Much of the problem with this sort of thing is that in the 1980s, Kodak
demolished all of their older alleys that were capable of small production
runs, under the general impression that production would always be
increasing and they could do specialty runs on the longer alleys.
The downside of
Widescreen Centre might have one. They often have wacky old
double-8 stuff in back and I believe they still process double-8
so they should have a slitter.
It's possible to make your own with two razor blades and properly
cut aluminum stock, but the edge is never as clean as if it was
trimmed
I don't know about good portable xenons the closest I have seen to a
decent portable has been an Eastman 25 with an aftermarket head... but
there are some excellent Elmo 16mm xenon machines that Cardinal Sound
And Motion Picture in Elkridge, MD is selling refurbished right now.
They are very
You name it, it'll run off any 12V battery or off a 12V wall-wart. You can
just graft an XLR onto a generic 12V lead-acid from the hardware store and
leave it there.
--scott
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I think Alpha Cine still has one.
--scott
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does anyone know if modern recorders accept tone? does the tone actually
show up in your sound?
A good introduction to how pilot tone works can be found in A Primer For
Filmmaking by Roberts and Sharples. The tone is recorded on a second
channel, separate from the audio. In the case of the
You've got a negative and you want a duplicate negative made? Or you
have a negative and you want a print made?
Any lab should be able to do either, BUT the bad news is that there is
no more CRI stock and no more reversal print stock, so in order to get
a dupe negative you have to get an
Does anyone know if there is anywhere in London they would happen ton
process super 8 B/W reversal still?
Widescreen Centre on Dorset st. offers reversal processing. They don't
do it in house, but they batch it up and send it to some outside lab.
--scott
Kodak has a nice little booklet on the subject.
In general, fixers, stop bath, and some kinds of bleaches will last a long
time on the shelf, whereas mixed developers oxidize very quickly.
Squirting a little canned air into the bottle can help reduce oxidation of
developer stock solutions, but
The BW is not too bad.
The stop bath can be mixed with the developer and you can verify that it's
fairly pH neutral. This can be dumped down most drains safely. You can drink
it if you want, but the sulfite makes it taste like rotten eggs.
The fixer is worth money. It's toxic because it's
Get A Primer for Filmmaking by Roberts and Sharples.
Find someone with a flatbed you can borrow. You don't want to own one,
you want to borrow one.
Buy a couple rewinds and a Moviscope. You want to learn how to use
an editing bench as well as a flatbed. You don't want to edit on a
bench, but
You really need to talk to your county or city water treatment folks, to
see what they allow. First find some local organization that tends to
dispose of chemicals and see if the people in your local government are crazy
or not.
I have seen places where people are crazy... the Library of
I use anything from 1-4 liter kit of tetenal's E-6 developer a month. After
looking on some forums it appeared that it was ok at dispose of E-6 down t
he drain. However I was recently on a course in London and the lecturer tol
d me it was worth finding out for certain what was in the E-6
If you're blowing it up, you care about image stability, sharpness, and grain
at the expense of everything else. So use the slowest stock you can get your
hands on.
Kodachrome is gone, but there are rumors Kodak will have the 50T available
in Super-8 soon.
--scott
Try Advance Camera. They are expensive, but do nice work, and the odds
are that you just need a cleaning and lubrication. If they won't touch it,
they might know who would. They aren't cine guys, but at least one of
their techs has worked on a lot of that stuff when it was new.
--scott
Look on Ebay, there are a bunch of people selling ground glass assemblies
for cameras, including one guy who makes them custom.
--scott
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It's a very good idea to clean it yourself. In fact, you should do it
every once in a while along with checking the gate for hair. The hard
part is avoiding leaving q-tip fragments in the gate
--scott
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I don't think there's anything too scary on the Scoopic, it's not like an
Eyemo which will severely injure you if you remove the bolts from the spring
assembly. You should be able to get to most of what you need without
taking much apart, though.
--scott
You're trying to get a color image (replacing the E-6 first developer
with Dektol but using E-6 color developer and bleach), or to get a
BW image (using dektol and fixer and just developing all layers at once)?
--scott
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think about
the nature of the universe and of technology.
HOW DO I SUBMIT MY FILM?
You send a non-returnable DVD or VHS screening copy to:
Arisia
Attn: Scott Dorsey
PO Box 1229
Williamsburg, VA. 23187
Along with some indication that you want it to be considered for the Arisia
film program and how
Does the screening format have to be a print? Can I submit a project
that was s hot on 16mm and finished digitally? Thanks!
Unfortunately we have only film projection, no video projection in that
auditorium. So you'd need to have a filmout from your DI.
--scott
You need to be a bit more specific.
You can get leader in acetate and polyester base... the acetate can be
cemented, the polyester cannot.
You can get long and short pitch, the short for camera originals and the
long for prints.
You can get the regular thin-base leader and you can also get
I think most sound post houses have a dubber sitting in a corner somewhere
and could do a transfer like that. The problems you'll run into are two,
though. First, a lot of them don't have a CD player in their rack and
they expect 48 ksamp/sec audio. If you send them a DAT made off the CD,
they
I don't know, but I can confirm that there is no Super-8 print stock
currently being manufactured.
http://www.andecfilm.de/en/e_start.htm
Andec had a special run of color print stock manufactured for them, as
far as I know they are it. No reversal prints, no BW.
--scott
It's a 1 KHz tone, for 1/24 sec.
You should be able to make one with any DAW's oscillator function.
--scott
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DeVry had a hand-cranked projector which Edmund sold surplus for $20
so in the seventies and eighties. They had a pull-down claw and would
go in both directions, with a fairly dim lamp.
I have a Speco motion analysis projector that can run on a motor or be
hand-cranked... in single-frame or
If the speeds are mismatched, they will flicker at the difference rate.
Try it yourself, stick a piece of paper in the gate of the 35mm projector,
or a small groundglass, and look at the image projected where the film would
be.
With a 35mm camera that has a mirror shutter, you can adjust the
Try Rebecca Moran of the Kino Club there.
--scott
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There used to be a good market for short ends you could call up Rafik
or Film Emporium and say What 16mm can you give me for four cents a foot
today? and get something useful.
With the demise of 16mm theatrical production, there are very few 16mm
short ends available now, and what is
Try asking on 16mmfilmtalk.com. There are a _lot_ of those Castle
compilations and other 8mm reductions of shorts out there. Also
take a look on Ebay. The things do not sell for much. Put some
$1 bids down on Ebay and see what you wind up with.
--scott
Agree that Moviola flatbeds sucked, though the M77's built-in ashtray and
avocado-green body were truly echt-70s.
I like the ashtray, it is very useful for holding all the screws and washers
and other bits that are constantly falling off the machine.
Also, we had a very skilled operator:
Kodak will have it, and Widescreen Centre in London will have small amounts
at somewhat inflated prices.
If you're looking for general purpose stuff, try Kodak 8210445, the white
acetate leader. Don't run this through a processing machine, though.
--scott
Hello all,=0A=0AI've been experimenting with various alternative formulas f=
or black and white developing that involve non-toxic household chemistry bu=
t I am curious if anyone has done so for color film?=A0 =0A=0A=0AAlso, why =
and how do onions work as a fixer?=A0 How do you prepare them
thanks scott.
what do you mean by the mirrors?
If you look at a typical rear projection system, they will often have a
projector pointing into a mirror, pointing into a second mirror pointing
into the screen.
This allows you to effectively increase the total throw to the screen
when you don't
This is called a squawk box and you can see them on Ebay now and then
for very little. Lots of companies made them, yours will work with any
of them pretty much. All of the actual electronics are in the box, the
head is just a coil of wire around a piece of steel and some stuff to
hold it in
P.S. I also have a moviola SR8 optical reader and have been casually
looking for a cheap, working URS for some time with no success yet.
Does the SR-8 have the phototube or the solar cell? If it's the solar
cell, you only need to supply voltage to light the exciter and then you
can pull the
Nope, the solar cell is just hot and ground.
The de-emphasis network for the mag device is different than the one for
the optical head, so the frequency response will be way off, but it's
really just a squawk box, it isn't expected to sound good.
You may find 6V is too high for the exciter...
Looks to me like they just discontinued double perf and the high speed
camera loads. 1R is still in the catalogue, though with Kodak who can
tell?
--scott
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Oh, the Orwo reversal stuff is beautiful, it's like Tri-X used to be
pre-1976 when the black levels were degraded.
Have you tried processing the 400 ASA Orwo negative stock as reversal?
I know they don't recommend it.
--scott
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I FedEx everything back home, or FedEx directly to the lab. Within the US
I'll often just send FedEx Ground since it's kept cool and the extra day or
two isn't a problem. Outside the US I will usually use whatever the cheapest
way is (which is not normally very cheap).
Flying with film has
Fedex does not X-ray if you mark DO NOT X-RAY on the outside of the box.
The TSA they will X-ray it no matter what it says on the box if nobody
is looking.
--scott
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That's a 300W XBO lamp in the EX-300-SL.
The Ushio part number would be a UXL351E-0 for those.
Wagner Media lists those things at $331, which is insanely low, less than
half what the theatrical suppliers normally charge. Give them a call at
877-778-7077. I am really skeptical about that price
Shoot a test, process a test. Just take fifty feet or so and run it and
see what it's like. You may need to open an extra stop or so.
When you develop the test, look at the edges of the film where it has not
been exposed. Compare with some other processed negative... it should be
clear and not
Thanks Scott! I was going to hand process as reversal though...
Process the test as negative since it's easier and there's less to go wrong.
But if you process as reversal, again look at the unexposed area and it should
be a nice solid black, and not a smoky grey. The fog will bring the
If you want to make an interneg from a reversal original, the new stock
is 7273. It is considerably faster than the older interneg stocks and
will require a different filter pack. There is an estar based variant
as well.
If you want to make an interneg from a negative original well...
If you need a small amount of the stock, by the way, Alpha Cine just did an
1800 ft. job for me and they may have some leftover.
--scott
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I don't think you can make direct 8mm contacts any more, but you CAN blow
them up to 16mm, no problem.
--scott
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Have you seen _Villa Rides_ with Yul Brynner? There is a scene in there
in which Pancho Villa's army receives their first machine gun, and one
soldier loads it and begins firing without putting it into the base. He
is unable to control it or stop it and bullets go flying in all directions.
I wouldn't put a penny into Kodak's film division. But if someone from Orwo
came to me asking for an investment, I'd be happy to write them a check.
Orwo knows their customers and they know what they want. Kodak doesn't even
seem to know their own employees let alone their customers.
--scott
When I was in college I read the back of a lab order sheet, it was very
interesting.
Scott Norwood scanned a 1978 price list from Palmer Films that I kept around,
and he has it here: http://www.redballoon.net/wap/
The terms and conditions can be found here:
Any lab with an optical printer should be able to make a 16mm interneg
from an 8mm print or reversal original. Then you strike the print from
the interneg. If possible, you want to time the interneg so that your
print can be more or less untimed.
I know Alpha Cine can do this and I bet Cinelab
I think if you finish on 35mm it's very easy and relatively inexpensive to
get a transfer of your conformed neg or conformed interpositive to HD, but
if you finish on HD it's very expensive and relatively low quality to get
a filmout to 35mm.
Don't forget 2k DCP as an increasingly popular option
It's weird since, thinking only of the technology, the drive-in is the
one place where digital technology seems a clear win. At the drive-in
your usable brightness range is limited anyway, and your resolution does
not have to be wonderful since everyone is watching through dirty car
windows
Yes, and that is the big split.
Do you want a cement splicer or a tape splicer? The cement splicer will not
work on mylar film, but you don't get two smeary frames.
Are you editing camera original or a print? The splicer needs to be set up
for the perforation pitch that you're using. Most of
There were millions of different designs that used pre-perforated tape.
The one I have came from MPE and is very pleasant to use, but it's 16mm
only. Likewise Neumade and Craig made them. The Neumade is nicer than
the Craig.
I have only seen these for 16mm... I have never seen one that did both
The low cost solution is the $20 adaptor from Edmund and a Spencer student
microscope. It's cumbersome, but you can get good images if you don't have
to follow anything moving.
Your main problems with those cheap student microscopes is that it's hard
to get enough light on the subject, there
If I send film through the US Postal System will it be x-rayed?
It is possible, unless you mark the package DO NOT X-RAY, in which case
they will not. They do occasional spot X-rays of packages at customs and
occasionally within the US. For domestic packages it is very rare but it
happens
The problem used to be that meters read too high because the CRT flickered
and the meter read peak and not average light value.
But now we live in the LCD age, and the LCDs don't flicker the same way, so
you can pretty much trust meter exposures off an LCD. Also you can put your
reflected light
In the CRT era, the longer exposure was essential, but with the LCD's
lack of flicker (and yes, the image is refreshed constantly even if you
are showing a still image), you can shoot at 1/125th at least without
any unevenness.
Years ago there used to be all kinds of silliness involved with
110 film is repackaged 16mm. If you need to process a two-foot long strip,
reels designed for 110 still film will work nicely. I don't think any are
still being made except possibly for the Jobo tanks, but there are probably
plenty of old stainless ones on Ebay.
--scott
Do you need to scan negative or reversal?
Most of the inexpensive high resolution scanners out there really only work
properly on negatives the shadow detail on print scans is very poor.
There are some scanners out there that do a very good job on prints and
OCP, like the Kinetta, though.
The Kodak E-6 kit does chemical re-exposure.
My suggestion for solarization is just do BW negative process with
HC-110 as your developer. HC-110 solarizes very well and you don't
need to reverse necessarily anyway.
--scott
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Was this a film chain transfer or was it done on a scanner?
--scott
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If you want do transfers to mag and edit mag and then have the optical
track done from the mag, there is no reason you can't do that today.
Magfilm is available from Kodak's motion picture office, just like film,
although they have a one-case minimum order.
I occasionally do transfers from DAT
You will actually find the filmout to 16mm will look better than a filmout
to the same super-8 stock will, regardless of the originating format. In
fact, you will find that a filmout to 35mm might even look better and not
cost all that much more.
In Canada, I think Cinebyte has an Arrilaser
What is so damaged that the whole board needs to be replace? I assume you
are meaning the motor controller board. There's not much on there that
can't just be fixed.
--scott
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If you don't have the budget for a proper cleaning machine, you can always
just velvet it with FilmGuard on the bench.
But really, the solution is to send it to a lab and have them run it through
a cleaning machine.
--scott
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If you photograph with a strobe, what happens is that not every frame gets
exposed. That is, let's say you're shooting 24 fps and you shoot with a
strobe that is firing right at 12 fps and happens to be timed so the shutter
is fully open at all times. Every other frame is exposed, and when you
There used to be a procedure where you could order direct from Kodak and
have them hold it at the will call area at the distribution center. I
don't know if you can still do that and pick it up in NYC or not, but call
the 800 number and ask. I always liked doing that since you save shipping
binucRx35zxyS.bin
Description: Binary data
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A red light will work just fine, but it will be a whole lot harder to
see what you're doing with a #1 or #2 safelight filter, compared with
an OC.
What I would most recommend would be one of the sodium lights sold for
BW printing work. They are so bright you could read a book comfortably
and
If at all possible, buy from Kodak in India the list prices for the
same stocks are somewhat cheaper in India than in Europe.
--scott
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Well, the obvious one is Cinema Paradiso.
--scott
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I would first check the pot labelled master and then start working my
way down the chain.
If you put the first mag sound deck in so that it locks ot the master pix
deck, and then you turn the master knob, does the mag sound deck turn?
If so, the control signal is making it out and it's the drive
Sure, it's possible. It looks a little rough but if you are very careful
about exposure it can work.
--scott
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If you use a normal crappy autotransformer from the hardware store, it will
probably be fine. However, the projector motor will run 20% slower. This
means your 24 fps setting will not be 24 fps but it also means the motor
will run hotter and the cooling fan will not move as much air past the
Amelie
--scott
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Okay... you have developed a silver image bleached the silver image
away, then the fixer removes all residual latent silver from the emulsion.
You need some kind of redevelopment.
Have you considered sepia toning it? It's stinky and a pain, but gives
a stable long-lasting yellow-brown
In high school health class we were shown a film called The Weird World
Of LSD which seemed kind of incoherent to me at the time. Among other
things, I think it explains how LSD can turn you into a chicken. As I
recall the general response of the audience is that everybody wanted to
know where
Part of the thing is that there is a whole generation of filmmakers who
started in the industrial film world or were drafted into the military and
wound up shooting military training films, and then afterward made the
move into features.
Just watch some of the WWII training films and the names on
I used to give my outtakes and junk to a local college film program
where they were teaching editing and teaching students to work with
found film.
However they don't do that any longer, so it just sits on shelves
piling up a little higher every day.
I _am_ curious what students managed to
If you have sticky stuff, try using filmguard! It's nonpolar, very good
at removing all kinds of goo! Filmguard, a couple rewinds and a hotel
washcloth can be your salvation on prints with tape residue.
Ask the folks at the museum if you could use their bench instead of just
dropping the print
Try Projector-Recorder Belt Co (Russell Industries). You may need to
measure the original but they should have them.
--scott
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Get the manual, go through the procedure listed. It is not hard. You will
need a light grease and what Kodak calls light machine oil which is more
or less an ISO 32 turbine oil.
1. Don't ever, ever run a projector with the cam follower dry. There is
usually a cotton pad near the top of the
I don't think there is much in Richmond other than the James River Film
Festival and crew. There is a local Flickers group, but I don't know how
active it is; I haven't got an email from them for the past decade.
--scott
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After hours Kodak number is +49 711 406-5596 or you can send an email
to el-or...@kodak.com, I think. The person on the phone will only know
the CAT numbers of the film so have them ready with a credit card.
They can sometimes figure it out if you give them an emulsion number and
an SP number,
If you like ST-8, you should know that there are a number of other similar
sound recording films available. Also if you talk to someone who does
soundtrack work, they may have short ends for you.
--scott
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Some of the 300-series Bell and Howell projectors are designed for AC/DC
use. Also some of the Ampro projectors were. You can tell because they
employ universal motors with electromechanical governor arrangements instead
of modern AC synchronous motors.
Note that SOME of the 300-series
Call ANY lab and they will be willing to sell you sound fill.
--scott
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Who makes it? You might just send it to factory service for the lens
manufacturer.
If it just needs cleaning, I am sure Whitehouse AV could do it. They do
good work and their prices are reasonable.
--scott
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I may have a couple cans of 2239. No cement splicing, but it's decent.
I may also have some 7239 but I guarantee the d-max on that is at least
a stop bad.
--scott
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Colorlab, Cinelab, Alpha Cine all do good work. My inclination is to
go with Alpha as a first try.
--scott
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Actually, in addition the ZKM, there is Guy Spiller in Richmond, VA who has
been a wealth of resources on obscure video formats.
But.. a transverse scanning Norelco? I think you'd have to build a machine
to play it back, but since you wouldn't have to do it in realtime the scanner
precision
I have seen folks here in the past looking for sound fill and material
to be bleached for clear leader, etc.
I have here two reels of Devil In Miss Jones, a dupe from a release print
made on on one of those awful CH tabletop printers that TV newsrooms
used to have. The printer lights are all
No, the estar base should make hand processing easier, actually,
although it will tend to curl more when it dries.
--scott
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What temperature are you developing at? Have you tried moving down to 65F
or so?
Are you using a tank or roller transport?
If you're using a polyester base, try an acetate base instead, which has
better adhesion.
Commercial emulsions use an adhesive layer. You could try making a really
dilute
That said, Scott, have you (or anyone else) ever used
3-Aminopropyltriethoxysilane for coating film?
I admit that I have not, I have only used it for plates.
It might be worth looking in Mees' Theory of the Photographic Process and
seeing what various compounds he suggests. That is really
General guidelines:
1. Shoot the slowest stock you can.
2. Do not underexpose. If possible. rate the stock at least one stop
slower than the box says (assuming you're shooting color negative which
is very compensating). You want a dense negative.
3. The money you save shooting Super-8
Mr. Woods has it right. What you want is a developer that will quickly
develop to a very high gamma, without a lot of grain. You can in fact use
D-76 but your developing time will be very long in order to get the gamma
up and it will take some tinkering. You can use dektol, but the grain will
I don't know, I always made all that stuff up from reagents which is a lot
cheaper and more flexible. Photographer's Formulary should sell you all of
the needed materials (although some thing like sulfite and borax are cheaper
to get elsewhere).
--scott
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