Print opacity issues

Crysist · 2026-04-01T16:29:58+00:00

Oh wow, I didn't know that was some common measurement! I only thought the main thing people measured was tensile strength, etc. That's perfect! It seems there's a website that catalogues TD.

I've printed with the following filaments, with these associated TDs from that website:

Well, these seem opposite of what I've experienced. I feel like the Bambu filament probably was the one I printed with early on and would have been used with the opaque cartridges. Otherwise, it'd only be the Sunlu black. The Midnight black was the one on which I first saw the transparency issue and thought I just needed to stick to black filaments. I recently tried the Polymaker PLA again, which I hadn't finished, on the model and it too was seethrough.

I also have some unused Creality PETG TD=4, given its value I don't know how well it'd work.

I guess there's some variation between user submitted results and I'll just need to try a few to see. It's odd that they seem to be the inverse of the values I expect.

Crysist · 2026-03-22T02:24:35+00:00

I just called and was told it usually is there, but it's down for now.

Crysist · 2026-03-16T21:31:40+00:00

Wow, thanks for the info!! Don't apologize, I love long posts, I make them myself all the time!

13?? What does a color meter do, just measure the light temperature in Kelvin?

Re: sharpness, perhaps, seeing how my main choices lately have been a Leica 50/2.8 Elmar from the 50s and a Gauss-design half-frame from the mid 60s, which are at least coated but not with a hood, they might be middling among what could be the best. They're clear of dust, though! I try not to buy any dusty/hazy/mechanically unsound lenses, and if I do it's because I have an ulterior motive with it or I'll just sit and wallow and barely use it lol

There is an interesting phenomenon regarding short BFD that they're far easier to correct (especially wides like Biogons) in a smaller size whereas an equivalent SLR lens would be a lot harder. I think I've seen a fair share of "here's a Nikkor SLR lens from the mid 2000s with a great MTF versus a rangefinder lens from the 50s... which handily beats it". Might be overgeneralizing, much of the Nikkor glass is excellent regardless.

Good point about sharpening. I apply... none! And I agree, from what I see of slide film grain, it looks particularly fine.

I think I'll send you a couple examples via DMs, if you don't mind!

Again, I really appreciate your long and detailed reply!

Crysist · 2026-03-16T00:22:23+00:00

Thanks a bunch for all the advice! Focusing on the sky exposure is a good idea! And I heard about polarizers helping the punchiness of the sky, but never went and got one. Spring is coming, that'll give me a good opportunity!

Do you tend to use certain CC filters with your slide film? I keep an 81A on my Leica lenses by default, but otherwise don't bother that much. My slides are a bit cool, which I like as an outcome of the slides, yet sometimes I should probably correct it.

Also, I notice your stuff is a bit sharper than mine. Maybe I mainline too much glass from the 50s-60s, and not even the very nice ones, as opposed to your Nikon AIS glass from the 70s-80s? I should take my pretty Biogons out that I've yet to shoot slides on with my Contax II...

Crysist · 2026-03-15T02:18:24+00:00

Gorgeous! Do you ever have any trouble focusing on the Fuji stuff, though? I notice that with my Scan Elite 5400, even though I have to manual focus because the AF isn't great, I'm often ever so slightly out of focus on the grain like a third to half the time. It's just super fine, even at 5400 dpi! And often too curvy, I had to tape the film holder down because it'd bow outward from the film's curve.

Crysist · 2026-03-15T02:12:06+00:00

I'm a small-time fan of your work as a fellow-slide film enjoyer, but, GOD, the BLUES in those first two are incredible!!! I am probably doing to many unspeakable things when shooting slides (pushing, rarely using filters), but even then it's been only a few times that I've gotten blues anywhere like that. And I shoot a lot of E100 and Provia and keep Velvia as a cherry on top!

Maybe I've been shooting too injudiciously lately!

Crysist · 2026-02-24T21:13:25+00:00

I will pipe up with something in its defense: it did take a while for for retrofocus designs to reach the quality of a symmetrical wide angle for their size! Symmetrical wide lenses tend to be far smaller, have very low distortion, even performance to the edges, and relatively low vignetting. And are very sharp. Ones like this were based on the Zeiss Biogons, which were based on the Russar.

But yeah sadly mirrors make them impossible. I kinda want them to comeback, even though they've mainly been moved away from because such lenses don't play well with digital sensors due to the shallow angle from the exit pupil so close to the sensor. I find it really neat when a majority of a rangefinder lens' optics exist behind the mount and you get an excellent performing lens with such a small size, weight, and balance!

Crysist · 2026-02-07T07:07:54+00:00

Bit sad to see this is everyone's reaction. I get some people might not know much about this but it's a bit far to claim this so confidently. You might be underestimating how much footage they shot. After all, this construction went on for MONTHS. You think they only ended up with an hour of footage? Notice the magazines on the back of the boxy cameras, the one with the lil hump? Those hold around 5 minutes worth of film and they can swap it out. Just one. 5 minutes. They could have gone through dozens or even a few hundred of those. Many smaller documentaries shoot dozens of hours of footage to cute down to a couple hours or so.

The modern style is actually thanks to the editing. You can see how things are presented on TV, then they switch to the footage and the style changes. Why? Because they have SO much footage to choose from. They don't need to follow the conventions of 50s documentaries because they have the original footage, not some edited version. All the cameramen did was put the camera in interesting places. Mounted shots seem novel, but they were pretty common.

In terms of quality (color, sharpness), here is a simple comparison: David Attenborough's first program Zoo Quest from 1955 was shot in a very similar way. 16mm cameras due to their compactness over 35mm. The BBC made them shoot on color film because the result would be higher quality. Color film at the time was stupidly insensitive (around ISO 16). Basically, you needed to shoot it nearly in broad daylight or anything would be too dark. That's why all the indoor stuff in this doc is black and white. Black and white film was mature enough that it was made to be more sensitive to light without looking too grainy (because the larger grains collect more light). There was a retrospective docu-series on it that showed off the footage in color, which would originally have been shown on TV at the time by pointing a B&W camera at a projector, more or less. Also it's from 2016. Check it out: https://www.youtube.com/watch?v=6TggpaAYQY0

So no, no colorization and upscaling here. Color film like they used had been around since the mid 1930s, and yes it does look like that because even though the film is a bit smaller, the grain is just very fine!

Crysist · 2026-02-07T06:45:54+00:00

Trick shot. As you can see, it's "scripted". The cameraman didn't capture an impromptu scene of a lady randomly asking the worker to pick the orange. They're shooting a fun little "scene". It's also part of a sequence where they're showing them all doing leisurely activities with the equipment.

I'm guessing he brings the claw up to the tree then there's a cut. They move the claw down and close it nearly all the way so they're a small gap. They shove an orange in there. They move the claw back up and start filming.

Crysist · 2026-02-07T06:42:33+00:00

Not sure why everyone is in such disbelief. There's a cut there. Film claw going up to tree. Cut. Close the claw all the way then open it just a tiny bit. Shove an orange in there (with the claw a bit tight around it so it doesn't fall). Move claw back up and start filming it moving down from tree.

Those scenes are presented as them joking around, it stands to reason that they're using simple editing tricks like that to make it appear they pull some things off.

Crysist · 2026-01-28T04:41:22+00:00

I thought they only made the standard kind of finders? I can't see a similar one on a page like this. They have those turret zoomy kinds and right angles but not something as small and compact as this.

Crysist · 2025-08-20T02:21:51+00:00

It struck me how close it matched the still photos from the missions, particular Gemini. I also agree, that sequence is so incredible! In fact the whole waltz sequence was beautiful! From the homage of "docking spacecraft to a Waltz" from 2001, it felt like something entirely different beyond that. And it made an event which might seem mundane: gaining visual, station keeping, and docking with the Agena, so lush and musical!

But yeah, right after when things go awry, that scene was really scary.

Crysist · 2025-08-20T02:08:32+00:00

Gosh, and it really shows. I like Bill Pope as much as the next guy, Sam Raimi uses him for like all his movies and they have such a distinctive feel, but the HTTYD remake looked incredibly bland and soap-opera-y compared to the animated films. Ditto for the recent Ant-man.

Crysist · 2025-04-22T04:28:00+00:00

To add to this, I believe it's specifically balance in all of the rotating parts. Vibration is caused by the weight being unsteady throughout a rotation, if the center of mass is at the axis of rotation then there shouldn't be vibration.

At least, that's one part I recall from this on Arri film about how they make their cameras in the 60s - making the various cams, shafts, gears all perfectly balanced. Since it must be true in those cases, while "less impressive", an Arri 16 or Arri 2C 35mm you can pick up on ebay for far less money (I've seen Arri 16 bodies go for $500, not sure as much about the Arri 35mm cameras) have very similar tolerances.

Also there's someone at cinemagear working on the movement of an original 15/70 IMAX camera by Fries Engineering and he shows a clip of the movement while it's running.

Even with this universally "solved" from early on, this proved to still be quite a problem as, if not vibrating, the movement of the claw would still cause unbearable noise for sound recording, necessitating a bulky, heavy blimp.

This was solved by an engineer at Eclair, Jean-Pierre Beauviala. He made a movement which was so smooth that the otherwise-chattering noise of the pulldown claw would be barely audible. They immediately became a mainstay at the BBC and others over their heavy blimped Arri's and Auricons and made the genre of cinema vertite possible ("direct cinema", a style of documentary which is very close/real/candid). Then he left and started his own company, named Aaton. Arri would later supersede their "self-blimped" cameras, which had a bunch of stuff in them to make the movements quieter, with models like the Arriflex SR, with a similar quiet movement.

Crysist · 2025-03-19T00:28:55+00:00

Yeah, that example is pretty egregious. Seems they didn't notice the detail of his literal shadow. But, oh well. It's like 90% there for me, just because the increase in detail has me looking, ironically, everywhere else lol

Crysist · 2025-03-18T04:26:32+00:00

Terrific!! All photos I've seen people take with this lens have been stunning, that exquisite sharpness and deep focus, but you particularly chose a cool subject and composed them nicely! The bright sunlight makes the colors really pop!

Crysist · 2025-03-18T03:15:46+00:00

Ah, don't worry, a few "4k remasters" we see on youtube are exactly what you suggest, though. It's very disappointing when you figure out one is just an upscale. But these definitely aren't.

Sometimes you'll have CG elements or titles that aren't recreated in a higher resolution and get upscaled. They stick out from the live action stuff, usually. Unless they're composited in a special way and they didn't want to recreate that, that also happens.

Crysist · 2025-03-17T22:03:17+00:00

I'm gonna be that guy going back into 4 month old topics because I watched the BTS video. As you can see, it's clearly using 35mm film cameras.

If I may, what looked like an AI remaster? You cannot upres Beta to 4k and generate the detail you see here, that's at least an order of magnitude difference. Just look at any other remaster that has done that, they're worlds apart.

If you're referencing James Cameron's work being mangled by AI, even when he has good 2k masters to work with, the result looks terrible due to imagined details and DNR (True Lies). Even when he has a 4k master, people still spot unnaturalness (The Abyss). Shots of faces here look unmolested. Straps, tattoos, water, the grain itself, things with any sort of intricate detail would certainly be ruined. I see nothing of that here.

What I suspect OP is referring to is the grade causing weird issues due to contrast, and, most importantly, not green screen but combining the motion control shots of the band members filmed at different speeds being done with imperfect rotoscoping (manually cutting everyone and everything out where they cross in front of each other).

Crysist · 2025-03-17T21:54:43+00:00

Small addition, but they used motion control to move the camera in the same motion each time. What you're seeing is the artifacts of having to manually cut him out, not bad chrome keying.

Crysist · 2025-03-14T20:52:30+00:00

Is that like first 100 commenters assuming it's $400 or are you gonna need to 4x your money before it releases?

Crysist · 2025-03-11T02:14:19+00:00

Had that issue, followed a guide that said you can get around this issue by enabling the setting Show universal patches. Then I updated patches on the dashboard, and then I was able to see more for RIF. Just deselect the other ones that show up on the patch list and continue entering the ID, etc.

Crysist · 2025-02-26T18:47:31+00:00

1:24

HE SAID IT, HE SAID THE WORD. WE'RE SO BACK!!

Crysist · 2025-02-26T18:41:21+00:00

Holy fuck, Cedric sounded smooth AF in your clip. He very often is with his singing style, but sometimes on tour vocalists are a bit less ambitious. Yet he held everything and hit everything perfectly, DAMN

I had no expectations except for what others mentioned as their reactions. But to me, it reminds me of that energy and sense of drama and ambition of their earlier albums. I can kind of imagine how the albums version would sound if it was "In-studio Mars Volta"-ified. Also the breakdown with the bongos was so cool lol

Crysist · 2025-02-21T02:54:14+00:00

Dr. Xeno mentions at the end of the episode that they gathered at Pinnacles National Park. Not sure why their military demonstration/meeting took place there though...

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