is you're arguing with yourself. ~:?)
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Post by pinata2000 »

MovieStuff wrote:
pinata2000 wrote:i was wondering if some one could tell me what a hot spot looks like. i have watched the clip 4 time and i am not sure what to look for :oops: .... by the way El Jeffe nice clip :D
A hot spot means the illumination is uneven across the frame. If you look at this clip, the corners are darker than the center. It is more apparent on scenes of broad, light scenery, such as snow or sky. There should be no hot spot of any kind if illuminated properly during transfer.

Roger
Thanks for the explanation movistuff :D
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Post by MovieStuff »

Nigel wrote:Hmmm....

That's funny since my colorist seems to remember my footage.
And if I was the colorist on Jeff's footage, I would probably remember it better, too! ;)

My wife runs the transfer portion of our business. I am waaaayyyy too busy building the new Sniper units to do transfers but I did remember seeing some of Jeff's footage as I passed in and out of the telecine area. I just don't remember the hotspot. That's why I wanted Jeff to send the footage back.

Roger
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Post by Nigel »

The latter comment was directed towards Mitch. And his statement that you could not remember the footage due to the amount of film that comes through your place. I also remebered that you are not always directly involved with xfer and that is why I said "Moviestuff" rather than Roger in the second post.

Let us know what you think.

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Post by christoph »

wado1942 wrote:Even though Angenieux is supposed to be a good brand, French lenses are well known for being lousy.
please, could you try to make less general comments about things you dont really know about?

angenieux has some very fine lenses and some aweful ones.. just like nearly all lens manufacturer.
++ christoph ++
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Post by wado1942 »

You didn't see my comment that we shot a whole movie using a nothing but Angenieux lenses and it looked fantastic? I'm making general statement that French lenses are sub-par to other "pro" manufactureres. Not saying Angenieux is lousy in general.
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christoph
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Post by christoph »

wado1942 wrote:I'm making general statement that French lenses are sub-par to other "pro" manufactureres. Not saying Angenieux is lousy in general.
ok, i see..
so how many french "pro" lens manufacturers do you know?
and how many of those lenses did you test?
see my point now?
++ chris
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