![]() ![]() It is all up to the chief operator's choice in accordance with the subject and previewed conditions of the shooting. Sensitivity, contrast, colour, granularity can be deciding factors. ![]() If you have the choice between various types of emulsions. Mostly when dealing with an automatic camera because an allowance for tare of the cell can be necessary to avoid a tendency to under- or overexposure. Sharpness and steadiness are materially improved by the precision pressure plate made by GK FILM Make an exposure test This double exposure technique allows to free oneself from an eventual lack of fixity of the projector. It is difficult to pack in more than 200 frames this way but that can be sufficient to project the test in a loop. In the darkroom however we can try manually to push a sufficient lenght of film towards the feeding compartment. In SUPER 8mm it isn't obvious to rewind the film in its cassette. ![]() This will mean a bad lateral hold of the film in the aperture plate. A lack of horizontal stability will show a relative movement of the 2 vertical lines of the test pattern. When being projected, a lack a vertical fixity will show a relative movement of the 2 horizontal lines of the test pattern and indicate a problem of worn pin or loose rear pressure plate or yet expired emulsion. Both shooting must be underexposed by 1 diaphragm. With the film rewounded in the camera, if it allows it, or in a darkroom, shoot the test pattern a second time. The test pattern will then be shifted a few millimeters horizontal and vertically. It will be filmed the first time with the camera fixed on a heavy tripod. The simpliest test pattern for steadiness is a black cross traced on a white cardboard. The slight variation in sharpness cannotįailing specific test equipment, choose a subject with sharp geometrical lines, aīuilding under contrasted lighting, for example. Therefore it is interesting to determine the positions of the zoom to be avoided whenįilming with it at various fixed focal lenghts. It often happens that optical quality will not be constantīut will be the result of some compromises. When the camera has only one zoom lens, testĪt some specific focal lenghts. Of the different lenses likely to be used. Before the shooting : Check the camera Test the sharpness Therefore some precautionary measures are necessary. To get a top quality blow up Blow up doesn't imply performing a miracle.Īn original of mediocre quality will poorly withstand the process. Only 2 steps are necessary to get a 16mm, SUPER 16mm ou 35mm projection print. When the original SUPER 8mm is a reversal ,e.g. You will find some remarks and tips below. Global quality of a blow up remains very dependent on the original. The use of "inter" films offers another important advantage : as the classical effects ( fades, dissolves, freezed frame, slow or accelerated motion etc ) are performed during the blowing up.Įxtra passages in the printer are not required and the overall quality of the picture (graininess,Ĭontrast, color and sharpness) remains constant. This traditional technique, thoroughly tested, uses the original film but once and so, protects itįrom the multiple passages through the printer that direct blowing ups on release prints do May be used for further editing and sound synchronization before the making of the negative soundtrack. Blow ups of DOUBLE 8mm into 16, of SUPER 8mm into 16 or 35mm, of 16mm or SUPERġ6mm into 35, are all made on internegatives or intermediates that will be used for the printingĪ first timing is made at this step in order to get an internegative with the best density, which willīe corrected even more precisely by the laboratory, when printing the first trial color composite, by any professional laboratory.Įvery optical print work is supplied with its daily print to allow an immediate check. ![]()
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