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I love this thread - and I am genuinely benefiting by the excellent 16mm 4K scans I get from the Lasergraphics ScanStation Dejonhge uses. Out of curiosity, if anyone knows, what was LOTR scanned with? I know it was 2K (I think, and that it was on an ARRI?) but what happened afterward? Did they ever re-do the whole thing at higher-res or did they blow up the old file for the 4K blu-rays?

Amazing! Please make something that can process 400ft of 16mm. That's table stakes for me and any serious users. If you do 400ft 16mm loads reliably, it stops being a toy and can actually compete with a lab.

Hey everyone! I wanted to share a passion project I’ve been working on for quite some time. To the best of my knowledge, this might be the world’s first truly desktop-sized 8/16mm motion picture film processor. The only reason I started this was that I did not like the fact that I had to wait weeks to send the film and wait for a lab to process it, even when I wanted to test an expired roll or try a creative look for film. I mean paying for shipping, lab fees, taxes, and Kodak increasing film prices with their new AUH film. Its rediciluos. I mean AI is already bad enough, we might actually lose film. So I wanted a compact and versatile lab setup right at home. The goal is to get Lab-grade results fast and cheap. With the current prototype I built, it can: Process 8mm and 16mm motion picture film (the new one AUH, although a dedicated rem-jet removal unit can be added. I haven't designed it yet) Process up to 200ft of 16mm film in under 40 minutes. It can do Push +1, Push +2, and Pull +1. It can also do variable bleach bypass. And processing a 100ft roll of 16mm film only costs roughly $5 to $7 That being said, the current state of the machine is... functional... but needs a lot of work It’s still very much a prototype (a Frankenstein made of 3d printed parts, marine-grade silicone, 316 steel, PVC, polypropylene (PP)). Running a batch right now requires a lot of manual intervention, and frankly, it's a bit of a pain to operate. It proves the concept, but it’s definitely not plug-and-play just yet. To actually turn this into a highly efficient machine, here's the massive to-do list I'm currently tackling to take it from a finicky prototype to a reliable desktop lab: Bumping it up to process a single 400ft roll per hour. Overhauling the racks for fast, easy leader lacing (the current setup is way too tedious). Building a clean-up system so as not to have to disassemble the entire thing to clean it. Also, a dedicated system to collect exhausted chemistry. Adding an integrated, dedicated drying chamber. Curretnly its just a bunch of hair dryers. A proper agitation and a hybrid heat exchanger to ensure consistent development. And a dedicated control panel. Anyways, just wanted to share something I'm working on and see if anyone out there is also crazy enough to keep holding onto film in this modern age. I’d love to hear your thoughts. If you have any questions about the build, the mechanics, or the chemistry side of things, feel free to reach out or drop a comment below. Cheers. P.S Some pictures + foot for reference (Sorry I didn't have a banana for ref)

I have a borrowed SONY VENICE CAMERA that came with a small hd 703 ultra bright monitor. And I am having issues with the image on the monitor. To my eye the footage looks flat. If the image is being lit with is warm lighting the footage the monitor doesn't reflect it. I am wondering what I haven't set to get a proper image. Do I need to apply a LUT on the monitor? Am I connecting it wrong? any help would be appreciated. I am not sure if I am posting it on the correct topic.

Did you ever come to find out what the issue was?

You want to get the sharpest scan you can from film. It will make the grain / dye clumps sharper. 4K is sharper than Blu-ray Blu-ray is sharper than DVD DVD is sharper the VHS Not exactly comparable, but you can see the difference. Cine' Text Size & Color Resolution Tests D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive The 3 Graces 72kb-4.32mb D.D.Teoli Jr. : D.D.Teoli Jr. : Free Download, Borrow, and Streaming : Internet Archive Here is something I posted before as an example.,

Well, in that case maybe you and Simon are on to something. The difference to my eye is negligible but may be more obvious displayed on a large screen. I have access to both types of film as I usually order it from the Film Photography Project. I currently have 2r Kodak Vision 50D in my CKSII and will look to see if it does a better job. Since I don’t have a 3D printer I think I will just buy a 5mm to 3/16” set-screw coupler and use 1/32” brass shims along the flat faces of the CKS 1:1 shaft. Thanks for your input, Simon and Brandon.

0:40 onwards exhibits some jumpiness. More than ive seen with double perf captured intermittently. But still not bad. your transport might need an adjustment tho. off the shelf if sitting and doing nothing the parts inside the mags get oxidized and tough. im having to switch to single perf print print films within the next couple hundred feet or so and im not looking forward to it. the transport works really well with double perf and will take single, but its pretty clear why its not ideal. Too much additional pressure on that side. Probably matters less nowadays if you are just scanning and manipulating the footage digitally. it may be a matter of picking up a few more mags and playing around with machining the raised bumps on the ST area off of the pressure plate.

Here is a link to some footage I shot with my 1955 vintage CKS II. I had some exposure issues on some of the shots but I don’t detect any issues with lateral weave or anything like that.

Here is the link:

Here is the link:

I printed out an English version of your article a while back and I still have it, Simon. A very thorough and informative piece on the CKS cameras. My only issue is the double perforated film question. The CKS manuals themselves say the cameras will accept all film types. I know a man in Australia, where only 1R film is available, and he has had excellent results with it. I will try to attach a link to his YouTube site.

Thanks Dom! Seems like Sean may have what I need here. Re: your other comment, I do have an SB model so that should hopefully work out.

https://www.theodoropoulos.info/attachments/076_arri-SystemsTechnologyBrochure.pdf This is something, anyway, possibly.

Any idea where to find this document?? Searched on the web but nothing came up

I know that an automatic translation from German to English yields weird results. If need be, I will make the effort to translate myself. The most common error occurring is feather for Feder. The German Feder is a bird’s feather as well as a technical spring.

SOLD

I saved anything that the students destroyed and was 'beyond economical repair' so I have all kinds of stuff. I really need to get it up on a storefront!

Ooh, that’s gold, Sean! Will only work if Malcolm has a 16S/B with one Bayonet mount rather than the usual 16St with three Standard mounts.

I MAY have what you need. I have a trashed 12-120 with an SB mount that I would part with.

Just put a drop of oil on any shafts spinning in a bearing or bushing. Without certain tools and knowledge you an easily introduce more problems than a DIY service will solve. It sounds like it’s working fine, so outside of some oil I would leave it alone. I don’t recall with the K100 but some spring motors need limit gears disengaged to fully unwind and relax the motor before disassembling the mechanism plates, otherwise the motor will suddenly unwind at full speed and strip gears. So be very wary of undoing screws if you don’t know what they hold. Speed governors often require care and different lubrication.

For the second pass you simply twist the unit to record a second grid that is differently positioned to the first. You can rotate 180 degrees and it will offset the grids, but I find a small twist is better to see any small movement between them. The whole point of a steady test is to shoot two passes of a grid so that you can check if the image is steady from one pass to the next. If there is any camera unsteadiness, you will see one grid move with respect to the other one. Vertical jitter is a different camera issue to lateral jitter, so it also helps diagnose the fault. The mount for the Century tester is a screw-on type of Universal mount, proprietary to Century, without a locating pin so you can loosen the lock ring and position it rotationally anywhere before locking again. It’s similar to the Universal mounts on older Angenieux and Cooke zooms, but not quite the same dimensions.

Yes, it’s missing the mount. Not always easy to find just a mount, so if you can return the lens for a refund and buy one with a mount that will be easier. If you do find a mount it will need to be collimated by a lens technician, which probably means fabricating the shim spacer rings as well. Maybe contact Visual Products or Duall or Duclos to see if they can give you US based leads.

Hi all, This is my first time posting here, so please let me know if there is a better forum to post this in. My Angenieux 12-120 Type B lens seems to be missing its lens mount, can anyone confirm if this is the case? At first I thought it was just threaded for an M42, but I tested it on my K3 and it is not. I am wondering if the lens itself is missing a piece that screws into this threading which is then mounted to the camera. I am hoping to be able to use it on an Arri 16s. If anyone happens to know where I could get the correct part to do this, I would greatly appreciate it. Thanks, Malcolm

I'm hitting a bit of a dead end on this thing -- it came up while discussing proper ways to do a registration test outside of the shot rev shot method. At a very basic level, a film camera must shoot a flat, solid target with a section of film, be rewound, reshot, developed, and analyzed in some way shape or form. This Steady-Tester promises to eliminate a myriad of problems and variables by simply just shooting a test chart the old fashioned way. It sounds really intriguing, and the source being locked onto the camera itself rather than leaving room for error through tripod mounting, mag changing, etc is great... but I'm having a hard time picturing a very specific part of operating this tool: the 180* flip. (this instruction guide has been my bible for what I know about this thing thus far outside of this forum) It seems to be a key differentiator and justification for the usage of this tool rather than something like a run of the mill slide duplicator. Sam Mills remarks that the tool might just be all that with the addition of a PL mount and solid light source and I'm inclined to agree. But I'm stumped on the flipping action imposed on the tool for the second run of film. It sounds like the grid of image is changing during that flip to some degree, adding an additional layer of stability testing. But then the instruction guide written for this tool linked above remarks that the image produced after two runs should be a grid, so why not just shoot with the steady tester in the same position twice? Those who have used one of these tools -- why was this flip necessary? And if anyone happens to have a copy of the product info pamphlet/PDF it would be nice to see. Signs point to it existing once upon a time but apparently things really can disappear from the internet lol (or if anyone knows if Schneider/century sells these please let me know!)