All Activity

Ive worked out the problem. Looks like that top switch isn't a run / lock switch. I assumed it was because when it's set to the bottom position, nothing happens when I press the shutter release. Though after some more experimenting, I left that switch in the bottom position and decided to press the shutter release in the opposite direction to what I was pushing it before (down instead of up.) Now the camera purrs like a kitten. All good. I'll have to search for an online manual to work how to set the asa / frame rate for the light meter. And grab a battery too at some point. I admit Ive no idea about the state of regular 8 film production these days.

I have a regular 8mm movie camera - the Canon Zoom 8 (purchased via eBay.) Ive wound it up but no matter what frame rate I select, it seems to be stuck in single frame mode. At 1:29 in this video, it's pointed out that the silver switch directly below the threaded cable release socket is the single frame lever. And supposedly, the switch below that is the shutter release. But on my copy of the camera, the top silver switch (below the cable release socket) seems to be a run / lock switch. The top position allows film to be exposed and the bottom position is clearly for locking (no film can be exposed with the switched pulled down.) Though each time I push the shutter release below that switch, it sounds like the camera is firing a single shot (ie single frame mode.) Holding the switch down for a few seconds makes no difference. I also screwed in a cable release and that activates single frame shooting also. I just can't seem to work out how to use the regular frame rates with this camera. The main reason why I bought the Canon Zoom 8 was because of the 64 fps capacity. Though obviously, I wouldn't run it at that speed with no film inside.

Perry, I don’t know why you continuously bother to entertain the reoccurring theme of everything being too expensive for Teoli. But props to you.

You are not going to find something with reasonable quality for less money. It cannot happen unless you build your own from scratch, which can take years and will probably end up costing you as much in the end and may not end up being as good as the properly made commercial options. Nobody is going to build a scanner that's in the price range you're looking for that has any quality because it can't be done without losing your shirt. Can you buy a < $400 4k camera? sure you can. Will it look as good as a $5k 4k camera? it will not. because ...physics. a 4k camera with good quality and good optics is going to start at about $6000. That's just the camera and lens. You need to design, manufacture and assemble a platform to put it all on. You need motors, motor controllers, software to be written for those controllers. You need custom designed LEDs, drivers to run those LEDs. You need a way to make the light as flat and even as possible, and even then you need software to compensate for the inevitable hot spots and dead pixels. You need power supplies for all of this. You also need rollers, which you can't just buy off the shelf, so those have to be designed and manufactured. And then the worst part - the part that takes the longest - you need software to run it all. Sure, there's software that comes with some cameras. But it's hardly user friendly and it's not designed for film scanning, so it doesn't do things like light up the LEDs at the right time and automate the movement of the film to the next frame, or detect that a new frame is in position and trigger the camera. At least not without significant effort and cobbling together of parts to make it go. This is not simple stuff. The market is maybe hundreds of customers, tops. And that market seems to want everything to be as cheap as possible, while simultaneously expecting it to look great and work properly all the time. Best of luck with that.

$22K is not reasonable for a small tabletop 8mm scanner. It is very high as far as I'm concerned. No question it is not built well. But no matter high well built, for the limited use it provides, the price is just too much. There is a tradeoff when something just gets too high for the average Jane, Joe or zir. This is not just my opinion. If it was reasonable, as you said, it would be more popular in the USA. Well, if you don't have a company, what do you do that is cine' film related Dan? Do you frequent forums talking and arguing about scanning as a hobby? (As they say I do.) Are you a film collector? Did you work in the film industry? <><><><> 1936 Congoleum Ad Selection from Daniel D. Teoli Jr. Advertising Archive

$12,000 is the lowest. No offers below 🙂 Ready to get it sold. Everything is in excellent working condition. Looking to get it sold this week.

Handling paper for flatbed scanning in the Daniel D. Teoli Jr. Archival Collection. Photo: D.D.Teoli Jr. I handle lots of paper in the Archive. Many hundreds of thousands of scans. When looking at scan jobs, I don't figure jobs by the number of scans, I figure them by how many feet of paper there is. A small job may be a foot or two. A big job may be 15 feet or more. Anyway, if you handle lots of paper as I do; work smart and wear exam gloves. They provide a multitude of benefits when handling paper. Wearing exam gloves gives you the following benefits: They keep finger and grease smudges off the scanner glass. They stop your skin from dropping flakes of dead skin and debris on the scanner glass. They give you a great grip on the paper both for placing and removing the paper from the scanner glass. They keep the paper clean as well as your hands clean. If not using gloves, your hands can get dirty handling matte black ink or gritty paper. White cotton gloves do keep originals clean. But they don't give you the tactile sensitivity and purchase of the paper as the exam gloves do. In the winter if your hands suffer from cracking and dry skin, the exam gloves help alleviate that problem. You can cream your hands up and put on your gloves to work. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Usually jitter is caused by the side rail spring system not working, especially left to right. This system can get gummed up easily if it's not cleaned on a regular basis. We have a special calibration tool, which allows us to re-align the rail system and test the friction coefficient of the rail. With Aaton's, you can get them pretty stable. So I wouldn't consider this proper or accurate in any way. Aaton's don't have any belts inside the camera, just the mag and if the belt was bad, it would lose the loop pretty fast. You'd know right away if there was something wrong. Other things like pulldown penetration, pulldown shelf and film gap, can cause similar issues. However, I've found those to rarely be the problem.

Teradek Bolt 4K 1500 Kit Email sales@broadcastsolutions.com for pricing. Link : https://broadcastsolutions.com/product/teradek-4k-deluxe-kit/ Teradek Package Includes Teradek Bolt 4K 1500 RX Teradek Bolt 4K 1500 TX Gold Mount Battery Plates Panel Array Antennas (various) Custom case

Thanks kindly Phillip. I just updated the video, with a few more shots that might better illustrate the jitter. If you look at the top left hand side next to the perforations, you'll see minor horizontal / vertical movements. It's not a lot, but definitely hasn't been a problem in the past. I'll check the belts, but think these should be fine. It's relatively consistent throughout. I haven't had the camera serviced yet, as I only bought it 6-months ago. I also accidentally shot at 20fps, foolishly, instead of 24fps. On the Aaton LTR, the dial is super small. I don't see what this would have to do with it, but theoretically the film is being pulled slower than 'usual'.

It's pretty subtle, I'm not sure if I would have necessarily even noticed as I was expecting much worse. The slight movement at the beginning on the flowers looks more like the camera getting touched a bit while shooting with a long lens and a bit of bounce as the camera stops. I'm assuming your loop was the same as always. Did you shoot anything else with the same magazine that has the same issue? Has the cam been serviced recently? Was it all through that load or maybe near the front or end? I had issues as my belts were wearing out but that was more drastic than a bit of weave.

Is this still available?

I'm looking for a V-Mount Adapter for a Canon EOS C700, which was initally shipped with all the camera bodies (I think?). Does anybody have one for sale or know where I might find one?

More Info: https://fjsinternational.com/cameras/arri-amira-package-3/ Price: € 13.776 Euros FOB Make offers : info@fjsinternationalemail.com Tel. +1 561-228-4445 "text or call"

More Info: https://fjsinternational.com/cameras/canon-fd-set-of-9-rehoused-by-zero-optik/ Price: TO DE DETERMINED FOB Make offers : info@fjsinternationalemail.com Tel. +1 561-228-4445 "text or call"

More Info: https://fjsinternational.com/cameras/canon-rangefinde-x-rehoused-by-tls-set-of-9/ Price: TO DE DETERMINED FOB Make offers : info@fjsinternationalemail.com Tel. +1 561-228-4445 "text or call"

USED SONY VENICE DIGITAL CAMERA More Info: https://fjsinternational.com/cameras/sony-venice-digital-camera-2/ Price: TO DE DETERMINED FOB Make offers : info@fjsinternationalemail.com Tel. +1 561-228-4445 "text or call"

Igeba.

https://vimeo.com/951088244/57d2368910?share=copy

Hi, I'm looking for a used Harrison Film Changing tent, small size is ok as long as it's a tent and not a bag. Preferably located in Europe/UK. Thank you !

I recently noticed a slight jitter on a roll of film I got back that was shot on my Aaton LTR. I haven't had this issue in the past on this camera. It's quite marginal, but discernible if you look at the horizontal / vertical borders of the frame in relation to the perforations. Could this be the scan? That it was too tightly or loosely loaded? Magazines? Camera? Thanks kindly in advance!

I'm looking for good solutions to shoot very white-clear-cloud-like smoke. A very good example is this scene from The Tree Of Life. The size of the cloud that I will shoot will be similar, perhaps a tad bigger. I know that in this scene they just blast smoke for quite a while, but it doesnt have to be THAT big, haha. I think they used a parafine-like smoke gun (an upgraded version?) to do this? I know it's a bit of a FX question really, but I figured perhaps some good gaffers out there can point me the right direction. A direciton to a film-FX related forum is also welcome. I myself am considering a smaller parafine/gas cannister fogger ór a smoke machine and just chuck 100% glycerine in there. I would like to have the cloud stay a (think) cloud as long as possible. (say, longer then 5 seconds.. It will dissapate and that is fine, it just need it to hang a little longer then your usual power-tiny smoke. I will shoot in a very moist and mos- covered forest with very little wind (I will wait for the right wind-day). Would love to hear some thougts!

WTB Arricam LT pls send me an offer to : attila@filmgears.co.uk

Storyteller Marston jokes about himself to end Antonio’s Revenge Good reader, get a load of the following meta-theatrical bonanza that closes out Antonio’s Revenge. Imagine, say, an American International Pictures production shot with the beauteous exactitude of present-day Robert Richardson, and you get a sense of Antonio’s Revenge—a technical exhibition applied to a one-dimensional Situation. In the following, please note storyteller Marston’s self-deprecating humour (e.g., “lesser plot”) in the mock-majestic presentation, as if to say, “I know what I’m doing. I meant it to be a Roger Corman production.” Antonio. Sound doleful tunes, a solemn hymn advance, To close the last act of my vengeance;    And when the subject of your passion’s spent, Sing ‘Mellida is dead’. All hearts will relent In sad condolement at that heavy sound; Never more woe in lesser plot was found! And, O, if ever time create a muse That to th’ immortal fame of virgin faith Dares once engage his pen to write her death, Presenting it in some black tragedy, May it prove gracious, may his style be deck’d With freshest blooms of purest elegance; May it have gentle presence, and the scenes suck’d up By calm attention of choice audience;    And when the closing Epilogue appears, Instead of claps, may it obtain but tears. [ song ] [ the end of Anonio’s Revenge ] Ah, the perverse subversive hilarity of the storyteller appealing for tender tears—after all the cynical bloody lunacy we’ve just experienced? appealing for tender tears—One last chucklesome application of convention, a morbid joke. This time, Texas Chainsaw Massacre meets Terms of Endearment.

That's a first version Panavision VA large format lens. They had a bare aluminium finish, later versions are black. They also used Panavision large format zooms on this show. https://www.panavision.com/camera-and-optics/optics/product-detail/va-va