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My Brand New Bell & Howell 2585 16mm Projector
Watch Online Free The Time That Remains Movie part 4
as in "appreciate your parents while they are still around," the theme so touchingly sketched in the recent Japanese film Still Walking. In Suleiman's Nazareth of 1948 to the present, we see the Arab-Israeli conflict as experienced by and recounted to a boy growing up in a Palestinian family that has stayed on – in what has become part of Israel.
I was initially unable to put my finger on it, but I knew there was something quite perfect about Elia Suleiman's "The Time That Remains". It became abundantly clear during an extraordinary scene wherein a group of Palestinian children are sitting in a dark classroom within the confines of an Israeli-colonized Arab School as their wide-eyes are utterly transfixed upon the flickering images emanating from a rickety 16mm projector. The pieces of time dancing before them, projected onto a tiny screen, yet retaining a scope bigger than life itself are none other than the sprawling spectacle of the Stanley Kubrick-directed epic "Spartacus" – Hollywood's ultimate big-screen allegory of Zionism. It is this scene that precisely defines the perfection of Suleiman's great film for a number of reasons. First of all, the scene flawlessly demonstrates the differences in approaches to the issue of the Arab-Israeli conflict. "Spartacus" is, of course allegorical and an epic tale of subjugation presented with all that money can buy. "The Time That Remains" is also an epic, but with comparatively meagre resources, it focuses – not on spectacle, but on the smaller, more confined details of humanity in the realm of subjugation. Secondly, the scene demonstrates the perfection of Suleiman's delicate, poetic and quiet approach to the subject, in direct contrast to the violent, spectacular bombast of Kubrick's picture which, in fairness to Kubrick is an exquisitely directed gun-for-hire job and not the personal, poetic, from-the-heart and primarily autobiographical approach that Suleiman takes. As well, Suleiman shares with Kubrick that magnificent stylistic approach to the tableau – finding just the right composition and holding on it. Thirdly, the scene expresses the notion that all cinema, no matter what side of the political fence it sits on, is rooted firmly in some form or another of a perspective
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What settings should the video camera be on when capturing 16mm film from a projector(wall)?
I'm in the process of capturing/digitizing 16mm film using a projector and a Panasonic HPX-170. I set the camera up and the capture looked good, but looking at it now, there is a strange constant flashing that shows up. Its as if the exposure is constantly changing as it goes. I tried to fix it by setting the IRIS on manual and leaving it be, but it still has the effect. I was wondering if anyone knows what shutter/iris/frame rate settings I should have to get a perfect transfer. I know it can be done, as my teacher did it before, but due to reshoots I need to capture again. Please help.
I also have a Panasonic HVX-200 at my disposal, if anyone is more familiar with that.
when you say 16mm film, are you talking theatrical prints that are 24fps or television prints that are 30 fps? In either case you need a telecine projector which has a genlock relationship with the camera. While the HVX170 and 200 are procameras they do not have a genlock capability. That means you will have to use the composite output from the camcorder to run to the projector's genlock input. If the projector does not have a genlock input either, then you can't do the project. Start calling local television stations and try and find one with a broadcast telecine. There was a time when every station had one, but few use them anymore. Back to 24/30 fps. To project 24 for television the projector needs to have a 3:2 pull-down characteristic. This gives you an effective 30 fps to work with for video although motion sequences will have a slight judder to them.
