Just wondering if the mitchell gc is still a good choice for a 35mm stop-motion camera?….as far as i can tell because its rack over…then while your filming you loose the reflex function and have to have a separate video camera for looping? are the rack over models better for stoping light leaks?
i noticed in one of the pics on the set of nightmare before christmas they are using a rack over model…So my feeling is good enough for them mean good enough for us. he he
Thought i should ask here before grabbing the wrong camera.
Oh, I forgot to mention the added cost and hassle of converting your film footage back to the digital realm to add it into the rest of your film and to be able to show it to anyone
Yep I know its an analogue nightmare. he he We will probably end up buying a camera and never shoot with it. That has happened plenty of times before.
Yep all the labs shut down in oz but recently Neg lab has reopened in Sydney . Hopefully they can get enough work.
…...Speaking of digital……we just bought a lumix gh4….omg stop motion built into the camera!….onion skinning and shot rendering and you can set the frame rate. I can't believe it….and it shoots 4k video. And you can take frames via wifi app on your phone…..everyone is talking about its 4k video but i haven't seen one review mentioning its integrated stop motion functions…genius
Exposure wedges on a Mitchell:
Use regular 24 or 36 exposure film of the same speed you'll be shooting with. Take it to a photo lab, not a department store. Tell them that you need the machine to be set so it doesn't auto-correct the print exposure - you want it to be fixed at whatever means "no adjustments needed". Also warn them that there will be 2 pictures per print instead of one.
While shooting, leave the film in the cartridge, manually rewind it when your exposures are done.
Wedges back in an hour.
i like that idea…so the 35mm film is long enough to be pulled through ok?
The key is that you don't fully load the camera. The cartridge rests in the bottom of the feed side of the mag, and will be no film in the take-up side. As each frame is exposed, the film will gather in the bottom rear corner of the camera body. Then rewind - I *think* doing it slowly allowed the exposed film to be pushed up into the feed side of the mag. We may have had to bag the camera and open up the body to manually guide film into the mag. However that was done, then it was a simple matter of bagging the mag and rewinding the cartridge by hand, leaving a little exposed for the processors to grab.
This is great for wedges on multiple pass exposures to make sure the exposure levels are balanced.
I have been absent from SMA.com for a long while and revisiting now. Seeing this topic about 35mm Mitchells, at first I thought it was an old post of some years ago! Then I saw the topic date and it was very current July 2014. Amazing ... in this digital age ... I am seeing traditional ol' school methods
Definitely ... advantages to digital & cost effectiveness. I still have a 16mm SBM Bolex and like the Mitchell, it has superb engineering and built like a tank that will outlive all of us. I still seem want to keep the Bolex and for now ... serves as house/room decorative cinema theme item, along with movie posters on walls, and other traditional cinema items. I seem to want to escape this 21st century congestion & madness and yearn to return to the retro days in general.
There are still some movies shot on chemical based film. Yes, the use is down. As you all know, the film serves as the master then digitally transferred, from which all the post production done on computer then that final digital print saved back to a chemical film master or released for digital projection.
I just quickly looked and found this informative article/write-up (from about a year ago) ....
Also, read the reader's comments to the article.