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GLBlarge format film is alive and kicking.
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This is a good article about film and photography and I think there's a lot you can take from it if your willing.
"45 cameras are the definition of old-school photographic technology. They've existed in some form since about the 1830s. Yet they're still made today with the most current manufacturing techniques."
Why Shoot Large Format Film in a Digital World?
https://photographylife.com/why-shoot-large-format-film
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That's interesting. I learned on an 8x10 Deardorff and used a few different 4x5's during my career. We switched (of course) to digital as it got good enough. While I still appreciate film, digital offered speed and convenience that I would never give up. I spent years in a darkroom processing film and paper. I maintained Versamats and Royal Prints and what ever those small film processors where called. We had an enlarger for the HUGE areal negatives that was so big it was powered.
All that went for disposal when digital came and I'm glad it's gone.
...and what the hell was that film copier thing?....oh ya, the Colenta. Man that thing was a pain in the ass. It broke constantly. I spent more time fixing it than using it.
All that went for disposal when digital came and I'm glad it's gone.
...and what the hell was that film copier thing?....oh ya, the Colenta. Man that thing was a pain in the ass. It broke constantly. I spent more time fixing it than using it.
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bonj
Karma: 13,266
Tue, Oct 21Thanks Bob it's always interesting to talk about this especially the time digital was first introduced and how we all adopted the change. I learnt on film but was an early adopter of digital. As you put it already "speed and cost".
I had the training and some experience with film especially stop frame animation with a super 16. editing was not a light task cutting and taping film strips together but I'm glad I did it and it made me a better digital video editor. I do miss day's out with my old Pentax with a selection of lenses, something about the ceremony of changing lenses for a particular shot and light.
I was chatting to my optician recently during my eye test. He's an analog man in a digital world as he put it. He mentioned that the super 16 film stock now has no magnetic strip to record sound. It is discontinued unfortunately. I suggested using a dat recorder or even his phone to record the sound and match the time codes for editing but he doesn't like the idea of using any digital at all. An analog audio desk is not easy to find now either and not worth the hassle.
I had the training and some experience with film especially stop frame animation with a super 16. editing was not a light task cutting and taping film strips together but I'm glad I did it and it made me a better digital video editor. I do miss day's out with my old Pentax with a selection of lenses, something about the ceremony of changing lenses for a particular shot and light.
I was chatting to my optician recently during my eye test. He's an analog man in a digital world as he put it. He mentioned that the super 16 film stock now has no magnetic strip to record sound. It is discontinued unfortunately. I suggested using a dat recorder or even his phone to record the sound and match the time codes for editing but he doesn't like the idea of using any digital at all. An analog audio desk is not easy to find now either and not worth the hassle.
Bobb
Karma: 1,018
Tue, Oct 21One of the most 'funnest' aspects of digital is how it expands the possibilities to stuff we'd never have imagined while rolling film onto spools in the darkroom. I've been doing some photogrammetry and done some 3D walkthoughs for free (and fun!) of a few local historical churches. Getting into the bell tower of our local cathedral was a hoot! Now, something called 'Gausian Splatting' is becoming popular because it easier, faster and much more accessible without high end cameras. The software is even understandable! Meshlab was/is a huge pain due to shitty documentation.
Stop Frame...was that for clay models....or the 'marionation' style used in stuff like Thunderbirds?
Stop Frame...was that for clay models....or the 'marionation' style used in stuff like Thunderbirds?
bonj
Karma: 13,266
Tue, Oct 21Photogrammetry has come a long way and is perfect for scanning environments. It's used a lot for interior scanning and drones can scan ancient sites. It's great for that sort of thing. Very effective put into a game engine if the poly count is taken down a bit .
Meshlab is a nice little tool but a pain in the ass to use. Not many people have heard of it but it's very useful for cleaning up a bad mesh. Inverted faces can be a challenge to flip but Meshlab is still my go to tool for that..
Stop Frame was clay and traditional models.
After a few years being a mechanic and then some time in a uniform I went back to college age 23 to become an animator for special effects.
We did a lot of clay and traditional character models with a armature wire. My lecturer was very nice but young and had only worked on postman pat so couldn't really teach me much. It was a time that you could still get books out of a library about special effects explosives and I spent a lot of time experimenting with different combinations that looked good on screen.
I made a few metal weapon props that were used in productions so they smelled like gunpowder. Last day to hand all my work in for assessment the college had a vip visitor and security stopped me at the entry XD my lecturer had to prove I was a student and not a crazy person that smelt of explosives lol.. I art directed a short war film and animation was left behind once I had access to pyro.
I worked for Asylum special effects a few times and then set up my own digital video company. I'm pretty sure it was the first in the UK to be fully digital.
Our fist music video was supposed to be shot completely on super 16 but the budget was awful. I wasn't going to work for free so we shot on super 8 and blew it up to 16. The record label then asked for an extended cut of the full song making the video just over fore minuets. We didnt have enough film so I cheekily used a mix of stock with some pore quality video even threw in a bit of super vhs with some colour effects to make the video up to 4 mins.
Cutting a music video on film is not a lot of fun at all.
Our second music video had a much better budget so we shot entirely on the digi beta and payed for someone else to edit it.
Meshlab is a nice little tool but a pain in the ass to use. Not many people have heard of it but it's very useful for cleaning up a bad mesh. Inverted faces can be a challenge to flip but Meshlab is still my go to tool for that..
Stop Frame was clay and traditional models.
After a few years being a mechanic and then some time in a uniform I went back to college age 23 to become an animator for special effects.
We did a lot of clay and traditional character models with a armature wire. My lecturer was very nice but young and had only worked on postman pat so couldn't really teach me much. It was a time that you could still get books out of a library about special effects explosives and I spent a lot of time experimenting with different combinations that looked good on screen.
I made a few metal weapon props that were used in productions so they smelled like gunpowder. Last day to hand all my work in for assessment the college had a vip visitor and security stopped me at the entry XD my lecturer had to prove I was a student and not a crazy person that smelt of explosives lol.. I art directed a short war film and animation was left behind once I had access to pyro.
I worked for Asylum special effects a few times and then set up my own digital video company. I'm pretty sure it was the first in the UK to be fully digital.
Our fist music video was supposed to be shot completely on super 16 but the budget was awful. I wasn't going to work for free so we shot on super 8 and blew it up to 16. The record label then asked for an extended cut of the full song making the video just over fore minuets. We didnt have enough film so I cheekily used a mix of stock with some pore quality video even threw in a bit of super vhs with some colour effects to make the video up to 4 mins.
Cutting a music video on film is not a lot of fun at all.
Our second music video had a much better budget so we shot entirely on the digi beta and payed for someone else to edit it.
Largest I've shot is 120, would love to give large format a go sometime.
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Bobb
Karma: 1,018
Thu, Oct 16I read an article about how Playboy photographers work and most of their shoots where done on 120-220 but the centerfolds where ALWAYS done on an 8x10. This is the reason that they where so good. I collected the mag for decades and the centerfolds where spectacular in their detail. It can be quite the process to set up a shot and they used a mannequin to arrange everything and fuss with lighting. When they where happy with the scene, the Playmate was brought in and posed. Even with all that time setting up, she often still had to spend an hour holding the pose while details where fussed with.
