Re: [Frameworks] spools, reels and rolls

[Buck Bito - Movette]

I break the terms down as follows:

roll: This is a camera load of film either before or after exposure and 
processing and the length is dependent on the gauge and camera, for 
instance a standard Bolex H-series or B model 70 will take a 100 foot 
roll, but magazines were available for some of these cameras to allow 
400 foot rolls, similarly for Regular-8mm most cameras took 25 foot 
rolls, but a Bolex H-8 would take a 100 foot roll.


reel: This term has a couple of primary definitions in the motion 
picture world:
- 1) A carrier for motion picture film with central hub and support 
flanges on either side that can be of nearly any capacity, but most 
commonly within the range of 50 to 2000 feet. A reel can hold a "roll" 
of film, or several, or edited film, or a print, etc...


- 2) A standard 1000 foot projection reel of the silent film era, thus 
the terms one-reeler, two-reeler, five-reeler, etc. to describe the 
length of a theatrically released silent film.


spool: I think this is simply the British-English equivalent of the 
first "reel" definition above.


- I'm interested to see how others make their distinctions among these 
terms.


Lawrence "Buck" Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On 4/23/2020 11:08 AM, mstark...@gmail.com wrote:

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!




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Re: [Frameworks] 1. when was the film splicer invented? (mstark...@gmail.com)

[Buck Bito - Movette]

Bell and Howell's advanced foot-actuated splicer's patent was applied 
for in 1916 - so although I haven't found dates for earlier splicers, I 
feel there must have been simpler splicers available prior to that along 
the lines of the Bell & Howell 198A splicer design (although that 
particular model follows the introduction of 16mm film in 1923).


Here's the google patent link:
https://patents.google.com/patent/US1275431A/en

And Brian Pritchard has a 1929 B pamphlet scanned that shows this type 
of splicer in the 3rd page:

http://www.brianpritchard.com/B_Splicers.htm

-Interesting thread!

Lawrence "Buck" Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On 4/23/2020 9:16 AM, mstark...@gmail.com wrote:
Many thanks for that George - i have some of these type of splicers 
but have never actually used one.


On 23 Apr 2020, at 16:33, George, Sherman <mailto:sgeo...@ucsd.edu>> wrote:


The Griswold cement film splicer was patented in 1922 and was the 
first splicer I used  in the early 1960’s
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Re: [Frameworks] Kodak Model A

[Buck Bito - Movette]

Hi Sherman,
In case no one has ideas here, try the AMIA listserve:
https://amianet.org/engage/amia-l-listserv/

A member there borrowed a restored/repaired Model A a couple of years ago
and shot some film. I got to crank it as well - what a gorgeous camera!

-Buck Bito - Movette

On Sun, March 17, 2019 11:53 am, George, Sherman wrote:
>
> Does anyone have a recomendation for a repair service for a Kodak Model A
> 16 mm camera (circa 1923)
>
> Sherman George
> sgeo...@ucsd.edu
> 858-229-4368
>
>
>
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Re: [Frameworks] Lee's Camera in London, England

[Buck Bito - Movette]

Hey Alain,
It looks like folks on film-tech were mourning its demise in 2011:
http://8mmforum.film-tech.com/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=1;t=006013

There are lots of UK folks on that forum that may know alternatives...

-Buck

On Fri, April 13, 2018 3:19 pm, 16mm Directory wrote:
> Anyone know if Lee's Camera in London is still in business?
>
> Alain
>
>
> --
>
> 16mm Directory / 40 Frames
> Portland, Oregon USA
>
> www.16mmdirectory.org
> www.40frames.org
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Re: [Frameworks] Pre paid processing?

[Buck Bito - Movette]

Hi Jon,
West Coast small-gauge:

Spectra (8, S8 & 16)
http://www.spectrafilmandvideo.com/Film.html

I think Yale (S8 & 16) offers as well: "Ask about our package deals!"
http://www.yalefilmandvideo.com/filmsales.php?expandable=3

Pro8 (Super-8 Only):
https://www.pro8mm.com/collections/film-stock-and-processing

-Buck Bito

Lawrence "Buck" Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
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On Tue, June 6, 2017 9:03 am, Jon Behrens wrote:
> Hey Frameworkers
> Any of you know of a lab in the U.S. That sells filmstock with prepaid
> processing?
>
> Thanks
> Jon
>
> Sent from my iPhone
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Re: [Frameworks] Optical soundtracts at Colorlab - all good?

[Buck Bito - Movette]

Hi Lyra,
I have no experience with ColorLab's optical sound, but this page from
Gibbs Chapman may have the parameters you're looking for:
http://www.gibbschapman.com/non.opti.htm

-Buck Bito

Lawrence "Buck" Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Fri, September 23, 2016 12:27 pm, Lyra Hill wrote:
> Hello,
> ...snip...
>
> BONUS QUESTION: Do you know the frequency parameters for 16mm optical
> sound? I had this information in a notebook that I sadly lost some time
> ago. The internet is not immediately helpful in recovering this
> information.
>
> Thanks,
> - Lyra
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Re: [Frameworks] leads for research on USIA and avant-garde film?

[Buck Bito - Movette]

Hi Ben,
I would suggest posting on the Association of Moving Image Archivists'
list-serv as well. Here is a post from 2013 that references a book by a
former USIA employee:
http://lsv.uky.edu/scripts/wa.exe?A2=ind1302=AMIA-L=R18346=-3

List-serv sign-up is here:
http://lsv.uky.edu/archives/amia-l.html

-Good luck,
--Sincerely,
---Buck Bito - Movette Film Transfer
www.movettefilm.com


On Fri, July 29, 2016 10:13 am, Ben Ogrodnik wrote:
> Hi all,
> I'm interested in conducting a bit of research on the film-related
> activities of the United States Information Agency (USIA) during the 1960s
> and 1970s.
> ...
> --
> Ben Ogrodnik
> PhD student
> K. Leroy Irvis Fellow
> Department of Film Studies // History of Art and Architecture
> University of Pittsburgh
> b...@pitt.edu
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Re: [Frameworks] Resources on history of 16mm technology

[Buck Bito - Movette]

Hi Kim,
I'd suggest Katelle's "Home Movies: A History of the American Industry,
1897 – 1979" and Tepperman's "Amateur Cinema: The Rise of North American
Moviemaking, 1923-1960". There are also a few other titles I'm not
familiar with listed on the CHM site:
http://www.centerforhomemovies.org/scholarship/

-Buck Bito - Movette Film Transfer

On Wed, July 13, 2016 8:11 am, Kim Knowles wrote:
> Hi there Frameworkers,
>
>
> I wonder if anyone can help: I'm writing about the use of 16mm in
> experimental filmmaking of the 1970s and am looking for texts that deal
> with the history of film technology. Not technical manuals necessarily but
> scholarly sources - books or articles that look, for example, at the
> emergence of 16mm as an amateur/documentary/artists' medium.
>
>
> As always, any suggestions would be extremely gratefully received.
>
>
> All the best,
>
> Kim
>
> ===
> KEEP IN TOUCH WITH EIFF
> Become a web member for FREE and receive news and offers:
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Re: [Frameworks] codecs

[Buck Bito - Movette]

Hi Gene,
For sure the Prores422 as long as your on a system that works fine with
it: iMovie, FCP, Premiere, Resolve, Vegas, among many others.

Prore422 is a proper intermediate codec and you can know what it is.
Whereas H.264 *can* be very high quality, knowing that it is H.264 does
not tell you very much about it, because it could be encoded in a near
infinite combination of bit rates, I frame frequencies, color encodings,
etc...

Because you have the same program in both codecs, you can tell that it was
not a super high quality H.264 encoding simply because it is less than
1/25 the size of the Prores.

-Sincerely,
--Buck Bito - Movette Film Transfer

On Wed, May 4, 2016 5:56 pm, Gene Youngblood wrote:
> Friends,
> I have on a hard drive two different encodings of a program I downloaded
> from Link TV. One codec is Apple ProRes 422 (100 GB), the other is H.264
> (3.52 GB). I don't remember why we did that, but my question is: which
> version is best as b-roll for a doc I'm making?
>
>
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Re: [Frameworks] 16mm Double perf clear leader

[Buck Bito - Movette]

Hey Scott,
I just couldn't let 3% sit there as a description of the difference,
because we are often measuring shrinkage on archival materials and know
that anything over 1.5% is dicey running on sprocketed equipment. I think
the proper math is:
long perf - short perf / ((long perf + short perf)/2) * 100
long perf: 0.3"
short perf: 0.2994"

0.3 - 0.2994 / (0.3 + 0.2994)/2 * 100
= 0.2%

So I think the correct difference is 0.2%.

-Sincerely,
---Buck Bito

Lawrence "Buck" Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Tue, May 3, 2016 4:55 am, Scott Dorsey wrote:
> The film looks the same to the naked eye, it's just the distance between
> the perforations differs by 3%.
>
> It's not like 35mm where the perforation shape is different between the
> camera and print stocks.
> --scott
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Re: [Frameworks] Youngblood & Kuchar

[Buck Bito - Movette]

Almost Gene...
Here is the link with the missing "s" added:

http://sfai.edu/events-calendar/detail/tarnished-angel-the-diaries-of-george-kuchar

-Thanks!

On Fri, April 15, 2016 11:28 am, Gene Youngblood wrote:
> Sorry about the mistake in previous post. Here's the  announcement of my
> presentation on George Kuchar's video diaries at the San Francisco Art
> Institute on Sunday, April 24, at 5pm:
>
> fai.edu/events-calendar/detail/tarnished-angel-the-diaries-of-george-kuchar
> 
>
> I realize it conflicts with SFIFF's experimental film program at PFA,
> but I guarantee you won't be sorry you came to see George instead. The
> announcement explains why, and there won't be another show like this
> again anywhere for quite a while.
>
> See you there.
>
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Re: [Frameworks] Conrad and Kuchar

[Buck Bito - Movette]

Gene,
Please send a link to your SFAI event. I cannot find it on the sfai.edu
website and your link below is a second link to filmcomment.
-Thanks,
--Buck Bito

On Fri, April 15, 2016 7:00 am, Gene Youngblood wrote:
> For Frameworkers in general, an interview with Tony Conrad in Artforum:
> ...
> For Frameworkers in San Francisco, the premiere of my project on George
> Kuchar's video diaries at the San Francisco Art Institute,  Sunday,
> April 24, at 5pm:
>
> www.filmcomment.com/blog/loose-ends-an-interview-with-tony-conrad/?utm_source=wordfly_medium=email_campaign=FC04-15-16_content=version_A
> 
>
> It's an impressive show, and a lot of George's friends and admirers
> will be there. Please join us, especially if you'd like to contribute to
> the project. I'll be in the Bay Area for week after the show to
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Re: [Frameworks] DPI

[Buck Bito - Movette]

Hi Gene,
The dimensions you quoted look like pixel dimensions.
DPI is a term from the printing industry that refers to a physical
manifestation (dots per inch). It doesn't really apply to digital
manifestations of an image. The corresponding digital term would be ppi
(pixels per inch) which is an attribute of a display device rather than a
file - although files can have a specified ppi, in practice unless we are
creating a physical manifestation, it has little meaning.

So in the purely digital realm, if left unscaled, that 400x500 image file
will have very different sizes depending on the ppi of the display device:

The the LCD on the laptop I'm typing on has 107ppi: 3.74 x 4.67
iPhone6 (326ppi): 1.23 x 1.53
iPhone6plus (401ppi): 1 x 1.25
A 60 1080p TV (37 ppi): 10.81 x 13.51

The little iPhone6plus has the same number of pixels as a gigantic 60
1080p HDTV, so that 400x500 image will be 1 inch wide on the phone and
almost 11 inches wide on the TV.

-Hope that helps,
--Buck Bito

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Wed, July 1, 2015 10:24 am, Gene Youngblood wrote:
 Friends, am I assuming correctly that when you get info about the
 properties of an online photo, dimensions (i.e., 400 x 500) refers
 to DPI?
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Re: [Frameworks] b w archival film bright yellow?

[Buck Bito - Movette]

Hi Caryn,
Tinted film was very common in the 1920s into the 30s. Many of the
Kodascope library 16mm prints I've seen from that period used tinted
stocks.
I can't tell you the why...
Although I certainly understand the use of different tinted stocks within
a film to indicate mood or time of day/night, but I don't know why the
many single-tint prints I've seen were made that way - other than
'pizazz'.
Here's a link to Kodak history listing the availability of lavender, red,
green, blue, pink, light amber, yellow, orange and dark amber stocks in
1921.

http://www.motion.kodak.com/motion/About/Chronology_Of_Film/index.htm

---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com




On Fri, May 8, 2015 6:17 pm, Caryn Cline wrote:
 Dear Frameworkers,
 snip ... the sequence I used was one that probably should have been
 black and white - it was archival but for some reason it was bright
 yellow.  Do any of you have ideas about why that would be?

 With deep gratitude for your collective wisdom.


 CC

 --
 Caryn Cline
 Experimental Filmmaker  Teacher
 vimeo.com/carynyc
 Co-producer  cinematographer, *Acts of Witness*
 www.actsofwitness.com
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Re: [Frameworks] URGENT: Peter Forgacs Contact ASAP

[Buck Bito - Movette]

Hey KPR,
He has a published email on his website and that is what he pointed me to
when I spoke with him at CJM:
Contact: i...@forgacspeter.hu
From here:
http://www.forgacspeter.hu/english/documents/Contact/2

---Buck

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Mon, March 2, 2015 7:48 pm, Ken Paul Rosenthal wrote:
 I sadly missed the Peter Forgacs appearance here in San Francisco this
 past week, and am told he is leaving town Tuesday morning. If anyone has
 his email, or contact information for his host here in San Francisco, I'd
 be very grateful. Please contact ASAP ---  off-list  ---

 Many thanks, Ken
 www.kenpaulrosenthal.comwww.maddancementalhealthfilmtrilogy.com
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Re: [Frameworks] 35mm / 16mm hot splicer question

[Buck Bito - Movette]

Hi Scott,
The 35 pins on a 1635 splicer are always up, but from your photos, someone 
physically yanked them out of your splicer. The buttons are for raising and 
lowering the 16 pins.
-Sorry for the bad news,
---Buck




Lawrence 'Buck' Bito
Movette Film Transfer
1407 Valencia St, San Francisco, CA 94110
Open Tuesday through Saturday:
Tues. and Thurs.: 8-6
Wed. and Fri.: 9-6
Saturday: 10-4
www.movettefilm.com



On Feb 8, 2015 1:40 PM, Scott Stark sst...@hi-beam.net wrote: 

Thankd Jeff, will try that. Any idea on how to 

align the two film strips without the pins? The 

16mm seems to be the only one on the right; there 

are two other holes on the left that might 

produce pins once it's unglued. Or are 35mm pros 

so expert they don't need pins?



thanks

Scott



At 03:00 PM 2/8/2015, you wrote:

On this older version, I think the front and 

back buttons work in tandem — push on the rear 

one to move pins in one direction, the front to 

move in the other.  Same on each side.

The pins may be stuck —try some acetone in the 

holes around the pins to dissolve old film 

cement.  Work the buttons back and forth.

Good luck!



Jeff Kreines



  On Feb 8, 2015, at 2:33 PM, Scott Stark sst...@hi-beam.net wrote:

 

  Hi all, I have a Bell  Howell 35mm/16mm hot 

 splicer that supposedly has retractable 16mm 

 registration pins. I'm wanting to cut some 35mm neg on it.

 

  Does anyone know how to retract the pins? And 

 how to align the 35mm film without them? I 

 don't see any other pins other than the 16mm 

 ones right in the middle of the 35mm image. 

 There are some buttons on the sides that don't 

 seem to move, and some other nuts and screws.

 

  Pics:

 

  http://hi-beam.net/temp/IMG_1597.JPG

  http://hi-beam.net/temp/IMG_1596.JPG

 

  I have seen this splicer mentioned here: 

 http://www.smecc.org/film_cameras_for_television_news.htm 

 but could not find a manual for it.

 

  Thanks for any advice!

 

  best,

  Scott

  www.scottstark.com

  www.hi-beam.net

 

 

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Jeff Kreines

Kinetta

j...@kinetta.com

kinetta.com





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Re: [Frameworks] 35mm / 16mm hot splicer question

[Buck Bito - Movette]

Getting back to your question of a manual for your splicer - in case you manage 
to get one with 35 pins. The BH splicers were reproduced by Maier-Hancock and 
the operation is unchanged. Whatever angel runs apecity has warehoused tons of 
manuals including the Maier-Hancock 1635/816 manual.
Here's the index of available manuals:

http://www.apecity.com/manuals/

 and a direct link to the Maier-Hancock manual:
http://www.apecity.com/manuals/pdf/maier-hancock_portable_hot_splicer_instructions.pdf

-Good luck!
---Buck




Lawrence 'Buck' Bito
Movette Film Transfer
1407 Valencia St, San Francisco, CA 94110
Open Tuesday through Saturday:
Tues. and Thurs.: 8-6
Wed. and Fri.: 9-6
Saturday: 10-4
www.movettefilm.com



On Feb 8, 2015 12:34 PM, Scott Stark sst...@hi-beam.net wrote: 

Hi all, I have a Bell  Howell 35mm/16mm hot splicer that supposedly 

has retractable 16mm registration pins. I'm wanting to cut some 

35mm neg on it.



Does anyone know how to retract the pins? And how to align the 35mm 

film without them? I don't see any other pins other than the 16mm 

ones right in the middle of the 35mm image. There are some buttons on 

the sides that don't seem to move, and some other nuts and screws.



Pics:



http://hi-beam.net/temp/IMG_1597.JPG

http://hi-beam.net/temp/IMG_1596.JPG



I have seen this splicer mentioned here: 

http://www.smecc.org/film_cameras_for_television_news.htm but could 

not find a manual for it.



Thanks for any advice!



best,

Scott

www.scottstark.com

www.hi-beam.net





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Re: [Frameworks] 35mm / 16mm hot splicer question

[Buck Bito - Movette]

Hi Scott,
Check the manual I linked to. You setup the film that will be on the right side 
on the left side's pins and then clamp it for the cut.
---Buck




Lawrence 'Buck' Bito
Movette Film Transfer
1407 Valencia St, San Francisco, CA 94110
Open Tuesday through Saturday:
Tues. and Thurs.: 8-6
Wed. and Fri.: 9-6
Saturday: 10-4
www.movettefilm.com



On Feb 8, 2015 3:29 PM, Scott Stark sst...@hi-beam.net wrote: 

a bummer, thanks guys - looks like it's not 

usable for 35mm. Fortunately I got it cheap, but 

cheap is expensive if it doesn't work...



Still, I'm wondering how you align the right-hand 

film strip - it looks like there are no holes for pins at all. ??



Jeff, the platens are slightly wider than a strip of 35mm film.



Oh, and the acetone worked great! pins are now 

retractable. Too bad I had to buy a quart of it just for 2 drops -- :-)



thank you,

Scott



At 03:56 PM 2/8/2015, Jeff Kreines wrote:

Yep, Buck as always is right — I hadn’t looked closely at the pictures.

How wide are the platens?

  On Feb 8, 2015, at 3:38 PM, Scott Stark sst...@hi-beam.net wrote:

 

  Thanks Jeff, will try that. Any idea on how 

 to align the two film strips without the pins? 

 The 16mm seems to be the only one on the right; 

 there are two other holes on the left that 

 might produce pins once it's unglued. Or are 

 35mm pros so expert they don't need pins?

 

  thanks

  Scott

 

  At 03:00 PM 2/8/2015, you wrote:

  On this older version, I think the front and 

 back buttons work in tandem — push on the rear 

 one to move pins in one direction, the front to 

 move in the other.  Same on each side.

  The pins may be stuck —try some acetone in 

 the holes around the pins to dissolve old film 

 cement.  Work the buttons back and forth.

  Good luck!

 

  Jeff Kreines

 

   On Feb 8, 2015, at 2:33 PM, Scott Stark sst...@hi-beam.net wrote:

  

   Hi all, I have a Bell  Howell 35mm/16mm 

 hot splicer that supposedly has retractable 

 16mm registration pins. I'm wanting to cut some 35mm neg on it.

  

   Does anyone know how to retract the pins? 

 And how to align the 35mm film without them? I 

 don't see any other pins other than the 16mm 

 ones right in the middle of the 35mm image. 

 There are some buttons on the sides that don't 

 seem to move, and some other nuts and screws.

  

   Pics:

  

   http://hi-beam.net/temp/IMG_1597.JPG

   http://hi-beam.net/temp/IMG_1596.JPG

  

   I have seen this splicer mentioned here: 

 http://www.smecc.org/film_cameras_for_television_news.htm 

 but could not find a manual for it.

  

   Thanks for any advice!

  

   best,

   Scott

   www.scottstark.com

   www.hi-beam.net

  

  

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  Jeff Kreines

  Kinetta

  j...@kinetta.com

  kinetta.com

 

 

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Jeff Kreines

Kinetta

j...@kinetta.com

kinetta.com





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Re: [Frameworks] films on film-making/unfinished films

[Buck Bito - Movette]

Hi Suyash,

Joel DeMott (and 'our own' Jeff Kreines):  Demon Lover Diary (1980)

---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Wed, October 8, 2014 11:41 pm, Suyash Barve wrote:
 hello all,

 i am looking for reference titles that fall within the genre of films made
 on unfinished films/films coming apart/film that is being shot or in
 prodcution. ...

 thank you for your time and effort to read through this notice. looking
 forward to getting some responses!

 S
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Re: [Frameworks] Super 8 camera BROKE!!!!!

[Buck Bito - Movette]

As I recall, seizing cartridges were a big problem when Ektachrome 100D
was first introduced and we even had a client who became so frustrated
that she threw her (admittedly crappy) camera in the Pacific when she
blamed it for ruining the shoot only to have the same problem with that
cartridge when a friend brought a loaner camera. There were a lot of posts
about this on filmshooting a few years ago and one suggested solution was
to smack the cartridge on a hard surface a couple of times to un-seize it.
Also, if you froze or refrigerated your cartridges things can get sticky
inside due to condensation when brought into a humid environment.
It has been suggested that cartridges should be removed from a
refrigerator a day or two prior to shooting to allow time to equalize...
-Good luck!
---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
415-558-8815
Open Tuesday - Saturday
www.movettefilm.com


On Wed, August 20, 2014 3:53 pm, Ryder White wrote:
 I'd agree with the others..try another cartridge. The same thing happened
 to me on a couple different cartridges I got from the same case...it seems
 like a manufacturing defect made the hub seize up.


 On Wed, Aug 20, 2014 at 3:28 PM, Scott Dorsey klu...@panix.com wrote:

 Are you sure it's a bad camera and not just a bad mag?
 --scott
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Re: [Frameworks] Super 8 camera BROKE!!!!!

[Buck Bito - Movette]

Ben,
You can see if those carts are seized by trying to pull down a few frames.
Hold the cartridge with the pressure plate (film) facing you and the label
side to your left (label text should be right side up), and try sliding a
few frames down. There should be only a little bit of resistance -
basically just enough to keep the film stationary when its not being
pulled by the claw.
It the film doesn't move with moderate finger pressure, the cartridge is
seized and you might try smacking it a couple of times before repeating
the test.
-Good luck!
---Buck Bito


On Wed, August 20, 2014 4:45 pm, ben.weinst...@mindspring.com wrote:
 I tryed 3 different cartridges and they all did the same thing


 -Original Message-
From: Buck Bito - Movette b...@movettefilm.com
Sent: Aug 20, 2014 7:10 PM
To: Experimental Film Discussion List frameworks@jonasmekasfilms.com
Subject: Re: [Frameworks] Super 8 camera BROKE!

As I recall, seizing cartridges were a big problem...snip
-Good luck!
---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
415-558-8815
Open Tuesday - Saturday
www.movettefilm.com


On Wed, August 20, 2014 3:53 pm, Ryder White wrote:
 I'd agree with the others..try another cartridge. The same thing
 happened to me on a couple different cartridges I got from the
 same case...it seems
 like a manufacturing defect made the hub seize up.


 On Wed, Aug 20, 2014 at 3:28 PM, Scott Dorsey klu...@panix.com wrote:

 Are you sure it's a bad camera and not just a bad mag?
 --scott
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Re: [Frameworks] super 8 viewer telecine??

[Buck Bito - Movette]

Hi Ben,
As Jeff wrote, do not use a viewer/editor.
The much better cheap way is to project the film and shoot it off the
wall/screen with a video camera.

Jeff's idea of shooting frame-by-frame with a still camera will produce
better results, much more slowly. Be warned however if you are using a
DSLR with a mecahnical shutter you will use up a minimum of 43,200 (number
of frames in 600' of S8) actuations on the DSLR. So you may end up wearing
out an expensive camera saving money on scanning - most Canon DSLRs are
rated at 100,000 to 300,000 actuations.

-Good luck!
---Buck Bito - Movette

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com




On Wed, July 23, 2014 12:07 pm, ben.weinst...@mindspring.com wrote:
 Hey I was thinkin about buying a super 8 viewer and using a DSLR to take a
 photo of each frame.  Any suggestions on viewers with the sharpest and
 brightest image quality?  Has anyone done this before?  thanks
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Re: [Frameworks] digitize shrunk 16mm magnetic sound/cordbänder

[Buck Bito - Movette]

I have no direct experience with this particular gear from MWA-Nova, but
their L.S.D. retrofit for the MB51 audio digitizer was designed for your
purpose. Perhaps you can contact MWA to find an installation near you:
http://www.mwa-nova.com/products/sound_solutions/lsd.html
-Good luck!
--Sincerely,
---Buck Bito - Movette

Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110

415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Mon, July 21, 2014 1:46 am, Mag.art. Nadine Taschler wrote:
 I have 3x 16mm magnetic soundtracks that have been in horrible shape, I
 found a lady at Österreichisches Phongrammarchiv who applied softener and
 now they are not breaking into pieces anymore. I tried to digitize them
 but they have shrunk too much for the usual system with sprockets. Is
 there anybody colose to Vienna, Austria who has a system that uses no
 sprockets and who would let me use it for a few hours?
 Shrinkage: 1,3 + 2,54 + 3,6
 I'd be super happy :-)


 Ich habe 3x 16mm Cordbänder die mir original schon in der Hand zerfallen
 sind, im Österreichischen Phonogrammarchiv wurden sie mit Weichmacher
 behandelt und jetzt würde ich sie gerne digitalisieren. Leider sind sie
 zu sehr geschrumpft als das ich sie einfach bei mir abspielen könnte. Hat
 jemand in der Nähe von Wien, Österreich ein Abspielgerät ohne
 Zähnchen, das ich für ein paar Stunden, im Idealfall unentgeltlich,
 benützen könnte?
 Schrumpfung: 1,3 + 2,54 + 3,6

 x
 Nadine
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Re: [Frameworks] Fomapan

[Buck Bito - Movette]

Hi Steven,
I haven't confirmed, but Yale in Burbank still lists it on their
processing page:
Adox, Fomapan, Orwo: $17.00
http://yalefilmandvideo.com/filmprocessing8mm.php?expandable=2

-Buck Bito - Movette
Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Fri, March 28, 2014 5:00 am, Steven wrote:
 Does anyone know of any labs that currently process Fomapan in Regular 8?

 Thanks

 --
 Steven Gladstone
 New York Based Filmmaker
 917-886-5858
 http://www.gladstonefilms.com
 http://roadtodad.blogspot.com/
 http://indiekicker.reelgrok.com/
 http://www.blakehousemovie.com
 http://www.hellion.gladstonefilms.com

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Re: [Frameworks] Weapons and the military in avant-garde cinema?

[Buck Bito - Movette]

An extremely skin-crawling short work that includes relatively modern
air-targeting footage and WWII propaganda images all draped with a creepy
gauziness:

I Cannot Speak Without Shaking by Todd Hermann
2007 - Video - 5 minutes
Written by Patricia Berne
http://www.todd-herman.com/video/#ics

---Buck Bito
Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com



On Tue, January 28, 2014 12:49 pm, John McAndrew wrote:
 Can anyone on FrameWorks offer any suggestions for moving image works -
 both new or old, landmark or obscure, abstract or representative - that
 may explore such vanguard themes?

 Best,
 John
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Re: [Frameworks] 16mm film rentals

[Buck Bito - Movette]

Canyon still rents 16mm from their catalog:
http://canyoncinema.com/catalog/films/

But if you are looking for the sort of titles one used to rent from a
public library I really don't know... It's a long shot, but I suppose
Oddball might rent something out:
http://www.oddballfilm.com/contact/default.html

...or you can buy beatup library prints pretty cheap from thrift stores,
craigslist, sometimes ebay, etc...

-Good luck!
---Buck Bito

Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
*** CLOSED 11/28/13 through 12/2/13 ***
www.movettefilm.com


On Sun, December 1, 2013 6:29 pm, Huckleberry Lain wrote:
 Is there any place to rent 16mm prints in the SF Bay Area? I'm looking for
 a large variety of all different kinds of films like one used to be able
 to
 find in the library.
 Thanks
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Re: [Frameworks] regular 8mm film processing question

[Buck Bito - Movette]

Hi Charles,
Yale does great work (although I hate their recent, printed leaders) and I
don't think you'll find anything lower than their $15/roll advertised
pricing.
Spectra also processes R8, but they advertise $18/roll.
-If you find something as good and cheaper, please post!
---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
*** CLOSED 11/28/13 through 12/2/13 ***
www.movettefilm.com

On Fri, November 8, 2013 9:13 am, Charles Chadwick wrote:
 Hey, I recently inherited what looks like a fairly decent reg 8mm camera
 from a family friend, and was looking to do a new small gauge project
 anyway, and have never worked with reg 8mm, only s8. I've tracked down a
 good price on stock, namely 8mm black and white, but does anyone know what
 the best option cost wise for b+w reg 8mm processing would be? Anything
 besides Yale. Thanks! Finding myself to be pretty poor these days, trying
 to carve out a conservative budget with what little funds that I have.

 -charles
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Re: [Frameworks] regular 8mm film processing question

[Buck Bito - Movette]

Hi Charles,
I haven't ordered since my R8 100D order a week before the Kodak
discontinuation announcement last year, but I have been happily ordering
from International Film (John Schwind) for years without a problem.
Just give him a call or drop an email to confirm he's got what you want:
International Film (John Schwind)
http://internationalfilm.weebly.com/

-Have fun with that R8!
---Buck


On Fri, November 8, 2013 9:43 am, Charles Chadwick wrote:
 Thanks. BTW, is the 8mm stock still being produced? I just emailed Joss
 Schwind, but his website looks pretty old...and I don't want to send money
 to a random address and get nothing back. Yale says the b+w 8mm stock's
 been discontinued...

 -charles


 On Fri, Nov 8, 2013 at 9:29 AM, Buck Bito - Movette
 b...@movettefilm.comwrote:

 Hi Charles,
 Yale does great work (although I hate their recent, printed leaders) and
 I
 don't think you'll find anything lower than their $15/roll advertised
 pricing.
 Spectra also processes R8, but they advertise $18/roll.
 -If you find something as good and cheaper, please post!
 ---Buck Bito

 Lawrence Buck Bito
 Movette Film Transfer
 1407 Valencia St.
 San Francisco, CA 94110
 (Valencia at 25th St.)
 415-558-8815
 Open Tuesday - Saturday
 Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
 *** CLOSED 11/28/13 through 12/2/13 ***
 www.movettefilm.com

 On Fri, November 8, 2013 9:13 am, Charles Chadwick wrote:
  Hey, I recently inherited what looks like a fairly decent reg 8mm
 camera
  from a family friend, and was looking to do a new small gauge project
  anyway, and have never worked with reg 8mm, only s8. I've tracked down
 a
  good price on stock, namely 8mm black and white, but does anyone know
 what
  the best option cost wise for b+w reg 8mm processing would be?
 Anything
  besides Yale. Thanks! Finding myself to be pretty poor these days,
 trying
  to carve out a conservative budget with what little funds that I have.
 
  -charles
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Re: [Frameworks] regular 8mm film processing question

[Buck Bito - Movette]

True enough, just please don't slit it yourself unless you have a lot of
practice (with good results) or have no intention to project or scan it
;-)
-We have seen lots of poorly slit 8mm and it is not fun to work with!
---Buck Bito

Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
*** CLOSED 11/28/13 through 12/2/13 ***
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On Fri, November 8, 2013 12:02 pm, Jay Hudson wrote:
 Any lab that does 16mm reversal can do r8.




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Re: [Frameworks] Mad Dance Film Trilogy in Portland, 10/13

[Buck Bito - Movette]

This trilogy just premiered at the Exploratorium in concert with San
Francisco Cinematheque and it was a spot-on
beautiful/ugly/aspirational/depressing/scary/joyous show - Go See It!
---Buck Bito
Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
www.movettefilm.com

On Sat, October 12, 2013 10:49 am, Ken Paul Rosenthal wrote:
 I'm presenting my newly completed Mad Dance Mental Health Film Trilogy at
 the Clinton Street Theater in Portland on Sunday, October 13 at 7pm. Show
 details here:

 http://cstpdx.com/show/madness-and-mindfulness-4-films-ken-paul-rosenthal

 Film details here:

 www.maddancementalhealthfilmtrilogy.com

 Ken

 www.kenpaulrosenthal.com
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Re: [Frameworks] Tri-X Super 8 in the UK

[Buck Bito - Movette]

Wow, sorry to hear this,
I hope that isn't a coming issue here state-side. I haven't called Kodak
about direct sales, but Yale and Spectra (reselling labs) still advertise
USD $17 / $18 so no big jump here yet...

---Buck Bito
Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Thu, October 10, 2013 8:48 am, Cherry Kino wrote:
 Ok some (kind of crap) film stock news!

 Just spoke with Kodak, hoping to order some Tri-X Super 8 cartridges for a
 film I'm making, and guess what - they now no longer sell it directly to
 people, they have allocated 're-sellers' to do it for them. These are the
 prices these re-sellers are asking - bear in mind this is ONLY for the
 film stock, no processing etc:

 Widescreen Centre - £19.00 each
 Blue Cine Tech - £20.99 each
 Sendean Cameras - £28.00

 WTF?!!

 That's a big price increase from £12-£13 per roll, which is what it used
 to be.

 Widescreen Centre are the 'cheapest' of the 3, but then there's also
 shipping and extra costs etc. Not cool. Sendean… what are they playing at?
 £28? I know prices go up and there are overheads etc, but seriously,
 that's excessive.

 So, I'm definitely going to be buying Adox pan-x 100, which I am also
 going to supply in the UK in the next few months once the CK website is up
 and running.

 Kodak made a mistake, because it'll just stop custom. Maybe they're
 winding down Tri-X, and this is their way of doing it… ? Anybody know the
 inside scoop?

 Jeez Louise, what the heck are they doing...

 It would work out cheaper to buy Tri-x from the excellent duo Richard and
 Diana at Nanolab in Australia, and pay the shipping and tax, than to get
 it from a source in the UK! Mad. Might just do that.

 Anyways, to end on a positive note, here's my latest film, 'Attraction'.
 https://vimeo.com/76331605

 Bye!


 xxx



 Martha Jurksaitis
 Analogue Film and Photography Artist

 M: 07935 916 560

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Re: [Frameworks] Subtitle Font Suggestions

[Buck Bito - Movette]

Hi Ken,
I'm glad you mentioned that you aren't looking for technical should /
should nots, so I won't touch that and just make a suggestion for
Trebuchet which I feel is just a tad more lyrical than Geneva, but was
designed with screen legibility in mind. It has a radically different
lower-case g - so be sure you're onboard with that type of glyph. Of
course many serif fonts would provide more lyricism, but I'm assuming you
are looking for sans-serif.
-Good luck on your current project,
---Buck

Lawrence Buck Bito
Movette Film Transfer
*NEW LOCATION*
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com


On Thu, June 27, 2013 11:06 am, Ken Paul Rosenthal wrote:
 My current film is very text heavy, so it's extremely critical that the
 subtitle typeface be legible but also friendly to the eye. After a
 considerable amount of research, I've decide to go with Geneva CV.
 Helvetica Nue was a close second, but the former is a bit more
 open.However I'm now beginning to feel that the Geneva CV is a tad too
 distinct from the imagery it appears over. In terms of legibility, it is
 ideal. But given the lyrical nature of the imagery, I'm re-considering a
 font that visually integrates into the show a bit better. The shape of the
 letters are fine. It's more about the heads and tails of the stems, which
 in Geneva CV are a tad too 'crisp'.I'd like to respectfully note that I'm
 not looking for advice about technical or traditional shoulds and
 should nots. Just simple font suggestions.Many thanks! Ken

 www.kenpaulrosenthal.com
 www.crookedbeauty.com
 www.maddancementalhealthfilmtrilogy.com
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Re: [Frameworks] Feet of 16mm film

[Buck Bito - Movette]

Hi Matt,

16mm / 20minutes:
720' @ 24fps (36'/min.)
540' @ 18fps (27'/min.)
480' @ 16fps (24'/min.)

Lawrence Buck Bito
Movette Film Transfer
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com


On Mon, June 24, 2013 8:33 am, Matt Helme wrote:
 Hi Guy's
  
 I am just wondering how many feet are in a 20Min reel of 16MM film?
 Thanks.
 Matt


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Re: [Frameworks] a question about negative film stock for s-8mm

[Buck Bito - Movette]

Hi Marco,
I've never been happy with Super-8 neg. and the loss of Ekta 100D spells
the end of color Super-8 for me. Even on the most serious Super-8 scanner
I know of in the U.S. at Cinelicious I see what you are complaining about
when it comes to the skies and other areas that should be 'fluid'. I love
reversal grain in 8 and Super-8, but the grain from Vision when blown up
from Super-8 looks mostly like dust or sensor/video noise to me.
Here is a piece on Vimeo that was scanned at Cinelicious using Vision3
200T and 500T and the skies in particular look terrible to me...
http://vimeo.com/55509028

Perhaps Vision3 50D 5203 would be worth a try... To my knowledge I haven't
had any clients bring us this stock on Super-8 yet and it is supposed to
be the finest grain for Vision3.
http://motion.kodak.com/motion/Products/Production/Color_Negative_Films/5203.htm

R.I.P. Ekta 100D...
Here's a search return from Vimeo for Super-8 100D that looks a lot better
in the skies although I've seen even much nicer 100D footage:
http://vimeo.com/4530359

-Sorry I don't have better solutions for you, but I'll wish you good luck
with your project!
--Sincerely,
---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
*NEW LOCATION*
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com

On Wed, May 22, 2013 10:38 am, Marco Poloni wrote:
 Dear Frameworkers,

 I have a question about film stock for Super-8mm.

 I am back from a scouting trip for a 16mm film project. I did all the
 location filming in Super-8mm because I wanted to use the material in
 the film as well. I worked with my Leicina Special with a Schneider
 Optivaron 6-66mm zoom, which had just been revised, and with Kodak
 Vision 3 200T and 500T, a stock that I well know and love when used in
 16mm. The material was scanned in AppleProRes422 on an Ursa Diamond in
 a laboratory in Turin, Italy: Nova Rolfilm. People who were
 recommended to me and do very good work.

 The result is very disappointing. The footage is super grainy, looking
 kind of OK when I'm filming objects but terrible on skies: exploded,
 saturated, not fluid. I know the problem is neither the camera nor the
 lens. I have shot excellent bw footage with this camera.

 ...SNIP...

 Best,
 Marco


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Re: [Frameworks] a question about negative film stock for s-8mm

[Buck Bito - Movette]

Hi Marco,
I just did a quick search and found a very promising test roll of S8
Vision3 50D on Vimeo. It seems to show that the fluidity you're looking
for is possible with this stock:
http://vimeo.com/62358313

-I'd love to see the comparison with Velvia you propose.
--Good luck!
---Buck

Lawrence Buck Bito
Movette Film Transfer
*NEW LOCATION*
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com


On Wed, May 22, 2013 4:54 pm, Marco Poloni wrote:
 Hi Buck,

 Thanks so much about your reply. Sharp and really informative. I will
 wait for more replies but already want to react to your email.

 I had a look at the footage you linked. Yes, the sky looks terrible
 when shot with 200T and 500T, even when scanned at Cinelicious.
 Consistent with what I got. I heard many good things about Cinelicious
 and was thinking of re-scanning there but after reading you it's clear
 I will only get marginally better results.

 I am now keen on making a side-by-side comparison between Fuji Velvia
 50D, which is a reversal film available in Europe (but also in the US
 I believe, through Spectra Films), and Kodak Vision3 50D. If I do so,
 I will upload the results.

 Yeah, R.I.P. Ekta 100D indeed.

 Thank you again,
 Marco



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Re: [Frameworks] ESC bulbs

[Buck Bito - Movette]

Hi Adam,
ESCs are hard to come by these days, so a true ESC you'll probably only
find as NOS on eBay...

There are two readily available alternatives that I know of - the EJL
which is the same spec except for the filament orientation. The CC8
filament on the original ESC is better at hiding the filament shadow, but
I've used the EJL and ELC with acceptable results. The ELC is a HOTTER
bulb and introduces a risk of overheating and a more significant risk of
overloading the transformer and bricking your GS...
* Most new lamps I've gotten have the faceted reflector rather than the
original style smooth reflector, but this hasn't caused problems for me...

There is a link to 1000bulbs.com below, but there are other online lamp
shops that will stock these. I used to rely on purelandsupply.com, but it
seems they no longer stock EJLs...

ESC (Original) ::
volt: 24
amp: 8.33
watt: 200
base: GX5.3 - Miniature 2-pin round 1.5mm, 5.3mm centered
glass: MR16D
filament: CC8
fil.res.: 2.88 ohm
m.o.l.: 1.75 inch (44.5MM)
cri: 99
color temp: 3400
=
Alternatives:

EJL:
volt: 24
amp: 8.33
watt: 200
base: GX5.3 - Miniature 2-pin round 1.5mm, 5.3mm centered
glass: MR16D
filament: CC6
fil.res.: 2.88 ohm
m.o.l.: 1.75 inch (44.5MM)
cri: 99
color temp: 3400

ELC: ***May Fry Your Transformer***
volt: 24
amp: 10.4
watt: 250
base: GX5.3 - Miniature 2-pin round 1.5mm, 5.3mm centered
glass: MR16D
filament: CC6
fil.res.: 2.31 ohm
m.o.l.: 1.75 inch (44.5MM)
cri: 99
color temp: 3400

http://1000bulbs.com/search/?q=ejl

---Buck Bito

Lawrence Buck Bito
Movette Film Transfer
*NEW LOCATION*
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com


On Thu, May 9, 2013 10:02 am, Adam Hyman wrote:
 Sorry, I meant GS-1200.


 On 5/9/13 9:57 AM, Adam Hyman a...@lafilmforum.org wrote:

 Hi,

 Anyone have recommended sources for ESC bulbs for an Elmo GL-1200
 super8mm
 projector, ideally in Los Angeles, but I¹ll go for the USA if possible?

 Best,

 Adam



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Re: [Frameworks] 16mm reels cans in San Francisco

[Buck Bito - Movette]

Hi Pablo,
We're a scanning house and not much of a supplies shop, but we do have
scads of new gray Tayloreel 400' plastic 16 reels in cardboard boxes (no
cans) for $4.50 a pop if you don't find what you need from Action Camera
or Oddball
-Buck Bito

Lawrence Buck Bito
Movette Film Transfer
*NEW LOCATION*
1407 Valencia St.
San Francisco, CA 94110
(Valencia at 25th St.)
415-558-8815
Open Tuesday - Saturday
Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4
www.movettefilm.com


On Wed, January 9, 2013 6:05 am, Pablo Marin wrote:
 Hey,
 I'm in town for a few days. any place I could buy plastic 16mm
reels/cans? best,p.

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