Hey everyone, I am trying to model a film roll / filmstrip, similar to this:
I started by following the instructions in this thread: How to draw a roll of tape, and I have created a model like this:
Now I am not sure how can I create the "holes" on the top and bottom of the curved surface.
Any input provided would be greatly appreciated!
Hey Paul,
Thanks for your quick response! Would it be possible to get your SLDPRT file? I am not sure which plane I should place the extruded cut on.
..attached above
Hey Paul,
Thanks for attaching it! It really helped me understand the way you created the model. Really appreciate your help!
..no problem..good luck
It is a digital era I doubt the importance of film roll / film strip.
Maha Nadarasa wrote:
It is a digital era I doubt the importance of film roll / film strip.
Alright then Maha. Show us your SolidWorks model of Digital...
Rick Becker wrote:
Maha Nadarasa wrote:
It is a digital era I doubt the importance of film roll / film strip.
You can notice above it is only confine to flim roll/strip nothing else.
As others have said, there are the filmmakers such as Nolan and Tarantino who shoot exclusively on film, but there are others who choose film to suit certain needs or aesthetic choices: Scorsese shoots a mixture of film and digital for certain projects [such as Silence (2016)], and Darren Aronofsky’s Mother! (2017) was shot on 16mm film.
Why still shoot on film? A few reasons;
Film technology is 130 years old. That’s 130 years of research and development, chemical science, colour science, infrastructure, and so on. Digital cinema is only really ~35 years old, and only in the last ~20 years have major Hollywood movies used digital cinema cameras [I believe Attack of the Clones (2002) was the first movie shot entirely digitally]. Colour science is particularly important when comparing film to digital. Movies shot on film can look gorgeous straight out of the camera, while digital video requires much more computer colour correction in post-production — which raises costs.
Many older filmmakers and cinematographers are more familiar with film. They know how to get the best out of film, so that’s why they still choose it.
Film changes the dynamic of being on set. Each film magazine holds about ~10 minutes of film, and after all the film is used, it takes some time to re-load the camera. Usually in this down-time many of the crew and actors take a short break away from set, have a smoke, sit down for a bit, whatever. With digital, you can shoot for as long as you want — continuously shooting for like 45 minutes without any breaks, just the director telling the actors “do it again” or “try it like this”, etc. Actors need breaks. Robert Downey Jr. famously left jars of his own piss around the movie set when David Fincher didn’t give him enough breaks.
Film cameras still offer the best, most reliable slow-mo over digital cameras. You’d think people like Michael Bay would shoot exclusively on digital, but in truth he still uses high-speed film cameras for certain slow-mo shots. High-speed film cameras don’t over-heat like digital, dust doesn’t make them shut down, and you can get better quality footage for cheaper with film.
Film is the superior archive medium. Film has been a set industry standard for over 100 years. You can take any Charlie Chaplin film and play it in the same machine that you play The Matrix. Digital is another story. There are so many different video formats... Betamax, Betacam, XDCAM, U-Matic, VHS, DigiCam, and so on. All different standards, all incompatible with each other. Modern digital cinema is better but still not completely standardised. Even movies which are shot exclusively on digital are transferred to film for archiving. And the digital master files are stored in a box on hard drives and video players which can play it.
Hollywood has special deals with Kodak, which makes it sometimes a cheaper option to shoot on film than on digital.
How do you transfer film to the computer? Using a special machine called a telecine. Essentially a machine which takes a digital photograph of each film frame — frame by frame. As telecine technology improves, we can get better results from film, and from restoring old movies to look better with digital technology.
The modern film workflow looks like this:
Shoot film -> develop film -> scan film in telecine -> edit footage digitally -> export to digital file and/or transfer to film print for screening.
I hope this helps answer some of your questions.
https://www.reddit.com/r/cinematography/comments/ejnuvu/are_movies_still_shot_on_film/
Rick Becker wrote:
Are movies still shot on film?
I have always had this doubt. Are movies still today shot on film? If so, how can they transfer the film into a digital format in order to edit and fix it? Also, why do they choose film over digital?You’d be surprised by how many movies are still shot on film.As others have said, there are the filmmakers such as Nolan and Tarantino who shoot exclusively on film, but there are others who choose film to suit certain needs or aesthetic choices: Scorsese shoots a mixture of film and digital for certain projects [such as Silence (2016)], and Darren Aronofsky’s Mother! (2017) was shot on 16mm film.
Why still shoot on film? A few reasons;
Film technology is 130 years old. That’s 130 years of research and development, chemical science, colour science, infrastructure, and so on. Digital cinema is only really ~35 years old, and only in the last ~20 years have major Hollywood movies used digital cinema cameras [I believe Attack of the Clones (2002) was the first movie shot entirely digitally]. Colour science is particularly important when comparing film to digital. Movies shot on film can look gorgeous straight out of the camera, while digital video requires much more computer colour correction in post-production — which raises costs.
Many older filmmakers and cinematographers are more familiar with film. They know how to get the best out of film, so that’s why they still choose it.
Film changes the dynamic of being on set. Each film magazine holds about ~10 minutes of film, and after all the film is used, it takes some time to re-load the camera. Usually in this down-time many of the crew and actors take a short break away from set, have a smoke, sit down for a bit, whatever. With digital, you can shoot for as long as you want — continuously shooting for like 45 minutes without any breaks, just the director telling the actors “do it again” or “try it like this”, etc. Actors need breaks. Robert Downey Jr. famously left jars of his own piss around the movie set when David Fincher didn’t give him enough breaks.
Film cameras still offer the best, most reliable slow-mo over digital cameras. You’d think people like Michael Bay would shoot exclusively on digital, but in truth he still uses high-speed film cameras for certain slow-mo shots. High-speed film cameras don’t over-heat like digital, dust doesn’t make them shut down, and you can get better quality footage for cheaper with film.
Film is the superior archive medium. Film has been a set industry standard for over 100 years. You can take any Charlie Chaplin film and play it in the same machine that you play The Matrix. Digital is another story. There are so many different video formats... Betamax, Betacam, XDCAM, U-Matic, VHS, DigiCam, and so on. All different standards, all incompatible with each other. Modern digital cinema is better but still not completely standardised. Even movies which are shot exclusively on digital are transferred to film for archiving. And the digital master files are stored in a box on hard drives and video players which can play it.
Hollywood has special deals with Kodak, which makes it sometimes a cheaper option to shoot on film than on digital.
How do you transfer film to the computer? Using a special machine called a telecine. Essentially a machine which takes a digital photograph of each film frame — frame by frame. As telecine technology improves, we can get better results from film, and from restoring old movies to look better with digital technology.
The modern film workflow looks like this:
Shoot film -> develop film -> scan film in telecine -> edit footage digitally -> export to digital file and/or transfer to film print for screening.
I hope this helps answer some of your questions.
https://www.reddit.com/r/cinematography/comments/ejnuvu/are_movies_still_shot_on_film/
..for the past ~3 yrs my cousin has been slowly converting his parents 8mm film/movies (~25 yrs of events)
..seeing them and others 30-55 yrs ago in digital format... both BW and Color is so kewl!... and yes, the color conversion was the biggest issue/challenge because of time/cost...
Rick Becker wrote:
Maha Nadarasa wrote:
It is a digital era I doubt the importance of film roll / film strip.
Alright then Maha. Show us your SolidWorks model of Digital...
