70 mm film camera.

[ericMartinJarvies]

i found a really nice 70mm film camera for a couple hundred dollars. it comes with 2 zeiss lenses and 2 film magsm and is mint. i was thinking of purchasing it so i could play around with a w i d e film stock. however, i looked at kodak's website and could not find any mentiond of the filmstock being available for sale. does anyone know what the deal is with 70mm filmstock? or is it 65mm filmstock? i was thinking i could use this camera to shoot my green screen shots for my movie so i would have a large frame to digitize and composite, hence a better final image after rendering.

so, if anyone has any info in this department, let me know

eric

[Yemi]

Eric,

I think that 70mm is not a camera format it is meant for theatrical prints. 65mm is the camera stock. The extra mm are used for the soundtrack but don't take my word for it.

-----
Yemi

[fastwind]

The film can only be purchased via special order from KODAK or
buy short ends from a camera rental house or aftermarket film
reseller. The choice to use a big frame for GREENSCREEN is right on.
ILM ( Industrial Light & Magic ) , pioneered this practice . Jeff
Cronenweth used VistaVision cameras to shoot GREENSCREEN shots
for FIGHT CLUB . Its done because the resulting images blend together
very smoothly.

[ericMartinJarvies]

i found a really cool 70mm camera with 2 zeiss lenses and 2 mags for cheap. everything works correctly(and even if it didn't, i'd fix it so it did). i have a 48'x24' bluescreen and a smaller 24x12 greenscreen that i plan on perminantly hanging in the studio. but for now, i plan one using the outside to start capturing footage of various sorts starting with s8mm, 16mm, then 35mm and perhaps 70mm. i am curious to see what the diferances are between each when digitized and when editing ... the obsticals and challanges and thresholds.

[teadub]

i found a really cool 70mm camera with 2 zeiss lenses and 2 mags for cheap. everything works correctly(and even if it didn't, i'd fix it so it did). i have a 48'x24' bluescreen and a smaller 24x12 greenscreen that i plan on perminantly hanging in the studio. but for now, i plan one using the outside to start capturing footage of various sorts starting with s8mm, 16mm, then 35mm and perhaps 70mm. i am curious to see what the diferances are between each when digitized and when editing ... the obsticals and challanges and thresholds

Hey Eric,
Don't forget. When you digitize all of this footage, pay care attension to the color sampling of the format/codec you choose to work with. If you plan on doing greenscreen on 70mm footage that has been transfered to DV (4:1:1, for us NTSC), you will have just as many problems had it been super 8 footage. Stair stepping, chroma problems etc...

Check out the thread focus group started:
http://www.8mm.filmshooting.com/scripts ... php?t=2963

It has a lot of information that will be of use to you in this project. Pay carefull attension the diagonal lines, in the middle of the sample. And the chroma box. My advice is, stay in 4:2:2 color space, with formats like digibeta.

[ericMartinJarvies]

teadub,

no, i have been attemtping to avoid miniDV all along which is why i still do not have a dv camera or anyway to get my film to the computer, much less a computer to transfer it to. however, that should all change by next month. hopefully by that time my g5 will have been shipped(i have been waiting over 6 weeks now) and hopefully bernie o. will have completed/converted my eclair acl II to s16, and andrew at azspectrum will have installed the video tap and cupcamera will have sent the barney and jkprinter will have built and configured my digital film printer to work with the kodak digital slr and all is hand delivered to me so i do not have to stress about it getting lost or stolen in the mexican shipping system. then at that point i will be better prepared to move the process along. i am rather frustrated at this point with a number of things. living were i do, the time delay is terrible. receiving the most basic parts and materials/consumables is a major ordeal. so i have to purchase things in loads and lots and bundle em all so it is worth it, and that is time consuming and expensive. but i do see light at the end of this tunnel. i truly beleive that by the first of october i will be able to shot film diy process film, and diy telecine film. THEN i will not feel so creatively tied up like i do now. i wanted to start filming my feature movie in november. but realistically it will not happen until jan or feb. and thats ok, i still have lots to learn. i have decided to shoot that film using 16mm k-40 color reversal film stock. so until then i have 40 rolls of s8 k-40 with which i am going to practice practice and practice so that my exposure times and scene lighting is correct. i finally received my focus/test charts, now i am in the process of figuring out how to process my own black and white reversal film so i can perform immediate tests with my various lenses. because i will be using various lenses and 2 cameras for my feature, i will need to make certain my lenses and cameras are working correctly prior to exposing hundreds of meters of color film($$$). i purchased a lomo tank and am bidding on a morse g-3 tank ... hopefully those will do the job. i was thinking of rigging some motors and timers so i would not have to hand crank the machines myself and subject the film to various degrees of mixed results. this way i can accurately mix the chemicals, and set the motor controllers so that for each roll in the same chemicals the film is processed in the first and second developers for the applicable extra time needed as the chemicals loose their potentcy. in other words, make it as automatted and exact as possible using these little tanks so that it is easy and the results are reproducable. unless there is already a solution out there for this that is cost effective. the black and white reversal film will only serve for testing lenses, scratching, registration, exposure and resolution. i will use color film and a lab to process my film used for the feature itself.

regarding the 70mm film camera, i figured i could use it to shoot my scenes that require compositing and using the jk printer and the kodak digital slr i could digitize at extremely high res and then once composited i would then reduce the image size to fall into line with the raw digitized 16mm footage. is this a correct line of approach? the only thing i am not certain of is if i can get 70mm film stock and if so, can i get k-40 color reversal? the reason i am using the k-40 stock i because i really like the way the images look .. i like the k-40 look it makes me feel good looking at images shot using this film ... it feels clean and crisp and alive and sureal. and also because i will only have the film professionaly processed at the lab and NOT telecined ... i will do that myself using my own setup as described above. so having a reversal image is much less work then attempting to digitized a negative. i want to take the approach of making my own movies wherein i have complete control over the entire process from start to finish. as i grow and earn/learn and move into a greater/higher position, i would like to also be able to process my own film instead of sending it out to a lab. this way i can keep the entire process under my own roof and thus have the ability to crank out a number of movies. i want to make some cult-type b-type movies for niche markets, sort of like the old charlie chaplin or john wayne movies that were made in a matter of weeks for only a few thousand dollars. but getting past the setup process and into the content process is one heck of a challange to say the least.

eric