Re: [Frameworks] Repair for CP16 cameras

[Isaac Brooks]

Bernie O’Doherty / Super 16 Inc does. Located in NY State. IB

On Sun, Oct 25, 2020 at 8:25 PM Christopher Ball  wrote:

> Does anyone know of any repair or maintenance provider for CP16 cameras.
> I am asking for someone in Vancouver, so within Canada would be great, but
> US also.
>
> Christopher
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Arri S Tech Question

[Isaac Brooks]

Yeah I was just curious. The hard front with the single mount is what I
asked him about - I had access some lenses in PL at the time. I often use a
set of primes in b-mount when I can on my 16S, happily. That said I don’t
think its that unreasonable a prospect. IB

On Wed, May 27, 2020 at 11:00 PM Jeff Kreines  wrote:

> It would likely require a hard front with one mount.
>
> But why do it?  PL mount lenses are pricey, and there’s a lot of good
> glass in Arri Mount. Besides, the 16S isn’t Super 16, so you are putting a
> lot of money into a camera that would be hard to sell. (If that matters to
> you.)
>
> Converting a 16S to S16 is difficult. I’d be wary of most repair people
> who claim they can do it.
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> On May 27, 2020, at 10:53 PM, Isaac Brooks 
> wrote:
>
> 
>
> Jeff & Co,
>
> I’m sorry for the aside, but do you know of a technician that could put a
> PL hard front on an Arri 16S? Asked Les Bosher once and he said he didn’t
> offer it as an option. Thank you!
>
> Isaac
>
> On Wed, May 27, 2020 at 10:05 PM Jeff Kreines  wrote:
>
>> I hate to disagree with Scott.
>>
>> First, I assume your camera has a standard or Bayonet Arri mount, not PL.
>>
>> Arri Mount has a flange focal distance of 52mm. Olympus has a FFD of
>> 46mm. That means a lens can’t focus to infinity, tho it could be used as a
>> macro. Zooms will be somewhat disastrous as focus won’t hold through the
>> zoom range.
>>
>> If it were the other way — using the Olympus lens on, say, a C mount
>> camera, there’s plenty of room — C Mount is 17.526.
>>
>>
>>
>> Jeff Kreines
>> Kinetta
>> j...@kinetta.com
>> kinetta.com
>>
>> Sent from iPhone.
>>
>> > On May 27, 2020, at 9:02 PM, Dominic Angerame <
>> dominic.anger...@gmail.com> wrote:
>> >
>> > Yeah thanks Scott was able to get a battery from B that works just
>> fine, very portable….Power Star 1223 12v 2.3AH also runs my EL.
>> >
>> > d
>> >
>> >> On May 27, 2020, at 7:00 PM, Scott Dorsey  wrote:
>> >>
>> >> You could probably get an M42-to-PL adaptor and then an Olympus-to-M42
>> >> adaptor and screw them together if you really are married to that
>> >> configuration.  I wouldn't try it with a zoom, though... every time you
>> >> add an adaptor you're adding more error to your backfocus distance.
>> >> --scott
>> >> ___
>> >> FrameWorks mailing list
>> >> FrameWorks@jonasmekasfilms.com
>> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
>> >
>> > ___
>> > FrameWorks mailing list
>> > FrameWorks@jonasmekasfilms.com
>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Arri S Tech Question

[Isaac Brooks]

Jeff & Co,

I’m sorry for the aside, but do you know of a technician that could put a
PL hard front on an Arri 16S? Asked Les Bosher once and he said he didn’t
offer it as an option. Thank you!

Isaac

On Wed, May 27, 2020 at 10:05 PM Jeff Kreines  wrote:

> I hate to disagree with Scott.
>
> First, I assume your camera has a standard or Bayonet Arri mount, not PL.
>
> Arri Mount has a flange focal distance of 52mm. Olympus has a FFD of 46mm.
> That means a lens can’t focus to infinity, tho it could be used as a macro.
> Zooms will be somewhat disastrous as focus won’t hold through the zoom
> range.
>
> If it were the other way — using the Olympus lens on, say, a C mount
> camera, there’s plenty of room — C Mount is 17.526.
>
>
>
> Jeff Kreines
> Kinetta
> j...@kinetta.com
> kinetta.com
>
> Sent from iPhone.
>
> > On May 27, 2020, at 9:02 PM, Dominic Angerame <
> dominic.anger...@gmail.com> wrote:
> >
> > Yeah thanks Scott was able to get a battery from B that works just
> fine, very portable….Power Star 1223 12v 2.3AH also runs my EL.
> >
> > d
> >
> >> On May 27, 2020, at 7:00 PM, Scott Dorsey  wrote:
> >>
> >> You could probably get an M42-to-PL adaptor and then an Olympus-to-M42
> >> adaptor and screw them together if you really are married to that
> >> configuration.  I wouldn't try it with a zoom, though... every time you
> >> add an adaptor you're adding more error to your backfocus distance.
> >> --scott
> >> ___
> >> FrameWorks mailing list
> >> FrameWorks@jonasmekasfilms.com
> >> https://mailman-mail5.webfaction.com/listinfo/frameworks
> >
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Free junk film

[Isaac Brooks]

Scott I can pay for media shipping unless it is an insanely big box.
Thanks, IB

On Thu, Apr 30, 2020 at 12:07 PM Scott Dorsey  wrote:

>
> I have here a box that mostly contains interviews on original reversal film
> with magfilm sound tracks on each.  Lots of people talking about UFOs and
> various silliness but some documentary shots of various sorts.  Also has
> some special effects shots... mattes that don't match up with anything,
> etc.
>
> The first person willing to pay media mail shipping gets it.  I have no
> rights to any of the interviews so I'd kind of prefer it goes to a school
> or something that is going to use it for editing practice.  But once it is
> is out of my hands it becomes your problem.
> --scott
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] spools, reels and rolls

[Isaac Brooks]

Commonly, in working terminology, “rolls” tend to imply factory
sealed/originated raw stock, which is yet to be or recently shot (including
daylight camera spools, which sometimes do exceed 100’). Generally. Super 8
could be an exception but I still say roll.

Reels usually imply projection. “Rolled” film certainly exists after
processing and can be stored on a film core in a can / box but require
reels for actual projection.

Definitely accurate that rolled film could apply to film as prepped for
viewing on a flatbed Viewing system(Steenbeck/KEM or similar), which
typically does not require reels.

“Rolls” predominantly describe camera-ready entities I think due to their
minimally prepared state (no “reel” as such, but again many times actually
on a spool in 100’ lengths). Fresh film wound onto a 2” core minimizes the
contact that the raw stock has with abrasive surfaces and decreases
mechanical/camera noise in sync cameras where that issue can matter quite a
bit.

 IB

On Thu, Apr 23, 2020 at 3:09 PM Dave Tetzlaff  wrote:

> I would say that “roll” refers to the film itself, “spool” and “reel”
> refer to objects the film is wound onto, each of which have sides — as
> opposed to “cores” which do not — and are sized by their capacity, rather
> than diameter as is the case with audiotape reels. E.g. a standard small
> audio reel is 5”, and standard small film reel 400’. While “spool" and
> “reel” are sometimes used interchangeably, I would say a spool generally
> denotes both a smaller object, and one on which camera original is wound,
> while a reel contains a finished copy for projection. Film reel generally
> have open sides while spools have solid sides.
>
> Examples:
> 16mm
>
> A 100’ load for a Bolex 16mm comes on a solid metal daylight spool, and is
> wound onto another 100’ daylight spool form take-up.
>
> The lab might send the footage back on a 100’ plastic spool that’s no good
> for in-camera use because it’s translucent.
>
> When you edit your workprint, the film is wound between cores, either on a
> flatbed, or, if you’re on an upright bench with a syncronizer, the cores
> are mounted into split-reels. (I’ve never heard them called split-spools,
> but YMMV)
>
> After you send the materials for your edited short film off to the lab,
> the answer print comes back on a 400’ (e.g.) projection reel.
>
> Super 8
>
> A 50’ load comes in a cartridge. After you exposeit, you send it to the
> lab and they send the film back on a white plastic 50’ spool. You thread
> that through your projector onto a 200’ take-up reel.
>
> IDK about 35mm
>
> > Is there a difference in standard measurements of lengths of film on
> spools, reels and rolls?
> >
> > A roll of film is for shorter lengths while a reel is for longer ones?
> for example, 100 foot roll and 1000 foot reel
> >
> > Can you say a spool of film - or have i confused things? Are these terms
> different for super 8, 16 and 35mm?
> >
> > Any help in untangling and defining this will be much appreciated!
> >
> >
> >
> >
> > ___
> > FrameWorks mailing list
> > FrameWorks@jonasmekasfilms.com
> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Looking to buy Bolex or similar

[Isaac Brooks]

Dieter does sell Rex 5 cameras.

Some well known 16mm camera retailers have reduced their prices for sync
cameras and less feature-rich MOS camera alternatives to the Bolex.

The Bolex’s overall level of quality for the money and it’s spring drive
have made it seemingly less prone to the up/down of that market. And
generally, compared to the DSLR boom 10 years ago when there was a variety
of that stuff being sold off all the time, the format has been earning a
higher price lately. Shops that can service reliably and that have
desirable examples of H16 cameras have been priced pretty high as far as I
have seen.


IB

On Sun, Apr 12, 2020 at 9:56 PM Eric Theise  wrote:

> Jason Halprin, didn't you tell me a few years ago that Dieter (aka
> http://www.bolexusa.com/) was selling reconditioned Rex 5s? Or was that
> only for the academic market?
>
>
> On Sun, Apr 12, 2020 at 7:22 PM Eric Theise  wrote:
>
>> Forgive me for not looking but have these equipment houses ever adjusted
>> their prices or are they still acting as if  film is the only game in town?
>> I'm thinking of the prices I used to see for gear up on the second floor at
>> Adolph Gasser in San Francisco; already seemed absurdly out of touch in the
>> mid-1990s. Or do they perform maintenance and repair of such quality that
>> the prices are justified?
>>
>>
>> On Sun, Apr 12, 2020 at 7:13 PM Jeff Kreines  wrote:
>>
>>> I think you mean DuAll. DuArt was a film lab famous for losing films in
>>> their vaults.
>>>
>>> DuAll is recommended and in NYC.
>>>
>>> Jeff Kreines
>>> Kinetta
>>> j...@kinetta.com
>>> kinetta.com
>>>
>>> Sent from iPhone.
>>>
>>> > On Apr 12, 2020, at 7:29 PM, Scott Dorsey  wrote:
>>> >
>>> > You tried DuArt and B's used division?
>>> > --scott
>>> > ___
>>> > FrameWorks mailing list
>>> > FrameWorks@jonasmekasfilms.com
>>> > https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>> ___
>>> FrameWorks mailing list
>>> FrameWorks@jonasmekasfilms.com
>>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Fixed Pattern Noise in 2K Scan

[Isaac Brooks]

Hi -

Can anyone advise on eradicating or reducing fixed pattern noise in a 2K
scan that I have of some 16mm selects? The original is 7285, and during the
darker shots - especially when the camera is moving - the vertical white
lines are noticeable. The file is a ProRes .

If rescanning is it, then please let me know.

Many thanks in advance,

Isaac
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Fwd: [Labos] Newly Available: Eastman 7363 Single Perf Super 16

[Isaac Brooks]

To Zach -

Interesting to see this info.

I have yet to shoot with this new batch, and the emulsion type 292 is not
something I can speak to regarding consistency with the older stuff. That
said, I would assume an ASA of around 24 would apply to daylight, if you
are developing as negative. Reversal processing and color temp will inform
that number of course. But I expose the old 7363 at 25 under daylight prior
to negative processing in D-19 (also near extinct). I never much liked
using D-76 for this film and it's been awhile since I tried it - although I
agree with you that there are many processing kits / developers that will
do 7363 justice once you have it down.

How are you washing it? Are you blow drying it at all? Just curious.

Isaac


On Wed, Jun 20, 2018 at 3:42 PM Chris G  wrote:

> Hey,
>
> It’s poly-base now? Kind of lame. Can’t speak to any of Zach’s questions
> but I asked the Kodak rep here in Germany about acquiring this and he
> didn’t know or couldn’t find anything out. Does anyone know if Kodak still
> has any? If so, does anyone have contact (phone or email please)- I
> couldn’t find any info for the person mentioned before. Has anyone been
> able to get any in Europe? Are they only selling it as 5x400’ cans?
>
> Thanks,
> Chris
>
> On Jun 20, 2018, at 16:11, Zach Hart  wrote:
>
> Hey Roger,
>
> Thanks so much for the update. I went ahead and bought quite a bit of the
> stock. I used to shoot 7363 as camera film until it got discontinued a
> couple years back.
>
> I'm wondering if you or anyone have shot the new stuff? I did a small test
> rating (as I used to) at ASA 12. I shot under a tungsten balanced light and
> developed in D76 at 80 degrees fro 5 minutes.
>
> I know D76 is not generally what one would use for developing this stock,
> but in my previous experience with this film I got a good exposure with any
> developer. The film came out fine, but there is a lot of chemical remnant
> and it is very very dirty and watermarked.
> This is all strange since my experience with Polyester stock is that it
> washes and drys very well with or without photo-flo.
>
> Anyways, anyone know if the color change from yellow to gray is due to the
> polyester base? It used to be acetate. And please let me know your own
> experience with developing/exposing this new batch because it seems to be a
> bit of a different emulsion than I remember.
> I contacted Kodak and they told me it is emulsion 292 (I have no idea what
> this means). Anyone know if that's what it used to be? Kodak also mentioned
> that it should be rated at ASA 20-24. I'm assuming that's for tungsten
> light?
>
> Here's a sample frame of my recent test. The chemical remnant is
> definitely more prominent as a negative, but I still want to eliminate it
> if it's possible
> 
>
> best,
> Zach
>
> On Mon, May 28, 2018 at 10:18 AM, Beebe, Roger W. 
> wrote:
>
>> All,
>>
>> I realized that I only saw this on the film labs mailing list & thought
>> some (many?) of you might be interested.  Get it while it lasts…
>>
>> FYI,
>> Roger
>>
>> Begin forwarded message:
>>
>> *From: *Elena Rossi-Snook 
>> *Subject: **[Labos] Newly Available: Eastman 7363 Single Perf Super 16*
>> *Date: *May 23, 2018 at 10:47:06 AM EDT
>> *To: *"fo...@filmlabs.org" 
>> *Reply-To: *forum labo 
>>
>> Hello!
>>
>> This just in from Kodak Technical Director Bev Pasterczyk: KODAK is
>> pleased to announce the limited release of EASTMAN High-Contrast Positive
>> Film II 7363 in single perf Super 16 format. Product will be sold until
>> inventory is depleted. You can use this for black leader if the film is
>> exposed and processed as Dmax.
>>
>> If you don't know your regional Kodak rep, you can always contact Bev
>> directly [in L.A.]
>>
>> *Elena Rossi-Snook *| *Chair*
>> *AMIA Film Advocacy Task Force*
>>
>>
>>
>> ___
>> Forum mailing list
>> fo...@filmlabs.org
>> https://listes.domainepublic.net/listinfo/forum
>>
>>
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Kodak 7363 - exposing and developing

[Isaac Brooks]

For the D19 treatment/negative I've rated it at a 25 ASA with consistent
results. If you have sealed D19, use it with that film.

Isaac

On Fri, Apr 20, 2018 at 5:30 PM Colin Brant  wrote:

> Dear Frameworks,
>
> I am having trouble finding consensus on how to shoot and process Kodak's
> now discontinued 7363 hi-con stock. I bought a bunch from the last run they
> did (2015 I believe) and am now starting to shoot it. I know that there
> have been threads that address this in the past (one even came up in a
> google search) and that this issue, or similar ones, are touched on in
> books like Kathryn Ramey's textbook -- but even so, I'm still left
> wondering how to rate it, and how to leave it in developer.
>
> My desire: shoot 7363 in daylight, develope in Lomo tank without push/pull
> in D19 as B Neg.
>
> In the first test I did, it was shot at 6ASA and developed for about 6min
> and this resulted in a mostly overexposed negative. Also, I'm most familiar
> with D19 so am not sure if there might be other equivalent developers
> requiring the same timing that could give me an idea of where to begin.
>
> Any insight y'all may have would be greatly appreciated!
> cb
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Bolex 16mm camera repair contacts needed!

[Isaac Brooks]

ProCam / Bolex USA has always done consistent, top shelf Bolex work. Not
the cheapest.

Bernie O’Doherty at Suoer 16 Inc is great. Both contacts below. Both work
consistently with higher ed programs.

http://www.bolexusa.com/
http://www.super16inc.com/page4.html

On Thu, Oct 26, 2017 at 1:27 PM Lyndsay Bloom 
wrote:

> I recommend Abdul in NYC. He repaired the Bolex cameras at Cooper Union
> when I was a student from 2002-2006, and I've worked with him
> since. Hopefully this is still his phone number: 917-204-6755.
>
> Good luck,
> Lyndsay Bloom
>
> On Thu, Oct 26, 2017 at 11:18 AM, Ruth Hayes 
> wrote:
>
>> Greetings all,
>>
>> If you know of technicians qualified to maintain and repair Bolex 16mm
>> cameras, would you please respond with that info?  We have about a dozen of
>> these beauties here at Evergreen and we need help keeping them in service.
>> It’s a critical part of our media curriculum.
>>
>> Thank you!
>>
>> Ruth Hayes
>>
>> Ruth Hayes
>> Member of the Faculty, Animation
>> The Evergreen State College
>> She/her pronouns
>>
>> Blogs.evergreen.edu/hayesr
>>
>> http://www.randommotion.com
>>
>>
>>
>> ___
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com
>> https://mailman-mail5.webfaction.com/listinfo/frameworks
>>
>>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Shooting Super 16 but composing for regular

[Isaac Brooks]

Hi,

If you do use an Aaton XTR there's the chance there will be a glass
in there for both 16/Super 16. You can use it for either / both and
everything just has to be centered.

Any good rental house should recenter it for you with some prior notice,
and they will likely have more than one ground glass, too. It would be good
to tell them your plans and have them do the switch for you, depending on
your experience. Centering the lens can be a pain if you've never done it
before. They should do it within your normal rental costs, too.

It's worth mentioning too that the Aaton, for example, is permanently
endowed with Super 16 dimensions. So, through swapping the ground glass,
and recentering the lens mount, you're nudging the imaging capabilities by
the millimeter in either direction, and even shooting regular 16mm will
yield a camera original that looks identical to super 16, with image in the
soundtrack area, only it will be centered for regular, and should appear
normal when projected or transferred, or w/e. You probably already know
this, as it's really what makes your idea technically possible, but it's
worth establishing clearly.

Get the XTR Prod if possible, as they're cool and really more of a treat to
rent (when in good condition) than an Arri. Make sure the special tools it
comes with are stored  in the carry handle of the camera, as they may be
essential in a pinch. Let us know what happens. IB

On Saturday, October 10, 2015, Scott Dorsey  wrote:

> If you have your choice of cameras use a camera with replaceable
> finders, and use the 16mm finder with the super-16mm gate.
>
> There is already a plague of cameras out there which have had the gates
> cut out without having the lens recentered or the finder changed, as
> part of a poorly improvised super-16 modification.  You could use one of
> those as well, there are certainly plenty out there.
> --scott
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com 
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] 16mm film Guillotine Splicer

[Isaac Brooks]

Dwight Cody used to service them. Maybe still.

http://www.cutfilm.com

IB

On Monday, August 10, 2015, Francisco Torres fjtorre...@gmail.com wrote:

 used to be that most machine shops could do it for cheap

 2015-08-10 14:16 GMT-04:00 JB Mabe jb.m...@gmail.com
 javascript:_e(%7B%7D,'cvml','jb.m...@gmail.com');:

 Know any hunters, whittlers, or chefs? I had a co-worker who would
 whittle during meetings work on mine and they came back dangerously
 sharp.

 On Mon, Aug 10, 2015 at 1:03 PM, Josh Weissbach joshweissb...@gmail.com
 javascript:_e(%7B%7D,'cvml','joshweissb...@gmail.com'); wrote:
  Hey Frameworks - I have recently purchased a 16mm film guillotine
 splicer
  and I am looking to either get the blades sharpened or replaced. Does
 anyone
  know a business or person who can do this for me at a relatively
 economical
  price? Thanks.
 
  Best,
 
  Josh Weissbach
 
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com
 javascript:_e(%7B%7D,'cvml','FrameWorks@jonasmekasfilms.com');
  https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 javascript:_e(%7B%7D,'cvml','FrameWorks@jonasmekasfilms.com');
 https://mailman-mail5.webfaction.com/listinfo/frameworks



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Timelapse and camera shutter/mirror jam

[Isaac Brooks]

Hi,

Sounds like the camera may need the mirror movement serviced or repaired. I
am no authority on digital / still timelapse either, However, we have a few
cameras (Canons) where I work that are used for single frame purposes
exclusively, and that activity really flattens them. It's only a matter of
time before we have to send them in.

Can't recall if your error message is the most frequently see one, but we
do get the same type of thing were it says to restart etc. Even if the
camera comes back briefly it's usually a sign that something mechanical has
worn and that it needs attention.

How many of these 4500 exposure sequences gave you completed? If it were
just a few I'd say the problem had arrived more quickly than usual, but
once you get into the tens of thousands it's like having a still camera
that's had heavy use for awhile. Leaving the camera turned on for hours on
end may not be helping either.

For us, it's at least $150 to have it looked at and fixed up. Canon's US
service centers, to my knlowedge, get all of our repair business, and
that's always worked out. Should be something pretty substantial over there
for repairing their stuff, right? I hope it's comparably priced.

Good luck!

Isaac

On Sunday, May 17, 2015, Andrew Connor s0789...@exseed.ed.ac.uk
javascript:_e(%7B%7D,'cvml','s0789...@exseed.ed.ac.uk'); wrote:

  Hi Roger,

 Thanks for the advice - I wondered about the intervalometer, but I've also
 checked the camera by taking a lot of shots in quick succession, and it's
 still happening when I do that, so I think it's definitely the camera
 that's the issue.

 Thanks,

 Andy

 On 17/05/2015 13:09, Roger D. Wilson wrote:

  Hi Andrew,

  I do not have a lot of experience with the camera you are using but I do
 work a lot with time lapse using film. I'm just wondering you say you are
 using an intervalometer to trigger the shutter. Is this intervalometer
 separate unit from the camera? Usually when I have problems with time lapse
 it's not the camera but the intervalometer acting up.

  Sorry can't be much more help then this.

  Roger

 Sent from Outlook http://taps.io/outlookmobile

  _
 From: Andrew Connor s0789...@exseed.ed.ac.uk
 Sent: Sunday, May 17, 2015 5:19 AM
 Subject: [Frameworks] Timelapse and camera shutter/mirror jam
 To: frameworks@jonasmekasfilms.com


  Hi,.

 Just wondered if anyone else has been doing timelapse sequences - I've
 started using them in my animations, but have just hit a bit of a problem.

 I'm using a Canon 450D (equivalent to a Rebel XSi in the US), using
 manual settings for f-stop, ISO and shutter speeds (1/15)  to fit the
 light conditions, and triggering with an intervalometer at 1 second or 2
 second intervals. I usually need quite long sequences for my work, so
 it's not unusual for me to take up to 4,500 shots in one sequence.

 For some reason, the camera jams after between 5 and 40 shots,
 displaying an Err. 99 message (a generic error - it just advises you to
 turn the camera off and on again!), but when I've done this with the
 lens off I can see that the mirror is sticking about halfway up as it
 lifts to expose the sensor and shutter mechanism.

 Has anyone else had this problem? Is there an easy (and cheap) way to
 fix it, or is it just the result of wear and tear by taking lots of
 shots in long continuous sequences?

 Thanks,

 Andy

 ---
 This email has been checked for viruses by Avast antivirus software.
 http://www.avast.com


 --
 The University of Edinburgh is a charitable body, registered in
 Scotland, with registration number SC005336.

 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks





 --
   [image: Avast logo] http://www.avast.com/

 This email has been checked for viruses by Avast antivirus software.
 www.avast.com


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Lomo UPB-1 processing tank parts

[Isaac Brooks]

This is very cool, thanks for sharing. I'm eager to find a solution for the
Lomo's hose, another component that I think is very weak, even on newer
tanks. Have you ever replaced one of those? Not a 3D solution in that
sense, I know. Have heard of a few people having them produced in small
batches but I know nothing of the specs or anyone's success. Thanks!

Isaac Brooks
UWM Film Tech Office

On Friday, March 13, 2015, Paul Dickinson pdick...@uic.edu wrote:

 Is anybody else on this list using the Lomo UPB-1 (50/100') 8/16mm
 processing tank?

 The Lomo tank is a great tool for DIY filmmakers, but the materials it is
 constructed from are too brittle, and replacement parts are impossible to
 get without having to purchase an entire tank. The lower spindle is
 especially vulnerable. In our program, we've now had a couple of them
 break. The first time it happened, we were fortunate enough to have
 somebody on staff with some formidable machining skills. The piece he
 fabricated only made the tank capable of processing 50' loads, but we had 2
 tanks, so it was no problem. Shortly thereafter, the spindle on the other
 tank broke. We had since lost our machinist, but gained someone with 3D
 modeling skills, who created a 3D model of the part. So now we can print a
 new part when we need it. And now so can you! The model is available on
 Thingiverse at:

 http://www.thingiverse.com/thing:722187For free.

 And if you share it, please credit the design to the UIC Moving Image and
 New Media programs.

 One caveat about this part: although it is made to the dimensions of the
 original piece, the internal threads in the lower spiral can be worn away
 at the top because the plastic is brittle. In this case, the bolt can be
 too short to engage the threads. In the near future we will be uploading a
 revised model to account for this. If the internal threads on the lower
 spiral on your tank are worn, you may want to wait.

 3D printed replacement parts can breathe new life into tanks that have met
 with tragedy in the darkroom. It's my hope that sharing this part will help
 to generate interest in an open-source network of Lomo tank users. Maybe
 there are some other Frameworkers out there with 3D modeling resources at
 their disposal, who are willing to create other replacement parts?

 Paul Dickinson
 Lab Specialist, Moving Image
 UIC School of Art and Art History
 University of Illinois-Chicago
 312-996-0767


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Film cameras latest models

[Isaac Brooks]

1999. Their XTR Prod was still enjoying updates around then too.

On Sunday, January 18, 2015, Beebe, Roger W. beebe...@osu.edu wrote:

  When was the Aaton A-Minima introduced?  Early 2000s?  Late 1990s?
 That’s the most recent big film camera launch I remember.  But doesn’t it
 seem like there are kickstarters for new film cameras all the time still?
 Wasn’t there some Scandanavian s8 camera just a few years ago (that was
 going to be outrageously expensive)?  I think it’d be hard to come up with
 a definitive list of those smaller products.  I tired to look at the
 super8wiki to see if there was a way to search the cameras by model year,
 but it doesn’t seem especially easy to do.

  2 cents,
 R.

  On Jan 18, 2015, at 8:55 AM, Pablo Marin pamari...@yahoo.com
 javascript:_e(%7B%7D,'cvml','pamari...@yahoo.com'); wrote:

   Hi all,

  Just a quick question, inspired by the recent introduction of the Logmar
 S-8 camera and its statement about being the first new Super 8 camera to
 hit the market in 30 years.

  Does anybody knows besides this Logmar machine when was the last film
 camera model introduced to the market? I'm sure it would have to be a
 35mm/70mm or maybe Super 16? Early 2000s?

  Thanks a lot!
 Pablo.


  ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 javascript:_e(%7B%7D,'cvml','FrameWorks@jonasmekasfilms.com');
 https://mailman-mail5.webfaction.com/listinfo/frameworks



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Nagra service info - WTB Nagra Shoulder Strap

[Isaac Brooks]

Hi Frameworkers,

I recently inquired about Nagra IV series repair / service in North America
here on FW. Thought I'd share what was found subsequently.

Dan Dugen does not service Nagra tape machines anymore. Not sure whether he
has parts to sell, but a colleague of his confirmed that he is not
currently doing that work. A few folks mentioned him on here when I
originally asked about this, so I thought I'd share his status. He
specialized for a long, long time and is listed in some Nagra manuals /
service lit, so I found this info pertinent.

Trew Audio does offer service via their LA service center. Forrest Forbes
is doing that work. He heads their equipment service dept I think. They
have parts. Tech labor is $95 an hour. Most cleaning / lubing / tensioning
amounts to about 5 hrs and a bit over, without replacement of major
things like tape heads, meters, motor etc. I'd be interested to know
whether anyone here has sent a machine to them- price, turnaround, quality
of service, etc.

I have one additional inquiry- I'm looking for an original strap to fit a
Nagra IV series recorder, via the little posts on the forward left/right
sections of the side panels. If anyone has one in usable shape they want to
lose for a reasonable price, please message me. Thank you.

Isaac
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Arri SR J-Bar - WTB

[Isaac Brooks]

Hi,

I'm looking to source a used and reasonably priced Arri SR J-bar, to be
installed on an SRII. I guess I need as much of the assembly as possible,
excluding the eyepiece/diopter, which I have.

Anyone with a J-bar or knowledge of a shop/rental house that may have some
spare SR stuff, please let me know. I've already tried Visual Products in
OH.

Thanks in advance,

Isaac Brooks
617-460-4165
Milwaukee, WI
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Bolex EL Power question

[Isaac Brooks]

How old is the Bescor belt? It may need recelling. I know Bescor makes
those belts that have a builtin output cable, which is usually kindof
skimpy compared to a four pin xlr type cable, so it could be cable damage.

NiCad batteries sometimes indicate a full charge and then suffer from lack
of power if they are methodically discharged. Those batteries are best not
used only a little bit at a time (100ft roll, for instace) and then fully
recharged. They begin to develope very short charge life when that happens.
Not sure what your process is but sometimes a NiCad in decent shape can
become lazy very quickly from this.

Best test is to try your camera with another power source to make sure it
isn't the Bolex. Good luck.

Isaac

On Thursday, September 18, 2014, Dominic Angerame 
dominic.anger...@gmail.com wrote:

 I own a Bolex EL and having battery problems. I have a bescor LCR portable
 rechargeable batter 12 volts 3.4. It charges up fine and the camera
 indicates that the battery is charged. However it will not advance nor can
 send power strong enough to transport the camera when loaded wiht a 100 ft
 daylight spool.

 Any advice from someone on the list is appreciated.


 Dominic Angerame

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Bolex EL Power question

[Isaac Brooks]

Ooof. Sorry, I was imagining a battery belt. Sorry, I think my info is bad.

Isaac

On Thursday, September 18, 2014, Isaac Brooks isaacbrook...@gmail.com
wrote:

 How old is the Bescor belt? It may need recelling. I know Bescor makes
 those belts that have a builtin output cable, which is usually kindof
 skimpy compared to a four pin xlr type cable, so it could be cable damage.

 NiCad batteries sometimes indicate a full charge and then suffer from lack
 of power if they are methodically discharged. Those batteries are best not
 used only a little bit at a time (100ft roll, for instace) and then fully
 recharged. They begin to develope very short charge life when that happens.
 Not sure what your process is but sometimes a NiCad in decent shape can
 become lazy very quickly from this.

 Best test is to try your camera with another power source to make sure it
 isn't the Bolex. Good luck.

 Isaac

 On Thursday, September 18, 2014, Dominic Angerame 
 dominic.anger...@gmail.com
 javascript:_e(%7B%7D,'cvml','dominic.anger...@gmail.com'); wrote:

 I own a Bolex EL and having battery problems. I have a bescor LCR
 portable rechargeable batter 12 volts 3.4. It charges up fine and the
 camera indicates that the battery is charged. However it will not advance
 nor can send power strong enough to transport the camera when loaded wiht a
 100 ft daylight spool.

 Any advice from someone on the list is appreciated.


 Dominic Angerame


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

[Frameworks] Arri SB to Super-16mm?

[Isaac Brooks]

Hi Kevin,

I'm my experience, it's fairly impractical to covert the Arri S series -
The theoretical shutter, mount, and gate adjustments make it more or less
the most difficult camera to consider for Super 16. Visual Products in Ohio
developed a conversion process, which supposedly yielded a few successfully
converted cameras, but the examples were selling for thousands, well beyond
what the same camera would cost used. I saw one or two of these on the used
market after initially encountering them on Visual Products' website.
I've never seen footage from one. It's likely that most techs haven't done
it, or would be unwilling to attempt it, and if they did, the labor costs
would be huge and it would mostly likely be at the risk of messing up your
Arri SB.

Bolexes have a great range of application as Super 16 cameras. With decent
lenses and a good condition camera, the quality will be great. Otherwise,
there are other cameras of slightly greater complexity, made by Aaton,
Eclair, or Arri, that are often in Super 16 already or are at least more
easily converted. These cameras are larger sync-capable systems however,
and are heavier, less practical for MOS work, and more expensive to
maintain.

There may be folks who have developed a technique of which I know nothing,
though. I hope so, because I love the S series Arris and they'd be great in
that format.

Bernie O'Doherty at Super 16 Inc converts everything that is readily
convertable. Dieter at ProCam USA does factory-specific Bolex mods. Good
luck,

Isaac

On Monday, August 4, 2014, Kevin Obsatz ke...@videohaiku.com
javascript:_e(%7B%7D,'cvml','ke...@videohaiku.com'); wrote:

 Hello!

 I've heard people talk on this listserv about converting Bolexes (Bolii?)
 to Super-16, and I'm curious if it's possible to do the same to an Arri SB.

 I'm based in Minneapolis, so I guess there are two questions: 1. how much
 would it cost? and 2. who does it in the US?

 Thanks!

 -Kevin O

 www.videohaiku.com
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Lens Technician NYC

[Isaac Brooks]

Hi Philippe,

Duall Camera services most small(er) gauge cameras/systems, I'm assuming
Kern lenses would be within their repertoire. Not sure if there is a
devoted resident lens tech there, but they seem to work on everything.

Maybe Abel Cine? Jeff Marzigliano does their servicing, or oversees the
service dept. Not sure if they shy away from smaller work like that. But he
may know of someone in the city who specializes.

Obviously, you're on a schedule. But, Bernie O'Doherty of Super 16 Inc is
in upstate New York and he will do top quality work at a really competitive
rate. Also Dieter at Procam USA fixed a Switar of mine that had a separated
barrel and the service he did is sooo positively evident even years after.
I know that if your problem requires parts Dieter will most likely have
the genuine stuff and the finesse to really clean the lens up. Turnaround
might not be all that different from a place in NY that has dozens of jobs
backed up.

Good luck,

Isaac

On Sunday, April 20, 2014, Philippe Leonard optical...@gmail.com wrote:

 Any recommendations for a good lens technician in NYC? I have a 10mm
 Switar lens that needs shutter blades attention (they got displaced and
 need to be put back in position). The sooner, the better as I need it for a
 project I'm shooting now.

 Happy Easter!

 Philippe
 Film | Photography | Cinematography | Performance | Visuals
 www.philippe-leonard.com

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] searching for 16mm guillotine splicer

[Isaac Brooks]

Hi Roger,

There are probably some deals to be had on eBay, or via a CML mailing list
inquiry. CML unearths some surprising deals on older analog gear from folks
who are eager to turn in the old for the new.

Dwight Cody sells editing supplies, and I believe he stocks splicers. If
you want something that comes with a quality guarantee, Dwight will
probably offer a competitive deal on a close-to-mint splicer. He
repairs/services them too, when the time comes. Website:
http://www.cutfilm.com/

Happy hunting,

Isaac


On Fri, Feb 21, 2014 at 5:19 PM, Roger Wilson rogerdwil...@sympatico.cawrote:

 Hi folks!

 I am looking to purchase a 16mm guillotine style splicer, if anyone has
 leads I would love to hear about them.

 Thanks everyone!


 Roger D. Wilson
 Film Scientist
 613 324 - 7504
 rogerdwil...@sympatico.ca
 http://www.rogerdwilson.ca

 Without failure you can never achieve success. I have based my process and
 my career as an experimental film artist on this statement; and I welcome
 it as it pushes me forward as an artist to try something different,
 something new.

 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] 16mm telecine?

[Isaac Brooks]

Hi Mariah,

It's been awhile since I have compared their rates, but Cineliscious is in
LA, and they are more than film friendly. Wide variety of services in
transferring film, last time I checked. Supervised sessions may still be
slightly steep, there but they do top shelf work and are very small
gauge/independent friendly. You may know them or have ruled them out
already. Again, it's been awhile, and I'm not sure if they have increased
their rates or not.


Cinelab is not anywhere near LA (New Bedford, MA), but they have worked
really hard to develope their scanning and HD tele services, and they do a
lot of 16mm work. Their rates are competitive, and they too are a
modest outfit that deals with a lot of different projects.

Both places are worth cold calling, as they will each have folks who will
be happy to speak with you, and possibly offer a deal. There are others,
but I have less experience with them. Hope this helps,

Isaac




On Friday, February 21, 2014, mariah garnett mariah.garn...@gmail.com
wrote:

 Hey guys,
 does anyone have any leads on 16mm telecine options that aren't fotokem?
 The place I used to go got rid of all their 16mm gear! and I had a real
 good hookup there that makes the $250/hr fee at fotokem hurt!

 preferably in LA



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] would you send unexposed film by us mail to europe?

[Isaac Brooks]

Moira,

I've received and sent both unexposed and exposed film quite a few times
through the mail, more usually domestically as opposed to overseas, but I
have never once had a problem with either x-rays or handling. I think both
Francisco and Marco are in good practice however, as they're encouraging
you to protect your materials from the inconsistent stuff that happens from
one place to another.

That said, I have had film go through the x ray machines at airport
security a lot, and practically all the film I have received is the mail,
or, I am willing to bet, was mailed at some point. Regarding the service
used, I'd actually trust FedEx over USPS + another postal service ANY day
of the week. Better tracking, better handling, less multiple
carriers, faster, but certainly a bit more $. But not worse in terms of
handling or reliable delivery. Just insure it for the max.

I say perhaps mail some, and bring some with you personally. If anyone's
traveling with you, beg them to bring some too. Bring a dummy can/roll to
show airport people what you are carrying. Also, have a plan to protect
your exposed stock even more, as that's the priceless entity. I'd say
that's your bigger issue actually, unless you'll be processing somewhere
over there. Good luck,

Isaac

On Saturday, February 1, 2014, Marco Poloni mar.pol...@gmail.com wrote:

 i would never ever send unexposed film through the mail. it's against
 all safety rules in filmmaking practice. how would you really know
 it's not going to be exposed to x-rays, even if you're told so by the
 people at the counter? how do they know what the guys at some remote
 airport or facility really do? not to mention mishandling, as
 Francisco points out.
 Marco

 On 31 January 2014 21:12, Francisco Torres 
 fjtorre...@gmail.comjavascript:;
 wrote:
  Maybe by a courier service, never through fedex or HDL I have heard
  horror stories of missing film. X rays may be a minor risk compared to
  misplaced negative.
 
 
  On Fri, Jan 31, 2014 at 3:29 PM, ev petrol 
  epetr...@yahoo.comjavascript:;
 wrote:
 
  hey folks
  wondering if it's safe to use the US postal service (in terms of x-rays
 
  the like) for sending unexposed film from the US to Ireland ...? Any
 advice?
  thanks! Moira
 
  moiratierney.net
  vimeo.com/moiratierney
 
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com javascript:;
  https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com javascript:;
  https://mailman-mail5.webfaction.com/listinfo/frameworks
 



 --

 A brave flat world.


 marco poloni
 usedomer strasse 8
 d - 13355 berlin
 gsm de +49.163.6294080
 gsm ch +41.78.6322028
 skype marcopoloni
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com javascript:;
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] would you send unexposed film by us mail to europe?

[Isaac Brooks]

No, I've never mentioned it. I have always been afraid of the package being
held up due to its uniqueness. Probably a risky idea.

I'll say again, that precautions are justifiable, and that Marco's previous
comment about the overseas scanning is correct when it comes to the mail.
I've often just taken film with me as carry on, as those machines subject
the film to less. But motion picture film is supposedly more prone to harm,
and if you are going through more than one security checkpoint, you may
want to ask them to hand inspect it.


On Saturday, February 1, 2014, Roshanak Elmendorf roshana...@optonline.net
wrote:

 Hi Isaac,
 When you use FedEx do you( is it necessary to) mention unexposed film and
 do you request special handling?

 On Feb 1, 2014, at 10:06 AM, Isaac Brooks 
 isaacbrook...@gmail.comjavascript:_e(%7B%7D,'cvml','isaacbrook...@gmail.com');
 wrote:

 Moira,

 I've received and sent both unexposed and exposed film quite a few times
 through the mail, more usually domestically as opposed to overseas, but I
 have never once had a problem with either x-rays or handling. I think both
 Francisco and Marco are in good practice however, as they're encouraging
 you to protect your materials from the inconsistent stuff that happens from
 one place to another.

 That said, I have had film go through the x ray machines at airport
 security a lot, and practically all the film I have received is the mail,
 or, I am willing to bet, was mailed at some point. Regarding the service
 used, I'd actually trust FedEx over USPS + another postal service ANY day
 of the week. Better tracking, better handling, less multiple
 carriers, faster, but certainly a bit more $. But not worse in terms of
 handling or reliable delivery. Just insure it for the max.

 I say perhaps mail some, and bring some with you personally. If anyone's
 traveling with you, beg them to bring some too. Bring a dummy can/roll to
 show airport people what you are carrying. Also, have a plan to protect
 your exposed stock even more, as that's the priceless entity. I'd say
 that's your bigger issue actually, unless you'll be processing somewhere
 over there. Good luck,

 Isaac

 On Saturday, February 1, 2014, Marco Poloni 
 mar.pol...@gmail.comjavascript:_e(%7B%7D,'cvml','mar.pol...@gmail.com');
 wrote:

 i would never ever send unexposed film through the mail. it's against
 all safety rules in filmmaking practice. how would you really know
 it's not going to be exposed to x-rays, even if you're told so by the
 people at the counter? how do they know what the guys at some remote
 airport or facility really do? not to mention mishandling, as
 Francisco points out.
 Marco

 On 31 January 2014 21:12, Francisco Torres fjtorre...@gmail.com wrote:
  Maybe by a courier service, never through fedex or HDL I have heard
  horror stories of missing film. X rays may be a minor risk compared to
  misplaced negative.
 
 
  On Fri, Jan 31, 2014 at 3:29 PM, ev petrol epetr...@yahoo.com wrote:
 
  hey folks
  wondering if it's safe to use the US postal service (in terms of
 x-rays 
  the like) for sending unexposed film from the US to Ireland ...? Any
 advice?
  thanks! Moira
 
  moiratierney.net
  vimeo.com/moiratierney
 
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com
  https://mailman-mail5.webfaction.com/listinfo/frameworks
 
 
 
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com
  https://mailman-mail5.webfaction.com/listinfo/frameworks
 



 --

 A brave flat world.


 marco poloni
 usedomer strasse 8
 d - 13355 berlin
 gsm de +49.163.6294080
 gsm ch +41.78.6322028
 skype marcopoloni
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks

 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.comjavascript:_e(%7B%7D,'cvml','FrameWorks@jonasmekasfilms.com');
 https://mailman-mail5.webfaction.com/listinfo/frameworks


 Roshanak Elmendorf
 roshana...@optonline.netjavascript:_e(%7B%7D,'cvml','roshana...@optonline.net');
 roshanakelmendorf.com


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] 16mm synchronizers with sound

[Isaac Brooks]

Yes, the usual synchronizer/squawkbox setup is for mag.

IB

On Saturday, January 25, 2014, Rebekka Erin Moran rebekka.mo...@gmail.com
wrote:

 Hi,

 I am collecting 16mm synchronizers for an installation project.  Does
 anybody know if the synchronizers with sound heads are for reading Mag only
 or do any exist that also read optical?  Is it possible to remove and
 optical reader from a projector and make it run independently? I have taken
 apart an old projector and am attempting to connect the optical head so
 that it can produce sound from a film loop without a projector.  any
 mechanical information or ideas much appreciated.  Also - please be in
 touch if anybody has any synchronizers of any number of gangs they do not
 need or want.  Many thanks!!

 all the best,
 Rebecca
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com javascript:;
 https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Can anyone recommend a reasonably priced portabe video projector that's adequate for showing films?

[Isaac Brooks]

+1 on Epson. My partner and I have a Powerlite 78, purchased in 2010.
Resolution is OK. I'd think that by now you could get a better one for what
we paid 4 years ago (600 usd, about). What has impressed me most about it
is the build quality and the absolute lack of any issues.

For solid group viewing in standard def, it's a fine machine. She uses it
sometimes at her workplace for media-supported meetings/conferences, and it
doesn't disappoint as a workhorse unit. It's very portable.

Isaac

On Saturday, January 25, 2014, Julian Antos 
jul...@northwestchicagofilmsociety.org wrote:

 My parents have one of these:
 http://www.amazon.com/Epson-V11H562020-PowerLite-Cinema-Projector/dp/B00EU9V3VW/ref=sr_1_6?ie=UTF8qid=1390677818sr=8-6keywords=1080+projector

 It's surprisingly good. Color is fine, image is very sharp, and it's under
 1K. Their screen is about 10' wide, native 1.85




 On Sat, Jan 25, 2014 at 1:16 PM, David Tetzlaff 
 djte...@gmail.comjavascript:_e({}, 'cvml', 'djte...@gmail.com');
  wrote:

 I'm not up on the latest projector technology. I'm
 wondering-if/hoping-that technical advances have created an answer to the
 question above.

 Historically, you could divide video projectors into three types:

 1. LCD: bright, with vivid but typically wildly inaccurate color
 rendition — both in hue and (over)saturation, very poor contrast ratio, and
 utterly unable to render monochrome images correctly... designed to project
 computer screens, good for that, not much else.

 2. 1-chip DLP: not so bright, color accurate but a little washed out,
 pretty good contrast (for a video projector, anyway) but subject to
 generating flashes of extremely distracting moire due to the rotating color
 wheel's inability to deal with quick changes in image brightness at cuts.

 3. 3-chip DLP: very nice image in every way, but big, heavy and EXPENSIVE.

 My old thought was that perhaps LCD technology would improve to the point
 where the contrast ratio and color accuracy (especially with monochrome)
 would improve to the point of minimum acceptability for film screening. I
 doubt that 1-chip DLPs could have overcome the color-wheel-moire problem.
 But either way, I don't know what has actually happened in terms of the
 current market.

 I'm not seeking anything that would be bright enough for even a small
 auditorium, but rather a living-room/small-classroom size venue with
 seating room for 10-25 people (who can be fairly tightly packed together if
 need be). I would hope for at least 720P resolution.

 Reports on any experiences with recent projector models would be welcome,
 positive or negative.

 And by reasonably-priced I mean under $1,000.
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com javascript:_e({}, 'cvml',
 'FrameWorks@jonasmekasfilms.com');
 https://mailman-mail5.webfaction.com/listinfo/frameworks




 --
 Julian Antos
 Northwest Chicago Film Society
 www.northwestchicagofilmsociety.org
 773 827 8991



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] exposed but not fully

[Isaac Brooks]

Yeah, they should be fine if stored consistently. Avoid moving them around
a lot between spaces with different temps, as that can lead to issues.

On Saturday, January 4, 2014, wrote:

 I have often left exposed film undeveloped for several weeks without any p
 roblems that I can see,

 Nicky.



  -Original Message-
 From: Katherine Bauer kittylitter...@gmail.com javascript:_e({},
 'cvml', 'kittylitter...@gmail.com');
 To: frameworks@jonasmekasfilms.com javascript:_e({}, 'cvml',
 'frameworks@jonasmekasfilms.com'); 
 frameworks@jonasmekasfilms.comjavascript:_e({}, 'cvml', 
 'frameworks@jonasmekasfilms.com');
 
 Sent: Sat, 4 Jan 2014 7:28
 Subject: [Frameworks] exposed but not fully

   HI Frameworkers.
 I have a bit of a manic question. I have some rolls of color neg, fuji
 400T mostly. That I shot 1 as I like to say, layer, of images onto
 already, but they were shot 2 stops under because I was going to add other
 layers onto them. Well things have gotten rather crazy with other projects
 and stuff so even though it has already been several months, I wont be able
 to add the other layers of images for another month! I have been keeping
 them so far in a cold room. Just for my nerves I want to know if this
 footage is going to be totally fu#ked because it is taking me so long to
 get to finishing the rolls. Or will it just be a slight difference in
 contrast or something like that? Has anyone had experience where they have
 waited 6 months to finish a roll? I think I must have in the past but I can
 not really recall. So I pose the question to you all.
 Thanks!
 K

 ___
 FrameWorks mailing listframewo...@jonasmekasfilms.com javascript:_e({}, 
 'cvml', 
 'FrameWorks@jonasmekasfilms.com');https://mailman-mail5.webfaction.com/listinfo/frameworks


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Bolex animation Motor.

[Isaac Brooks]

+1 on Tobin motors. I have never owned one, but I used them extensively at
one point, and the build quality  usability factor are excellent. Clive
Tobin is reachable too, in case if questions or in sourcing them.

On Thursday, November 28, 2013, Roger Wilson wrote:

 I own a Time Flow motor for my bolex and am very happy with it, it has
 many options with time delay filming.

 http://www.intervalometers.com/timeflow/

 Roger D. Wilson
 Film Scientist
 613 324 - 7504
 rogerdwil...@sympatico.ca javascript:_e({}, 'cvml',
 'rogerdwil...@sympatico.ca');
 http://www.rogerdwilson.ca

 Without failure you can never achieve success. I have based my process and
 my career as an experimental film artist on this statement; and I welcome
 it as it pushes me forward as an artist to try something different,
 something new.


  From: m...@guillaumecailleau.com javascript:_e({}, 'cvml',
 'm...@guillaumecailleau.com');
  Date: Thu, 28 Nov 2013 14:06:30 +0100
  To: frameworks@jonasmekasfilms.com javascript:_e({}, 'cvml',
 'frameworks@jonasmekasfilms.com');
  Subject: [Frameworks] Bolex animation Motor.
 
  Hello,
 
  I am looking to buy a Motor for bolex to make stop motion animation.
  I found the Noris NSC revolution motor which seems to be just great but
 I am trying to contact the shop in NY for 2 weeks (email and phone) with no
 success.
  Does anybody as a contact there or know other way to get this motor or
 another similar one doing long exposure single frame.
  All advices and experiences appreciated.
 
  thank you,
 
  Guillaume Cailleau
  ___
  FrameWorks mailing list
  FrameWorks@jonasmekasfilms.com javascript:_e({}, 'cvml',
 'FrameWorks@jonasmekasfilms.com');
  https://mailman-mail5.webfaction.com/listinfo/frameworks

___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] 16mm matchback - avid - add keycode?

[Isaac Brooks]

Hi,

This was awhile ago, but I used a flex file that came with the transfer of
my material, which had a keycode burn in. I believe this was Media Composer
5 in about 2010.

Not to ask the obvious, but do your dailies actually include keycode
running along with the video? Feel free to message me off list if I can
help - I confirmed a negative from a Media Composer 5 edit that same
year. Since then I have not edited that way, as Avid isn't supported here
where I work.

IB


On Thursday, October 24, 2013, Francisco Torres wrote:

 There used to be a version of the Avid Software called Film composer, it
 had the capacity to handle K#s. All other Media composers COULD not do
 that. Since then it seems other versions could handle film cut lists
 through film scribe-
 This may help-


 http://my.safaribooksonline.com/book/video/9780240804705/chapter-7-editing-film-on-avid-nles-with-filmscribe/pg_90_40_html


 On Thu, Oct 24, 2013 at 4:14 PM, ev petrol 
 epetr...@yahoo.comjavascript:_e({}, 'cvml', 'epetr...@yahoo.com');
  wrote:

 hey folks

 i'm trying to figure out how to matchback some 16mm neg to an avid edit

 I shot 8x100' rolls of 16mm and got video dailies back in one file
 I imported that file into avid  it into 8 subclips (one for each 16mm
 100' roll) ... what i'm trying to figure out now is how to add the key
 numbers to each subclip - any tips?

 i've tried going into the bin  adding them there, but avid won't let me
 type into the appropriate column (i added the column for end key code)

 cheers! moira

 moiratierney.net
 vimeo.com/moiratierney

 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com javascript:_e({}, 'cvml',
 'FrameWorks@jonasmekasfilms.com');
 https://mailman-mail5.webfaction.com/listinfo/frameworks



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Parts for Steenbeck Type: St928

[Isaac Brooks]

Hi,

I second the motion to ask Dwight, and also recommend checking
with Urbanski Film in Illinois, as they used to carry lots of Steenbeck
lamps, so they might have something laying around that could help you.

Steenbeck did have a site up awhile ago that listed available machines, so
they may have parts stocked. This may be a last resort as they are
overseas, and probably exorbitant

Isaac

On Tuesday, October 22, 2013, Beebe, Roger wrote:

  Try Dwight Cody at the Boston Connection:

  http://www.cutfilm.com/


  --
 *From:* FrameWorks [frameworks-boun...@jonasmekasfilms.comjavascript:_e({}, 
 'cvml', 'frameworks-boun...@jonasmekasfilms.com');]
 on behalf of Roger Wilson [rogerdwil...@sympatico.ca javascript:_e({},
 'cvml', 'rogerdwil...@sympatico.ca');]
 *Sent:* Tuesday, October 22, 2013 12:28 PM
 *To:* frameworks@jonasmekasfilms.com javascript:_e({}, 'cvml',
 'frameworks@jonasmekasfilms.com');
 *Subject:* [Frameworks] Parts for Steenbeck Type: St928

   Hello,

  Can anyone on this list tell me where I can find used parts for
 Steenbeck edit tables? Two of the fuse housings that are on the back of
 this steenbeck are broken and need to be replaced. I have attached a photo,
 if you have any leads I would love to have them. The model is an eight
 plate 16mm ST 928.

  Thanks in advance!

  Roger D. Wilson
 613 324 - 7504
 rogerdwil...@sympatico.ca javascript:_e({}, 'cvml',
 'rogerdwil...@sympatico.ca');
 http://www.rogerdwilson.ca



___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Super 8 BW Processing in the US

[Isaac Brooks]

Hi Pablo,

CineLab (MA) is not all that near Chicago, but they affordably and reliably
process 7266 in super 8. Midwest has almost no large volume labs left.

IB


On Mon, Sep 16, 2013 at 4:08 PM, Pablo Marin pamari...@yahoo.com wrote:

 Hi all,

 I'm sure this question has been posted here more than a thousand times,
 but since the labs situation is not in its best historical moment I'm sure
 it won't be too bad to update it once more:

 I'm looking for a (great) lab that process Super 8 bw in the US
 (preferably near the Chicago area). Any suggestions?

 Best and thanks,
 Pablo.

 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] cheapest place for projector bulbs/ ciro splicing tape

[Isaac Brooks]

Hi Jason,

I'd try Urbanski Film in Illinois. Not sure what their DJL selection is,
but they have a lot of stuff and are pretty consistent. That said, eBay may
have more varied deals.
*
*
*www.urbanskifilm.com *
*
*
Isaac


On Wed, Sep 11, 2013 at 1:03 PM, Sean Weitzel panaf...@gmail.com wrote:

 The cheapest option for the bulb would probably be ebay. Most of the
 auctions are priced at a fixed price comparable to 
 http://www.topbulb.com($60-70), but sometimes there are some for sale in an 
 auction format that
 appear to top out at about $35. As for tape, perhaps Larry Urbanski would
 know... http://www.urbanskifilm.com/


 On Tue, Sep 10, 2013 at 11:35 PM, Jason Wade mexicanpi...@juno.comwrote:

 anybody got an ideas on the cheapest place to buy DJL projector bulbs?
  Also where to get Super 8 Ciro splicing tape?  Thank you!
 lovejasonwade
 
 One Weird Trick
 Could add $1,000s to Your Social Security Checks! See if you Qualify#8230
 http://thirdpartyoffers.juno.com/TGL3141/52300f6d96950f6d4525st02duc
 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks



 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Need Bolex Camera Information

[Isaac Brooks]

Hey Adrian,

Congrats on your initiative. I recommend continuing with your efforts to
get yourself set up if you are interested in 16mm coming to your school,
and just have some organized plan for outreach. Get the help of other folks
who are interested.

If you have to pitch this to someone to get money for the equipment, play
up the relevance of the Bolex as a tool, and avoid the whole vintage
thing. They are working instruments, and aside from being beautiful, they
can do things that no other film camera can, let alone a digital one, which
will probably be the main argument against your project (film vs digital).

Regarding the gear, I agree with the other response to your thread, go slow
and make sure you get what you need, without going too gear crazy. I have
to say that I do think that the Bolex offers the most quality and features *for
the money*. There are other slightly more durable cameras (the Arri 16S
series for example). But a Bolex runs under a huge breadth of weather
conditions, and boasts legendary build  image quality.

I'd consider Andrew Alden as a resource. He's not as local as Joel is
(previously mentioned). Andrew is in England. BUT, he has a site through
which he sells Bolex rigs, and through which you may contact him. He's
super helpful. I've known him for about six years, and he has explained
more to me about Bolex mechanics than anyone else I've ever known. He also
has a self-published manual / Bolex guide called the *Bolex Bible* in
circulation. If you want to know everything about the camera, Kern lenses,
Bolex accessories and the many applications of Bolex cameras, that book is
potentially helpful.

Look for older film books that profile the application of Bolex filming and
of 16mm in general. These may seem old and a little dense but they treat
the cameras seriously and explain the advantages of on system vs another,
as well as lighting and exposure basics. Lenny Lipton's INDEPENDENT
FILMMAKING, Kris Malkiewicz's CINEMATOGRAPHY, older editions of Edward
Pincus's THE FILMMAKING HANDBOOK. These can all be found for almost nothing
used. I also second the recommendation of Helen Hill's RECIPES FIOR
DISASTER as being a great guide for self-applied 16mm work.

Know too that a significant cost of having film cameras is servicing /
maintaining them. You can probably find a few decent Bolexes for in the
hundreds of dollars, maybe even less. But it's likely that they will need
some attention. Depending on the condition of the camera, this will range
from $250 and up, especially if parts need to be replaced. ProCam USA in AZ
is a factory-approved facility for getting a Bolex fixed. They probably do
the best work in North America, in that their technician Dieter is really
excellent and that they have a huge stock of parts. Bernie O'Doherty of
Super 16 Inc in NY state is also a great tech that may come a bit less
expensive and will help you get the most from your camera without
rebuilding the whole thing. I'm getting into detail on this because a Bolex
will really serve you and the members of your filmmaking group well, but
only if it's maintained. There's no way around this. And it's even more
important because many people will be using it, and a shared camera always
needs more work. Many schools have someone around who can work on these
cameras, and until that happens at your institution, you'll have to have
someone else work on it.

Look into Kodak's educational program for film. Research film labs too, and
see if there is one that will working with you on processing charges and
shipping for student work. Pick a lab that likes working with schools.

Projectors, the Bolex, and light meters might be found on eBay. But again,
quality and maintenance have to be considered when planning to buy this
stuff. Go slow, and make friends with as many people who are into this
stuff and who know where there may be deals. Contact other schools to see
if they have resources for finding cheap stuff. TV stations, yard sales,
Craigslist, and Frameworks, of course.

Sorry for the length here but you're venturing into a huge new world, and
it seems like you'll be the sole investigator for a bit. Feel free to
contact me off list if you need any more information. There is just so much
that comes with wanting to shoot film, it can be overwhelming. Best of
luck,

Isaac
617-460-4165


On Wed, Aug 28, 2013 at 12:20 PM, Ekrem Serdar ekremser...@gmail.comwrote:

 Hey Adrian,

 First of all, kudos to you for your attempts. Austin needs a dedicated ag
 film program. Second, you may be aware that we've been doing screenings of
 experimental work, almost always in it's original format (digital, Super 8,
 16, 35). If you haven't been, you should come out to our screenings and say
 hey! : ercatx.org

 Regarding Bolex info: there's tons all over the web.

 bolexcollector.com has a bunch of information regarding serial numbers,
 differences between models, etc.

 Filmmaker Joel Schlemowitz (who we'll be hosting at 

Re: [Frameworks] painted film finisher

[Isaac Brooks]

Hi,

Yes, I agree with previous comments about adding yet another layer to the
film: don't, at least not as a long lasting projection solution.

If break-down / image degeneration during exhibition is your thing, then
that's another story. But it sounds like you want what you've made to stay
more or less the same.

Not sure how long your films are, as that might affect how easily you can
rephotograph them yourself.

If you have access to an optical printer, and your films are relatively
short, then then that would be the way I'd go. I work with a lot of folks
who optically print any direct animation / manipulation they do on 16mm
right off the bat, so they have a clean, lab-friendly negative / camera
original.

But get lots of isopropyl alcohol, as the projection side of the printer
will need cleaning. I'd look within your filmmaking community to see what
sort of optical printer access you have, and if there is a machine that
other people have used for this sort of slightly messier stuff.

Other list members might have solutions as to labs that deal happily with
this sort of thing. If your movies are long, then you might have to look
into something more specialized. But I would consider doing it yourself if
you have some equipment access. While it's slightly against the camera-less
film ideal, it's a measure that has frequently been made in order to ensure
that a decent print of your work is shown, and that doesn't gum up a
projector.

Isaac
Common Pictures


On Mon, May 27, 2013 at 8:46 AM, Tom Whiteside tom.whites...@duke.eduwrote:

  I don’t think you can safely add a layer of finish – ink and markers
 probably won’t change much, but craft paint is going to come off (to some
 degree) so if you want to project this (much) you need to make a print.***
 *

 ** **

 As I’m sure you are aware, the motion of the film through the projector is
 intermittent, it is vigorous, anything up on top of the surface of the
 plastic is going to come off.

 ** **

 Good luck!

 ** **

 *From:* FrameWorks [mailto:frameworks-boun...@jonasmekasfilms.com] *On
 Behalf Of *Jarrett Hayman
 *Sent:* Sunday, May 26, 2013 9:02 PM
 *To:* FrameWorks@jonasmekasfilms.com
 *Subject:* [Frameworks] painted film finisher

 ** **

 Hello,

 I have recently completed two films made using direct application
 techniques, such as hand painting with craft paint, india ink, permanent
 markers and other media. I would like to find a way to apply some kind of
 finish to the film so that the ink and paint do not continue to rub off
 with projection, but I'm afraid to use a spray finish for traditional
 paintings, as they are usually quite flammable. Any ideas?

 -JH

 ___
 FrameWorks mailing list
 FrameWorks@jonasmekasfilms.com
 https://mailman-mail5.webfaction.com/listinfo/frameworks


___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks