For years I used Whitehouse AV, but after the guy's stroke he has been unable
to do a lot of things, but he's still able to do some others. He still works
on the CP16s but won't touch GSMOs or lenses any longer. He is in LA.
What is wrong with yours? The cool thing about these cameras is that a
You really need fixer, but because the chemistry is pretty much the same
all over, the fixer used for kodaliths at the print shop or the t-shirt
shop will work... so will the fixer used for x-rays at the hospital.
You can just make sodium thiosulfate or ammonium thiosulfate solution
without a ha
Well, it's a bad idea to cut stuff together at different rates because
they're going to have different rate conversion artifacts. You'll have
3:2 pulldown annoyance on some shots, but not on others.
But you do what you have to do with the material that you have and
that's how life is, especially
> Hi Pip, I?d be happy to use an optical sound camera or lab equivalent
Any lab should be willing to make you an optical track. Trackwise is gone,
but I know that Colorlab and Fotokem have sound cameras. I can do 16mm but
not 35mm any longer.
--scott
___
3378 is basically the same as 5278 with an estar base... I have used it in
Bolexes and CP-16s with no problems for years. The Bolex does have enough
torque to damage things if it jams, but it's not as if jamming is a frequent
problem. It's higher contrast than the hi-con stock which makes it grea
Ahh, I get it, you want a digital image of what the soundtrack would like and
you want to plot it out as part of your filmout.
This turns out not to be an easy thing to do because of the frame lines...
it is very very hard to get the bottom of one frame to line up perfectly with
the top of the nex
I'm not sure what you're asking. You want a Maurer sound camera or you want
something equivalent?
--scott
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Take your battery to a local battery rebuilder, they should charge $20 or so
to recell the original battery.
However, if the camera hasn't been run for 40 years, I would want to
lubricate it before applying power. I have seen so many people who
destroyed old cine cameras by running them without
Okay, probably the way it was supposed to work is that it has cue tones
on the audio track which keys the synchronizer. Every time the synchronizer
hears the 1kc tone, it presses the CUE button on the Coyote.
So the way you normally do this is that you load the program into the Coyote,
cue up the
Just because it works in mag tape bypass mode does not mean that the
controller is actually working and hearing audio.
If you load the program into the machine, can you see it? Going with the
up and down buttons can you see a bunch of cues in there? Can you play
those cues back by hand in order
I have worked on documentaries that were carefully storyboarded shot by shot
beforehand. I have also worked on some where the camera crew was told to
"go out and get shots of that event" and the script was put together after
the fact, looking at the footage that came in.
Good docco cameramen thin
B&W film will bleach with Farmer's Reducer or reversal process bleach. The
image is a silver image, so what you're doing is reacting with the silver to
form a soluble salt that you can clear out.
However, the B&W emulsion is also designed for low temperature processing
so another route is to put
I agree with Mr. Wilkins assessments, but the things he dislikes are mostly
things I like. It -is- projection contrast so it's going to get a bit harsh
if you make an interneg for a projection print... it is more like EF than ECO.
The latitude is very narrow, which is something I'd expect for reve
I think the heavier Ries tripods are probably the best for fending off
alligators, if only because they extend to nearly six feet and you want to
keep alligators as far away from you as possible.
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> Thanks everyone for your help with the resources and everything! I managed
> to get a projector and I just bought a replacement bulb, but it immediately
> started smoking and heating up. Does anyone know what the problem could be?
It's been sitting on a shelf for decades without anything being c
I do not like slotload projectors, but there are a lot of companies out
there that refurbish and sell projectors. Ken Layton is an honest and
reasonable source for refurbed classroom projectors, so is Urbanski Films.
DuAll sometimes have some in stock. Optech Light Bulbs in Andover, MA
sometimes
Anyone mentioned La Jetee yet?
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Abdul Setoua is in Astoria, NY, he has a 718 area code number as I recall.
PAV is on Long Island. But it's not THAT hard to ship stuff off.
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> How would I go about repairing it and/or figuring out what=E2=80=99s wrong =
> with it?
I am assuming that there is nothing wrong with it, that it is perfectly fine
and just needs maintenance. If it needs repair, that is a different matter.
Most projectors have service manuals available which
The problem with those freebies is that they aren't free. People get them,
they don't want to pay to have them cleaned and lubed before they use them,
and then they wreck the cams in an hour of using them dry. Budget maybe
$200 to $300 to have a free projector put into condition to use.
Please
> Would someone point me to a comprehensive resource for learning to make a
> film, start to finish, on film?
A good discussion is in "A Primer for Filmmaking" by Roberts and Sharples.
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There are lots of free projectors out there... and people buy them but
then find out that a PM is going to cost them money. Budget some money
to clean up a projector that has not been run in decades. Even if it has
very few hours on it, it's going to need cleaning and lubrication and
rubber parts
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
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When was the last time it got a PM? It likely just needs to be completely
torn down, cleaned, and lubricated.
The DeVry is very easy to work on... way easier than an eyemo. Any cine
tech should be able to do it, but be aware that it is still time-consuming.
DuAll is nice if you're convenient to
The heavy takeup reel isn't taking up better because it's heavy, it is taking
up better because the diameter of the center hub is larger. Just fix it.
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I'd ask a lab if they had any ancient intermediate films in the closet.
They'll be long KS perf which may or may not be a problem for you.
If you wanted 16mm, I have a couple cans of Television Recording Film
around here somewhere with mid-seventies date codes...
--scott
__
In addition to the belt, there is a slip clutch that goes bad. The belts
should be replaced every decade or so just pre-emptively, but in a pinch
cleaning them with 409 (buyl cellosolve kitchen degreaser) will often help.
If the slip clutch is slipping too much, take it apart, wash the parts
wit
What is the diameter of the lens inside and out?
I have used the plastic covers from round military electronics connectors as
lenscaps for smaller lenses. I really prefer threaded lenscaps though.
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> The only movie about epidemics I like is The Andromeda Strain.
Andromeda Strain is a great, great film. However I urge you to watch
this short film of Steven King's story "Night Surf" which I think is
quite well-done:
https://www.youtube.com/watch?v=LaDu0agqtjc
--scott
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It is taken!
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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, e
Chambless almost always has them, and Chambless will do competent refurb
jobs on them. Of course, you have to pay Chambless prices but that is how
it goes.
You do know that there are plenty of other reflex cameras out there besides
the Scoopic and the Bolex, right?
--scott
___
> Leo Catozzo was allergic to acetone and invented the tape splicer, it says
> here: https://en.wikipedia.org/wiki/Leo_Catozzo
Catozzo invented the perforating splicer, that used unperforated tape and
cut new holes in the tape with dies as you made the splice. These are very
fast and convenient
Tape is edited with razor blades. Film is edited with a splicer.
Here is a fair video on the tape editing process:
https://www.youtube.com/watch?v=iTh8FAoI4PU
In very early days, film would be edited in a block sort the way tape
is edited... the block had pins that locked up the perforations, an
The problem is that there aren't many people who can service the things
any longer, whereas it used to be there were thousands of older guys who
had been through Filmo and Eyemo school in the service who were doing
camera service. So what you save in lower prices due to reduced demand,
you pay do
Yes, I mean Du-All.
I noticed Chambless's website is down today. Are they okay?
--scott
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Jeff, is the Rex 1 possible to refit with a Rex 5 finder? The Rex 1 finder is
really kind of horrible but I have never seen a retrofit done before.
> Get a 10mm Rx Switar and you're good to go.
I second this recommendation... I had no idea how cool this lens was until a
few years ago.
--scott
You tried DuArt and B&H's used division?
--scott
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I think they are talking about using a digital simulation of the large shutter
angle technique.
--scott
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Interesting... oxberry.com was active in February but appears to have been
put on hold now. They were actually pretty good about support for their
older gear.
Do you have the pinout for the A&N connector? Do you have the controller
box?
Frank Wyle at the Library of Congress has worked on these.
There are literally dozens and dozens of different motors for the NPR,
everybody and his brother made one. As Jeff says, if you want to shoot
synch, you probably want the Alcan.
Now, there are some other motors out there that give you crystal control
and varying speeds, and some of them that do r
If the problem is the motor, pull the motor and ship it to DuAll or someone
that works on those. There is no reason to ship the whole camera if there
is a motor issue. (That said, if it's been a decade since the camera has
had a PM, it might be a good idea to ship it in for a PM as well).
The el
Which motor does it have? I am presuming the motor is the issue? There
are probably more different motors available for the NPR than any other
camera made. If it's one of the crystal sync motors, the electronics on
them aren't hard to work on and most of what goes bad are electrolytic
capacitors
"Affect" is another word that I think started out as psychological jargon and
has become more widespread.
--scott
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Don't blame Apple for this.
If you want a stable system, take it off the internet and lock it down.
Don't install updates, don't make any system changes. Backup your work
daily and every six months or so use clonezilla or something similar to
take an image of it.
Once you put the system on the i
It has long been standard practice in the UK and Europe to run 24 fps films
at 24 fps. It drives people with perfect pitch crazy, but for the most part
the effect is much less noticeable than the 3:2 pulldown that we got in the
US for 30 fps conversion.
There is software out there that will stick
Vinegar syndrome is caused by a reaction involving triphenyl phosphate which
was used as a plasticizer for some triacetate films. Films that used other
plasticizers don't ever go vinegar. Films that used a plasticizer mixture
including TPP sometimes go vinegar and sometimes don't. Films of the s
First of all, this is a metafilm, some hollywood propaganda, and it is
not meditative at all, but it is a thing that students should see in any
introduction to film class:
http://www.youtube.com/watch?v=DhhnFP1GWHI
The youtube version looks terrible, if anyone knows of a better one I would
love t
I have buzz track films in stock for $50 each. They are original SMPTE
films that have been in storage for a long time.
I have no idea about the others. Trackwise made me some MF test tones
on their Maurer twenty years ago, but Fran is long retired now.
I could make you a second generation mag
Okay, old guy tells stories.
Back in the twenties and thirties, doctors would employ open fluoroscopes,
with an X-ray source behind the patient and a fluorescent screen in front
of them. X-rays passing through the patient would cause the screen to
illuminate and the doctor could see what was go
What -is- Sprint Standard Film Developer? Do you have a formula for it?
Is it just a metol-hq like D-76 and other minicam developers for hand
processing?
D-19 is a high contrast, high activity developer, closer to Dektol than
a minicam film developer. It is still just metol and hydroquinone in
t
Steve Puntolillo at Sonicraft is the first place I would go. First of all,
they are careful people and will set their machines up properly for your
tapes. If your tapes have tones, they will line them up, if they don't they
will set the azimuth by ear. And then they are able to do clean unattend
You don't say what model Bolex it is, but if it's an H16, the mechanism is
still in production and you should be able to buy shutter parts new from
bolex.ch in Europe.
US parts distribution is still through Chambless which is not exactly the
most fun company to deal with.
Note that there were a l
Take it back. Someone worked on the shutter, they didn't set the shutter
phase correctly when they re-assembled it... they need to make it right.
--scott
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I didn't think it was all that great, but the sequel with Peter Lorre was
wonderful.
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I don't know what liquidol really is, and there's no information on the
web.
The MSDS says it's a water solution with sulfite and hydroquinone, looks
like a little less hydroquinone than dektol. Does it have metol in it
like Dektol or does it have phenidone? I assume that since it's based on
w
Sadly everyone and his brother has excellent rock-steady Simplex and
Century machines in their back rooms trying to unload them these days.
It is a tragedy, because in another 20 years or so they're likely to be
worth a fortune (the way all of these things tend to go in cycles). I
have seen so man
Ektachrome 7294, cross-processed as negative. Color will be a little weird
because the curves won't match when you cross-process, but there will
certainly be plenty of it.
Next step down would be to just shoot 7294, underexpose a stop and a half and
push one stop.
The expensive and most dramatic
> If I rate it at 200 ASA Daylight, and open up two stops, this should be
> correct, no?
Why opening two stops? Do you have a prism that loses 3/4 of the light
or some other reason your f-stop on the lens doesn't reflect the real t-stop?
--scott
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> I am not getting it. Is 200 ISO the native speed of the film? Or is it 160 ?
It is both. The film is less sensitive to red light than to blue light,
so if you expose it in red light, the effective ASA is lower. If you
are exposing with tungsten light, you use 160 ASA, while if you are exposing
It's true that the color films are never going to give you the degree of
snap that you get from a B&W film because they just don't have a huge amount
of silver in them. A more reactive developer than Rodinol might be worth
trying.
I'd just do a foot or so of film in a roll film tank for test pu
Are you processing short lengths in a tank or are you using a rewind tank
or something else?
A rewind tank will greatly increase required development time.
"Expose for the shadows, develop for the highlights." If the highlights
are grey, extend the development time.
--scott
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Dolby SR/D -is- an AC-3 datastream.
--scott
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It's not THAT unusual to provide mono digital soundtracks, with audio all
coming from the center channel. AC-3 digital encoding on the film, just
only one of the six channels used. This is seen a lot for reissues of
classic films although Woody Allen used it for his last few new releases.
It's n
Tell them you just want dolby analogue track, that you will supply
2-channel 48ksamp/sec audio for analogue track and they don't need to
provide AC-3 encoded tracks.
Unless you -do- want AC-3 encoded Dolby Digital, in which case you
should talk to sound post guys... it should be fairly easy for an
I agree about shooting a test... but I suggest shooting a test at 1fps or
so... keep the shutter open as long as you can
Even wide open that may not be enough.
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You might try Optech in Boston. They don't have a lot of parts for
older camera lenses available, since they work mostly on projection
lenses, but they do good work (if not quickly).
--scott
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Does it have to be in realtime? Light levels will be very very low,
but undercranking the camera might make it possible to record something.
--scott
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I'm not surprised.
Arri used to sell 50 and 60 Hz variants of these with different gears
installed. An Arri tech out there might be able to get you the correct
gear for 50 Hz operation.
However, the easiest solution might just be to run it off a 60 Hz
inverter and a big battery, if this is a te
You could try asking Isco. It likely won't be cheap.
ICE in Miami might have some damaged ones with good front elements that
could be parted out. You could ask them, but they really don't like
looking through bins of stuff for low-profit items.
If you could get the thing, replacing it would no
> I gotta say, the more I learn about photographic chemistry, the more I am
> saddened that it has become such a rare, niche activity.
It was once a field of very active research and development. If you are
curious about B&W photography I strongly recommend getting a first edition
of C.E.Kenneth
I agree that prescreening is the problem but the -reason- why prescreening
is so difficult is the sheer volume of material coming in.
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> So, just for the fun of it let me ask, what happens if you process
> kodachrome in C41 chemistry? Anything? Mud?
Nothing, because all the cool stuff in C41 is in the film rather than in
the processing.
Each layer of C41 has the color dyes and couplers already in there with the
silver halides an
Oh, you could probably get a K-14 line running. Dwayne's Photo had one
running a few years ago and still has the analytic chemist on staff
although they don't have some of the other people on the line.
The problem with K-14, which is also the wonderful thing about it, is
that the dyes are not in
Kodachrome cannot be processed to a color image any longer. Not K-14, not
K-12, no way, no how.
You can process it to a B&W image but what you get is poorer quality than
what you'd get if you'd just shot B&W film.
However, there is now a usable 16mm Ektachrome stock if you like that
reversal loo
According to the 1998 Photo-Lab-Index on my desk, those were distributed in
the US by HP Marketing, Pinebrook, NJ. No info on Europe but you
could try HP at +1 973-808-9010 and see if there is anyone left that knows it.
--scott
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Likely the lubrication has gunked up, especially if it is a much older
lens. If you put a couple of drops of naptha or Ronsonol around the ring
so that it can get down into the helicoil, you can probably dissolve enough
of the gunked-up grease to free it.
It won't stay free, though... someone h
Eiki lenses are 42.5mm standard. You can sleeve an Elmo lens to fit
an Eiki but you can't make 52.5mm lenses fit.
Lenses for Bauer, Philips, Kinoton Siemens, and Meopta projectors will
fit an Eiki.
ICE in Florida had a bunch of 35-65mm Isco Kiptaron zooms that they were
selling on ebay for aroun
It's cheaper but it's print perf which means it's hard to print well,
and it's polyester which means no cement splicing. And slow of course,
although that could be a plus.
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Can you send it back for a rescan?
--scott
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Okay, because there is one model that is sold in the US under the name of
Vanguard which calls itself a xenon unit but in fact uses a Marc-300 lamp
and should be avoided.
If anyone has any service documentation on any of these cineangiography
viewers, I would love to see it.
--scott
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Is this a machine intended for medical use, to view cineangiograms?
--scott
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5 seems optimistic. Shoot a test.
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> I often have issues with it coming out with very low
> contrast, would a monobath be useful in countering that?
No, a monobath will make the problem worse because it will be compensating,
that is it will develop more in the shadows than in the highlights. The
developer and fixer are in a race w
I have not but I have used other monobaths before. They are convenient,
but allow no control over gamma or really any part of the characteristic
curve. Most of them are inherently very compensating because the development
is limited by the fixation. If you like that look, good. Otherwise not so
This is the camera they handed out to Marines in Vietnam. Marines could not
damage it. This is pretty amazing. They are cheap and plentiful on the used
market because they all lasted.
That said:
1. There is no single frame
2. There is no reflex viewing
3. It takes standard C-mount lenses which
If you want some fogged film, I have some you're welcome to... but you should
know that you will get a different look on scratches with film as with black
leader... and the black on the black leader is blacker than most film.
Magfilm is usually long-pitch and polyester based, just like print stock
I think he means that when you go from sound speed to silent speed, the
shutter angle changes in order to reduce flicker at the lower speed, by
means of a little metal clip on each shutter blade that is moved in and
out by centrifugal force, and that on many of the Pageants that clip sticks
and
If you're looking for a theatre projector I don't think you can do much
better than an Eastman 25, but it will not be cheap. Cardinal Sound and
Motion Picture in Baltimore can likely set you up with a refurb Elmo xenon
projector for a couple thousand.
For the most part if you buy a used theatrica
You don't say what you're looking for. Classroom projectors?
Theatre projectors? I assume you need 16 and 24 fps both for typical
showings. I assume also you need something very light on film.
I am a fan of the very old 300-series B&H projectors which are not very
efficient or bright but run fo
What models?
--scott
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Which models are they and are they on cinema bases or can they be lifted
by hand?
I know a couple good Eiki service people on the east coast and one in
Texas but none in Oregon anymore.
Don't power them up without oiling them first or you are apt to damage
the cam.
--scott
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Chambless still should have parts for these. They might not be willing to
sell them, and might demand to do the repair themselves.
--scott
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The demo that we always got was to set small piece of the stuff on fire and
drop it into water so you can see it continuing to burn underwater. I would
not want to do this with more than a frame or two at a time, as it is very
dramatic.
--scott
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The camera only runs a few seconds because everything in it is gunked up
and it needs cleaning and lubrication, likely.
Don't EVER run an old camera or projector without making sure the movement
is properly lubricated, because you can wear out the cam very very quickly
without proper lubrication.
A good introduction would be Roberts and Sharples "Primer of Filmmaking"
I believe.
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No, Dave is right on.
In the beginning, we had film editing, and film editing was great. You
could put anything anywhere.
Then, we had videotape, and although you could kind of razor-blade quad
tape, most videotape editing was done by dubbing scenes one at a time from
one video machine to anoth
MR16 is a physical size and shape, and there are lots of MR16 lamps out
there including the very common ELH lamps for Ektagraphic projectors.
Buy a ground glass for diffusion; you can get round ones on ebay very
inexpensively. Do not forget heat-absorbing glass.
--scott
___
Cinelab still does that. Anyone that does 16mm reversal should be able to,
there's nothing unusual about it, it just runs with the same parameters as
camera films (unless you're trying to get low contrast or some such thing).
--scott
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Open up one of the slide mounts. Read the emulsion number off the piece of
film. Tell us what it is, and we might be able to answer your question.
Also... what do you currently have that you want to turn into slides? Are
they negatives, or are they slide originals, or are they prints?
--scott
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