From: mat fleming (email suppressed)
Date: Sat Sep 04 2010 - 02:32:32 PDT
Thanks these are all really helpful bits of information. I think I've got
some bits of 7363 kicking about oo.
I'm making a film with friends inspired/adapted from HAV Bullied's book
Trick Effects with the Cine Camera (1936).
I think we're just suffering the consequences of not following our guru
properly - many of our difficulties would have been eased by shooting 9.5mm
in b/w reversal.
If anyone's near the NE of England or the SW of Scotland, you can see the
film (and a couple of Bulleid's) in a fortnight at the Berwick Film and
Media Arts Festival.
Anyway, back to Mirrors, smoke bombs, matte boxes, the lab.
Thanks again
Mat
On Fri, Sep 3, 2010 at 8:10 PM, Beebe,Roger W <email suppressed> wrote:
> My experience with the R16 is that the frameline was consistently off
> between forward and backward runs, (about 1/4 of a frame off during the
> backwards pass), so when double exposing forward & backwards, you get an
> annoying hard line in the middle of the frame. I assume this means that if
> you shoot your entire film backwards, it would be no problem (you could
> simply adjust the framer in the projector), but if you plan on intercutting
> it with footage shot forwards, then you'd have to reframe during projection.
> I haven't tried it, but that's what I'd conjecture from the failed attempt
> at in-camera forward/backward double exposure.
>
> ...
> Roger
>
>
>
>
> On Sep 3, 2010, at 12:17 PM, Sam Wells wrote:
>
> > Not sure about the Beaulieu. You should have bought my Arri S,
> > extremely steady in
> > reverse ;-) -- (I never ran it in reverse over 24 fps, but..)
> >
> > Of course if double perf film was still available (are there _any_
> > stocks Kodak still
> > sells in 16mm that are available in 2R ?) no problem, shoot upside
> > down & flip it,
> > done deal.
> >
> >
> > -Sam
> >
> > (one more reason I now shoot 4K/1.9K digital......)
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>
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