Bolex Survives Afghan Waterfall

I will never forget an incident that happened to me in Afghanistan, way back in 1969 when the King was still in power....

In the central hills there is a series of stunning blue lakes, and the minerals in the water have created a dam, called Band-i-Amir. The water cascades over. This must be one of the relatively unknown wonders of the natural world.

At the top of one of the waterfalls I was about to set up my trusty Bolex H-16RX, with a Som Berthiot zoom lens fitted with anamorphic, in an attempt to take in the breathtaking view. It was slippery...
Before I could get the camera onto the tripod, I stumbled, and the camera somehow escaped my grasp... and joined the waterfall. I couldn't see it, and I scrambled down the 30 feet or so, then jumped into the pool below. My frantic efforts darting around to locate the object made two local chaps laugh uncontrollably !

I wasn't so amused. When I fished it out, it was obvious that the water had got everywhere, into the mechanism and between the lens elements. The RX Fader, bashing against the rocks, was twisted into a strange shape, though the body and lenses didn't look bad. I returned to the Land Rover and shut myself into the dark, hot trailer to try and save the film. Luckily, not too much water was between the leaves of film, and it dried quickly in the Afghan atmosphere. But the sodden camera was going to be a job for Messrs. Bolex.

After my return to UK, I sent the camera to them and it arrived back a few weeks later. Incredibly, those perfectionists had made everything look like new. And Kodak as usual did a great job with the film, and all my movie material was fine. (No, the camera wasn't running as it went down, unfortunately !) That Bolex certainly was a sturdy beast. And it joined me on many more outings... including back to Afghanistan a year later !
Some of the footage I shot at Band-i-Amir went into my 16mm documentary The Giant Buddhas of Bamiyan.
I see there are some more pics of this place which maybe show the natural dam better, at www.greatgametravel.com

I took these Kodachrome slides with a Kodak Retinette that I was given as a boy. They say this lake could be 1000 feet deep. The water is amazingly clear.

This landscape reminds me of Planet of the Apes ! Talking of feature films, do you remember The Horsemen with Omar Sharif and Jack Palance ? Some of it was filmed around here.

Very few people live in the area, at least when I was there in 69 / 70.

This photo shows one of the Land Rovers driven by life-long friend Martin, somewhere in Afghanistan, I can't remember exactly where. It was taken by my brother Rex... with a 35mm Contarex, that huge SLR with interchangeable backs, if I remember rightly... I wonder what was to happen to this proud and independent Afghan family in less peaceful times....

To India with an Olympus XA2

On a recent trip to South India I thought I'd travel really light, so took the little Olympus XA2 35mm camera.
I found it great for all sorts of subjects. Here's just a few...
It was nice not having to worry about which lens to use, and the exposure system performed very well. I used mainly Ilford FP4, and when I'd run out of film (India is that sort of place !) I bought some Indian Kodak colour neg. film, and continued with that.
I like the XA2 as it's so quiet and unobtrusive. However, as streets in India can be rather noisy (understatement of the year) I often wasn't sure if the shutter had fired !
The Zuiko 35mm lens is really good performer, and I found I could enlarge the pictures alot.

Telecine Without Tears - Film to video the cardboard way

TELECINE WITHOUT TEARS

Film to Video the Cardboard Way

Putting cine movie-film onto video/DVD can cost quite a lot if it's done professionally. And unless you use a reputable lab, results can vary, together with a risk of losing or damaging your film.

It's relatively easy to do your own telecine transfers. And the quality can be impressive. Here's how.

What you need

A camcorder, a movie projector that has constantly variable speeds, and a piece of good quality cardboard ! A lot cheaper than a telecine translucent screen and probably better, without grain or hot-spot problems.

Getting the Speed right

You can use a projector with non-variable speeds, but the chances are you'll notice fluctuations of the light in the video image. Still there's nothing to lose in giving it a try, and your projector just might have more-or-less the right speed regardless of what it says ! However, it's best to be able to vary the projection speed if you want to be sure of constant image density. The speed should be very near 16.66 frames per second, or 25 frames per second. This is if you have 50 cycle mains electricity. In the USA it's 60 cycles, so the speed needs to be 15, 20 or 24 f.p.s.

So first you have to decide what speed the film was taken at. Silent films are normally shot at 16 or 18 f.p.s. Sound films could have been shot at any speed: 16, 18, 24 or 25. If you are unsure, just project the film and see if the folks move around normally. In practice, it doesn't really look wrong if the film was shot at say 18 f.p.s. and you project at 16.66 f.p.s. And 24 looks exactly the same as 25. How it sounds is a different matter, but more of that later. Choose your transfer speed nearest to the original filming speed.

Improving the Image

It obviously makes sense to start off with the best quality image. Rather than projecting a big image on a screen, find a piece of good white card a few inches across, certainly no more than a foot, and focus the projector on that. If your film material is rather contrasty, try using a cream-coloured card. Another way to reduce contrast is to introduce into the room a bit of ambient light.

The projector should give a very evenly-lit image. Normally, your eyes adjust to a film image that is perhaps bright in the middle but tailing off towards the edges. But the camera's eye sees what it sees, and consequently the image will look odd. The earlier projectors with conventional tungsten lighting and condenser lenses, often give more even lighting than halogen projectors without condensers. If your projector gives uneven lighting, try putting a grey water-colour wash onto the centre of the card, softening off towards the edges. Or, in front of the camcorder or projector use a piece of optical glass or filter that has been darkened in the centre.

The projector zoom-lens should be set at a long focal length. Alternatively, use a fixed focal length lens. If you are projecting 8mm, try using a 16mm projector lens of say 35mm or even 50mm focal length. Now.... as you are showing a small image you have light to spare.... Make a black card or paper “washer” that fits neatly into the end of the projector lens barrel. It should be right up against the front lens element. Don't make the hole in the washer too small, but enough to effectively close down your lens by a couple of f-stops. This will give a quantum leap in definition ! Why ? Because it's like a camera-lens.... the sharpness improves when the outer parts of the lens are not in use. All lenses work better when stopped down. On a normal size of screen it would give a rather dim image, of course, but it's bright enough on our cardboard screen.

The Transfer

So now, hopefully, we have a nice sharp evenly-lit image that shows the cine film at its best. Before the transfer, it's a good idea to thoroughly clean the film with special film-cleaner if it needs it, or at least remove dust with a soft cloth.

Firmly set up the camcorder somewhere near the centre-line of the projector, perhaps behind or just above it. If above, beware of ripples of heat from the lamp-house ! The lens on the camera will be at a long focal length setting, so that the projected image fills the viewfinder. Manually focus on some news-print held against the card, and keep this focus setting for the actual transfer. Key-stoning of the image shouldn't be a problem as you are situated well back from the small screen. When you are satisfied that framing and focus are perfect, turn off the lights and begin the transfer. Ideally the camcorder's exposure should be set manually to one aperture for the whole film.

Examine your results on a fairly large video screen. If you still see density fluctuations, fine-tune the projector speed and try again. With care you'll end up with a good, sharp telecine, that looks professional.

Sound

If the film carries a sound track, you can connect the sound projector to the camcorder and record in sync. How you do this in order to get a good track on video is outside the scope of this blog. However, coming back to the projector running speeds.....Whereas our eyes are easily fooled by a slightly wrong speed, our ears usually are not ! A sound track recorded at 18 f.p.s. for example, will most likely sound wrong at 16.66 f.p.s. So it may be best to transfer the sound independently to the computer, then lay the track onto the video, making sync adjustments as necessary. Maybe others would like to comment....