From: Jud Yalkut (email suppressed)
Date: Sat Jul 22 2006 - 17:05:54 PDT
Dear Jeff and Alain:
Yes, it's true that you only get half the information from the video
scan with the TVT shutter,
but when you consider that I was able to get the entire Auricon system
for $125 at a camera
store close-out sale, and spent about the same for the TVT conversion
back then (in an
ancient mystic time of cinema bliss), it's still a deal and it does
work, especially for image processed work.
Yes, the Palmer unit is quite good but a big difference in cost for
the individual, I think.
As far as A-1, I have had recent experiences with their work in making
prints from some old reversal material and,
yes, there were a few problems: one being a strange fishlike odor from
some new prints (re "the Pisces
Syndrome"), which was inexplicable for something brand new. This was
Over the years with A-1, I have always settled for "best light" prints
since timing was unavailable there.
- Jud Yalkut
Date: Sat, 22 Jul 2006 09:32:02 -0500
From: Jeff Kreines <email suppressed>
Subject: Re: FRAMEWORKS Digest - 21 Jul 2006 - Special issue (#2006-77)
On Jul 22, 2006, at 9:17 AM, Jud Yalkut wrote:
> I still have one that was outfitted by F&B Ceco with a TVT shutter
> which shoots perfect
> images of video monitor images without drift lines or any problems.
The Auricon 144-degree TVT shutter is a fine thing, but note that you
are only capturing one of the two fields of NTSC video, which cuts in
half the vertical resolution. A true kinescope recording camera,
like the Palmer, had a super-fast pulldown and a 288-degree shutter,
so captured both fields. DuArt still uses one for kinescopes.
As for A-1, will the dying-off of reversal print stocks leave them
any work to do? Processing B&W reversal original, sure, but what
else? Thanks, Kodak...
ubject: Re: FRAMEWORKS Digest - 21 Jul 2006 - Special issue (#2006-77)
> As far as A-1 film labs in New York, they have long been a friend to
> the independent filmmaker,
> providing good deals and decent work. Back in the 60s, they were a
> that one filmmaker
> turned another onto, and did many fantastic things like nursing
> Carolee Schneemann's sewn,
> pasted and collaged "Fuses" through a contact printer to make a
> positive. I still
> miss the luxury of being able to shoot in the morning and watch
> later that same day.
> Freddy has definitely kept up the heritage.
> - Jud Yalkut
I've actually had really spotty results with A1.
In several cases Freddy was good enough to refund my money when the lab
had clearly made a mistake, but what I wanted was my footage. During
time I used A1's services I did have a few very positive results, but
was never consistent. Perhaps this is a recent development as I had
nothing until Jud's comments above about how it used to be.
For B/W reversal (anywhere) I'd try Mark Kosarik, and Film & Video
Services in Minneapolis. I've had very good and consistent result with
both of these places. I haven't been shooting the new Tri-X, but Mark
developed the process with the older Tri-X which reduced the grain
considerably. He really brought out the beauty of the older Tri-X and
you wanted grain well all you had to do was ask.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.