What if you have two ways of focusing your image... and they tell you different things? I get to the bottom of what is the matter with my Canon 514XLS.
On that camera you have to set the lens focal to the maximum, focus on your subject (make sure the viewfinder is right) and then you can adjust the lens focal to your needs (without touching the manual focusing ring).
Leaving aside the fact that this particular camera's focus is faulty (distance on the ring doesn't correspond with actual distance of the focus), how would you go about 'adjust lens focal without touching the manual focusing ring' ? Are you referring to the focus assist circle inside the viewfinder?
@@ZeroBudgetFilmSchool I am a photographer so I'm not a pro in making movies, but with my Canon 1014 XL-S the only way to guaranty a perfect focus is to adjust the focus when your zoom lens is in telephoto position and when it's on focus, move the zoom to the focal you need (without touching the focus ring).
@@alexabadi7458 Ah, I see what you mean. You are correct. As long as your lens is good and hasn't shifted like the one on my 514XLS , that should work fine.
Quite obvious. The viewfinder is a through the lens (TTL) type so you're seeing exactly what the film is "seeing". Why would you even doubt which of the 2 was right?
Because sometimes the viewfinder optics go out of whack and all cameras are supposed have their lenses focus barrel markings properly calibrated, so I had to find out which was at fault. In this case it was the lens barrel that was at fault.
Time for some tape on that focus ring and measuring and marking your own distances. For the most part if a lens does not have distance markings that go into the sub-meter or foot precision, they're effectively just there for show.
@@ZeroBudgetFilmSchool That was not me, sorry. But I did just recently reach the point that I'm comfortable with the super 8 process and hope I can share some serious films soon!
Ok so I've been wanting to create traveling mattes but I need a way of exposing and processing the matte film as a super high contrast image to make anything not black completely white. I do not have access to high contrast print film so I have to figure out how to do it with normal film. Any ideas on how to go about doing this? I am shooting 16mm btw.
Hmm... I guess if you process b&w and leave it in the developer for way longer than recommended, like a 4 stop push, you'll end up with a very high contrast image. Never tried doing that myself. Don't you need a film printer to do all that traveling matte stuff?
@@ZeroBudgetFilmSchool I am going to try to mod my old 16mm projector and then feed two strips of film through it. That should make a contact print. I though of the idea that when making the matte you would print the background normally but on the same film you would print the matte shot with too much light so that the background turns out good but the matte is overexposed therefore making it black. I'll just have to tinker with short test clips.
@@LILEL14 not this particular film, but I've made loads of films about super 8 processing. This one is about the Lomo tank: ruclips.net/video/W103Tc_6FRk/видео.html
I love these old school camera videos there really cool and I learn alot
Thanks!
On that camera you have to set the lens focal to the maximum, focus on your subject (make sure the viewfinder is right) and then you can adjust the lens focal to your needs (without touching the manual focusing ring).
Leaving aside the fact that this particular camera's focus is faulty (distance on the ring doesn't correspond with actual distance of the focus), how would you go about 'adjust lens focal without touching the manual focusing ring' ? Are you referring to the focus assist circle inside the viewfinder?
@@ZeroBudgetFilmSchool I am a photographer so I'm not a pro in making movies, but with my Canon 1014 XL-S the only way to guaranty a perfect focus is to adjust the focus when your zoom lens is in telephoto position and when it's on focus, move the zoom to the focal you need (without touching the focus ring).
@@alexabadi7458 Ah, I see what you mean. You are correct. As long as your lens is good and hasn't shifted like the one on my 514XLS , that should work fine.
Quite obvious. The viewfinder is a through the lens (TTL) type so you're seeing exactly what the film is "seeing". Why would you even doubt which of the 2 was right?
Because sometimes the viewfinder optics go out of whack and all cameras are supposed have their lenses focus barrel markings properly calibrated, so I had to find out which was at fault. In this case it was the lens barrel that was at fault.
Thanks for documenting your process!
Billy Preston approves this method !!!
Meanwhile John Coltrane is fairly indifferent, and Grace Jones is positively shocked.
@@ZeroBudgetFilmSchool At least Train is fair in his indifference. Good guy.
Time for some tape on that focus ring and measuring and marking your own distances. For the most part if a lens does not have distance markings that go into the sub-meter or foot precision, they're effectively just there for show.
Hi Nate! Didn't you show a bunch of films at the Horse Hospital? This is Ben from Exploding Cinema.
@@ZeroBudgetFilmSchool That was not me, sorry. But I did just recently reach the point that I'm comfortable with the super 8 process and hope I can share some serious films soon!
Ok so I've been wanting to create traveling mattes but I need a way of exposing and processing the matte film as a super high contrast image to make anything not black completely white.
I do not have access to high contrast print film so I have to figure out how to do it with normal film.
Any ideas on how to go about doing this?
I am shooting 16mm btw.
Hmm... I guess if you process b&w and leave it in the developer for way longer than recommended, like a 4 stop push, you'll end up with a very high contrast image. Never tried doing that myself. Don't you need a film printer to do all that traveling matte stuff?
Also, if you can get hold of Kodak 7363 that's specially hi contrast stock.
@@ZeroBudgetFilmSchool I am going to try to mod my old 16mm projector and then feed two strips of film through it. That should make a contact print.
I though of the idea that when making the matte you would print the background normally but on the same film you would print the matte shot with too much light so that the background turns out good but the matte is overexposed therefore making it black.
I'll just have to tinker with short test clips.
How did you develop it?
That was Fomapan 100R, developed in Ilford LC29 (7mins) in a small Lomo tank. Reversal bleaching was with potassium permanganate.
Zero Budget Film School do you have a video of it? Developing wise?
@@LILEL14 not this particular film, but I've made loads of films about super 8 processing. This one is about the Lomo tank: ruclips.net/video/W103Tc_6FRk/видео.html