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For the sake of those coming after me, who will one day possibly tread the same path ("there but for the grace of God go I" ...), I've been advised by three film camera experts not to power up the 35-3 with 14.4 volts (unless only as a quick test). The current plan is to send the camera on an adventure, down to see Dom in Melbourne (some 3000 km away I think), to see what he thinks of it. It might need a simple lube. Can you imagine how great this camera will be if it can be completely fixed up? A 2 perf Arri 35-3, with Nikon F lens mount. Easy to do your own focus pulls (especially if you're an old Nikon lens user from way back). I want this camera to one day shoot the main scenes for a great feature movie. It can do it. I have faith in this camera. It's a joy to look at and hold, too.

Still available .

Still available .

Still available .

Hi Simon, Thanks for clarifying. What is the current availability of Kodak Plus-X in 16mm? It appears to have been discontinued long ago, at least from Eastman Kodak. On books, besides the standard cinematography related books (Cinema Workshop, American Cinematographer Manual, etc.) and current film manufacturer data sheets, if you have any recs on books that cover current cinema film stocks, this would be appreciated. Thanks Mark Mark Eastman Palo Alto, CA USA (My grandfather's name was George, but unrelated to the big E)

Exactly, the "Dual-8" should be in quotes. It is my designator for those not familiar with the Bolex line of projectors. I'll have them change it.

Well, that is true if film is delicate. You want to handle the film the least. But a sampling scanner would treat film easy and just give you a fast snapshot of the reel. It would be something like running the film through a Zeiss viewer. Most of my films are well worn; (muti-gen dupes, with scratches, etc.) a sampler scan is not going to hurt them one way or another Robert. You are not an archivist Robert, you just scan films for $ and that is it. You don't have to look over and after thousands and thousands of films and the digital output in your collection over the years. And if I am wrong, then please share your cine' film archive with us. A sampling scanner would be a most welcome tool to get a fast snapshot of a film. And it is not only film I have to work with, I work in a huge number of areas of collection Robert. Here these are some of the A's and B's in the Archive to give you an idea of the scope. (Some of the proprietary files are removed.) I'm a 1-person Archive Robert. So my time is always short. Beside archival work I am a social documentary photographer. Having too much to deal with is why I have a hard time getting back to these threads. Here is an old scope of the Archive. It is much, bigger now, Robert. Collection Scope Of The Daniel D.Teoli Jr. Archival Collection : D.D.Teoli Jr. : Free Download, Borrow, and Streaming : Internet Archive As a non-professional archivist, I say a sampling scanner would be a useful tool for the film archivist. I'm not guessing at this...I've tried the concept, Robert. And if you don't want to use a sampling scanner, no one is forcing you, Robert. I use a sheetfed scanner on a lot of my paper scans. It is tougher on originals and the scans are only about 85% - 90% as good as a flatbed scanner. But the choice is not sheetfed or flatbed...the choice is to use the sheetfed scanner or not scan at all Robert. SHOOTOUT…Flatbed Scanner vs. Sheetfed Scanner vs. Copy Stand Photography – Daniel D. Teoli Jr. Archival Collection – II (home.blog) Sure, I'd like to have a Phase One camera for my copy stand. But the reality for the copy stand is a 16mm Fuji and not a 100mp Phase One. We just have to work with what we can successfully use Robert to get the work done.

Fun with Scrooby Balurdo. I have the gift to speak that which neither any man nor myself understands. (1.2.35–6) * Earlier in this thread, your tireless Scrooby explored, in a cursory fashion, the interpretation of dreams in Shakespearean-era drama. Three plays were noted—Arden of Faversham, The White Devil, and The Duchess of Malfi. These plays each feature a recollection of one dream. Ordell. This is gettin silly now. In 1.2 of Antonio’s Revenge three different characters recall their dreams. Three dreams in an entire play would be overkill, and here are three dreams in one scene?! It’s a silly situation, a parody of convention; and brings to mind the scars scene in Jaws. It’s comedy of aggregation, of “piling it up”, of structural exaggeration. Antonio. Last sleep, my sense was steep’d in horrid dreams . . . and he recounts visions of “bleeding wounds” and “bubbling gore” and ghosts, and terror— then, comically, Balurdo the fool attempts to one-up Antonio : Balurdo. Verily, Sir Jeffrey had a monstrous strange dream the last night. . . . and in his dream, a heap of nonsense, he describes an “abominable ghost” rising out of the earth, but then describes his dream-self getting dressed and eating a “mess of broth”. (1.2.105–37) In 1.2, storyteller Marston transforms the theatrically-atmospheric reporting of a dream into a joke. Crocodile Dundee. That’s not a knife; that’s a knife. * Scholars took Antonio’s Revenge seriously for years and years?—We’ve heard that story before. Antonio and Mellida and Antonio’s Revenge. . . . Our first impression is likely to be one of bewilderment, that anyone could write plays so bad and that plays so bad could be preserved and reprinted. T. S. Eliot, “John Marston” Among all John Marston’s plays, Antonio’s Revenge seems to be the hardest to pin down. Critics have long disagreed about whether the play is moral, immoral, or amoral; whether it accepts or rejects the idea of revenge; and even whether it is meant to be a serious play, a comic parody, or an early version of the theater of the absurd. Phoebe S. Spinrad, “The Sacralization of Revenge in Antonio’s Revenge”, Comparative Drama 39 (Summer 2005), 169–85. At the conclusion of her paper, Phoebe has no idea of her own to offer. * The implacable meta-theatrical in Antonio’s Revenge : five examples (1.) The following apparently recalls the character of Hieronimo in the monumental Spanish Tragedy; and isn’t the only time Marston cites Kyd. Storyteller Marston is also poking fun at performance technique (cf. examples 4 & 5) : Pandulpho. Would’st have me cry, run raving up and down, For my son’s loss? Would’st have me turn rank mad, Or wring my face with mimic action; Stamp, curse, weep, rage, and then my bosom strike? Away, ’tis apish action, player-like. (1.2.314–8) (2.) End of Act 1 : Pandulpho. Sound louder, music! Let my breath exact You strike sad tones until this dismal act. (1.2.341–2) (3.) Piero is triumphing at the sight of his enemy weeping in sorrow. What does he do? Piero. Strotzo, cause [ make ] me straight Some plaining [ sad ] ditty to augment despair. (2.2.133-4) Storyteller Marston is mocking the use of manipulative music in the theatre. Marston himself uses mournful music twice in 1.2! (4.) Storyteller Marston, poking fun at performance technique : Antonio. Madam, I will not swell, like a tragedian, In forcéd passion of affected strains. (2.2.109–10) (5.) Storyteller Marston, poking fun at performance technique : Maria. Dost nought but weep, weep? Antonio. Yes, mother, I do sigh, and wring my hands, Beat my poor breast, and wreathe my tender arms. (2.2.143-5) * * * Antonio. Let none out-woe me: mine’s Herculean woe. Antonio, onstage with book in hand, begins reading Seneca, and responds angrily (and, btw, in stream-of-consciousness—addressing himself from line 5) : Antonio. Pish, thy mother was not lately widowèd, Thy dear a(ff)ièd love lately de(f)am’d With blemish of (f)oul lust, when thou wrotest thus. Thou wrapt in (f)urs, beaking thy limbs ’(f)ore (f)ires, (F)orbid’st the (f)rozen zone to shudder. Ha, ha! ’tis nought But (f)oamy bubbling of a (f)leamy brain, Nought else but smoke. (2.2.138) / (2.2.49–55) ἔχει δὲ τοὐμὸ(ν) οὐκ ἀ(ν)αίδεια(ν), γέρο(ν), ἀλλ᾽ εὐλάβεια(ν): οἶδα γὰρ κατακτα(ν)ὼ(ν) Κρέο(ν)τα πατέρα τῆσδε καὶ θρό(ν)ους ἔχω(ν). οὔκου(ν) τραφέ(ν)τω(ν) τῶ(ν)δε τιμωροὺς ἐμοὺς χρῄζω λιπέσθαι τῶ(ν) δεδραμένω(ν) δίκη(ν). The tyrant Lycius completes a speech of twenty-nine lines with a very resolute ending—the hard drumbeat of the “n” sound. Euripides, Heracles, 165–9 * NSFW Valentinian. A common whore serves you and far about ye; The pleasures of a body lamed with lewdness, A mere perpetual motion makes ye happy. (The Tragedy of Valentinian, 4.1.34–6) recalls Vindice. Are lordships sold to maintain ladyships For the poor benefit of a bewitching minute? (Revenger’s Tragedy, 3.5.74–5) recalls Ziegler. Maybe five minutes, six minutes, something like that. Dr Bill. I don't know, maybe an hour or more. But maybe only ten minutes. recalls Silvia. [ on love ] A fine volley of words, gentlemen, and quickly shot off. (The Two Gentlemen of Verona, 2.4.32–3) * wtf Ghost of Andrugio. Thou vigour of my youth, juice of my love, Seize on revenge! The bloody and horrible Antonio’s Revenge, which features, for example, a corpse decomposing onstage— Piero. Rot there, thou cerecloth that enfolds the flesh of my loath’d foe; moulder to crumbling dust; Oblivion choke the passage of thy fame! . . . Pandulfo. Why taint’st thou then the air with stench of flesh, And human putrefaction’s noisome scent? (3.1.44–5) / (2.1.1–3, 71–2) —is a sequel to a romantic comedy! Antonio. Here ends the comic crosses of true love: Oh may the passage most successful prove! [ end of Antonio and Mellida ]

It’s from serial number 208001 on.

You wrote Dual. There’s no Dual 18-5 projector. The first model, 18-5, is for 8-mm. film, the second model 18-5 L is for Super-8 and Single-8 film. Just saying.

For sale is the FX9 kit below. Great condition and low operating hours. I shifted career paths after purchase, so it has not seen much use. Sony FX9 camera (with viewfinder, loupe, hand grip, mic mount, original top handle) Arri VCT shoulder base plate + LAS-1 lens adapter support Panasonic SHAN-TM700 VCT quick release tripod plate Wooden Camera top plate + NATO top handle Wooden Camera V-mount battery slide Smallrig flat rear insert plate 2 Hawk-Woods BP-98UX batteries with D-tap 1 Sony BP-U60 battery, 1 Sony BP-U35 battery Dolgin TC-200EX dual BPU battery charger Sony AC power adapter 3 256GB + 1 64GB Sony XQD cards Sony MRW-G1 card reader Price 9000€ plus VAT. Located in Helsinki, Finland. Shipping at buyer's expense, local pickup preferred. Birds not included. I am happy to send more pictures on request, featuring the same birds so buyers can be sure the pictures are of the same package.

For some reason I can't post the rest of the images of the repair. It only allows thumbnails. "Max total size: 26.46kb" I'll try again later.

Could you please explain this?

The fuse and fuse holder were cleaned.

The rear legs were remoced and bent back in place.

Would this apply to round bottom REX cameras??

Sorry, didn't see you replied to the other post

That’s great news Simon! I will definitely be interested in this, if the price is reasonable.

If I may take up this old thread in order to correct myself, let everybody announce me that there are new springs available for the latest series of Paillard-Bolex H-16 cameras, those with the limit gears not on the spring barrel. I have installed the first fresh drive spring with a serviced H-16 RX-5 this week. The camera runs now like with an original spring in good shape. Service technicians interested in acquiring springs and mounting sleeves are invited to contact me. I have enough in stock and can reorder any time. Springs for H-8 models are also feasible. This is not for everybody. It takes some infrastructure to deal with spiral springs as well as some knowledge and dexterity. Also, all parts of the spring barrel must be checked. If something not healthy, it needs to be repaired or replaced. It’s a joy to be able to give H cameras a new life. The springs are guaranteed for two years.

You have unidirectional pressure between gears. One tooth flank rolls over the other. That calls for the thinner lubricant the faster it goes. From the first gear on the spring barrel to the next you use grease. The fastest moving parts of claw and shutter will be oiled. What’s important with lubrication is that the oily parts can flow after the surfaces that rub. Shafts in plain bearings are under directionally changing forces, therefore greased. They can vibrate, if dry. Oil alone runs away. Correct alignment of the elements is self-explanatory. Film transport must take place while a shutter wing covers the aperture. On halt of the mechanism, spring giving energy, the aperture should be covered. Within limits you can adjust when the cycle begins. Try to set to aperture just shut so that the governor has the longest possible time to speed up on release.

I made a big mistake and forgot to mark all gear positions before disassembling. So now I'm struggling to figure out how to align the shutter and the claw properly. I suspect that in the stopped position the claw must be positioned in the exact centre of the slot. With the claw positioned like this the shutter blade can't be perfectly centred relative to the frame. I looked at some photos I was able to find and found the the blade on many of them is positioned slightly to the right with it's center pointing to the frame's edge. Can someone confirm my findings? Also what kind of lubricant would you suggest for the governor axle bearings? At least a grease or an oil? All other bearings seem to be greased.

Hey Everyone, Wondering what services people use to buy and sell gear from places like the marketplace on here or on Facebook? I'm looking to do both, and notice some listings will ship at buyer's expense. Do you use paypal or interac transfer to send / receive money? I know the risks, but wondering what alternatives people have are used to purchase or sell gear? Thanks in advance!

John Marston, Antonio’s Revenge [ Act 1. Scene 1 ] Enter Piero, unbraced, his arms bare, smeared in blood, a poniard in one hand bloody, and a torch in the other; Strotzo following him with a cord. Piero. Ho, Gasper Strotzo, bind Feliche’s trunk Unto the panting side of Mellida! [ Exit Strotzo ] ’Tis yet dead night, and all the earth is clutch’d In the dull leaden hand of snoring sleep. No breath disturbs the quiet of the air; No spirit moves upon the breast of earth, Save howling dogs, night-crows, and screeching owls, Save meagre ghosts, Piero, and black thoughts. [ Clock strikes ] One, two! Lord! In two hours what a topless mount Of unpeer’d mischief have these hands cast up! [ Re-enter Strotzo ] I can scarce coop triumphing vengeance up From bursting forth in braggart passion! Strotzo. My lord, ’tis firmly said that. * Yet again, a masterpiece of a narrative—“An astonishingly adroit amalgamation of the dead-serious and the comic interfused one with another.” This is comedy horror recalling, say, The Evil Dead (1981); and begins with the abrupt lunacy of Goodfellas. * [ Act 1. Scene 1 ] Enter Piero [ Duke of Venice ], unbraced, his arms bare, smeared in blood, a poniard [ dagger ] in one hand bloody, and a torch in the other; Strotzo [ his servant ] following him with a cord. The most striking opening in Shakespearean-era stagecraft? Piero, Duke of Venice, is a wild sight, a terror stepped out of a nightmare. His finery is unfastened and hanging loose (“unbraced”)—evidence of energetic exertion. That blood stains his body augurs nothing good, nor does the dagger in his hand. The play opens as dark as a nightmare : Piero requires a torch to see his way. Piero. Ho, Gasper Strotzo, bind Feliche’s trunk Unto the panting side of Mellida! [ Exit Strotzo ] In the play’s first line Piero orders his servant to tie the dead body (“trunk”) of a gentleman to a distressed young woman, Mellida. A serious request? A grave request? A Gothic horror Situation, surely. But what follows is comic dialogue that sounds like elevated Shakespearean-speak—but it isn’t; or rather, it’s more than that. What is said is burlesque parody of such convention : ’Tis yet dead night, and all the earth is clutch’d In the dull leaden hand of snoring sleep. No breath disturbs the quiet of the air; The piling up of Elizabethan-theatre clichés transmits clearly to us the humour engineered into the Situation. Questionable is the tautology of “dull leaden”; it is silly repetition from a speaker improvising an attempt at something poetic. Worse is the comic “snoring sleep”—silly-solemn humour engineered by storyteller Marston, and no mistake (if you hear it). “snoring sleep” might be a mock-poetic phrase lifted from, say, The Brand New Monty Python Bok (1973). (Scrooby factoid : The word “snore”, for whatever reason, call it a not-very-poetic word, occurs rarely in Shakespearean-era theatre, though the word has been around since ca. 1330.) Note the powerful contradiction in Piero hitting a noble note rhetorically while drenched in blood (cf. Macbeth, 2.2.48–52). Also note the contradiction “No breath disturbs the quiet of the air”—Oh no, Piero? You’re generating heavy disturbance. “No breath disturbs the quiet of the air.” The play is attuning the audience to the Situation of breathless horror. The line is a behavioural cue for the audience; it seeks (along with the whole stage experience) to rivet the audience to a proverbial “pin-drop” fascination. It is also a comic hope encoded into the script : hopefully, says storyteller Marston with a smile, the audience will be riveted to this! No spirit moves upon the breast of earth, Save howling dogs, night-crows, and screeching owls, Save meagre ghosts, Piero, and black thoughts. The parody of the elevated note continues, and intensifies. Oh how Piero lays it on thick! Not only dogs are sounding out, but also night-crows [ night-jars? ] and owls. One sound would have been enough for any playwright (cf. Macbeth, 2.2.5). Moreover, “spirits moving” and “meagre [ pale ] ghosts” are theatre clichés. Piero’s piling-up of elements is a parody montage of creepy components. COLOSSAL POINT : As you and I note the humour of all this, please keep in mind that the physical atmosphere generated by the play may be received by the audience as totally serious—after all, a sensible person’s first reaction to a bloody situation is “fear and loathing”. Dr. Branom. When we’re healthy, we respond to the hateful with fear and nausea. The general vibe of upfront seriousness predominates, and (potentially) blots out all reception of any humour by an audience. (At least at first viewing.) Now Piero the excited character modulates his mood down to zero : Save meagre ghosts, Piero, and black thoughts. Piero addressing himself by name moves him deeper into himself—“black thoughts” might be his proper name (so to speak) as “black thoughts” are his motivating force, the essence of his being. He is suddenly maximum-solemn, for he has just killed a man he has long planned to kill; and has more vengeance in mind; and in his head feels all this. Already the silly-comic and the heavy-serious are in consummate mix; and we’re at line 8. Save meagre ghosts, Piero, and black thoughts. (Note the transition from “ghosts” to “thoughts”—consider the two words synonymous here in an Ibsen-Bergman way.) Scary, comic, ridiculous, serious, solemn—everything intermixing thick and fast as in the twentieth-century music of, say, Shostakovich or Schnittke. [ Clock strikes ] One, two! Lord! In two hours what a topless mount Of unpeer’d mischief have these hands cast up! The solemnity of the sounding clock maintains the hushed, momentarily-contracted mood of his “black thoughts”. “two hours”—as in (for one thing) the running time to come. The meta-theatre Situation is already at full-blast in the play (e.g., Elizabethan clichés, audience cues). The line (“In two hours . . .”) might be taken out of context and inserted into a diary of storyteller Marston’s. “topless” evokes open-air Heaven. Soon, in this first flush of his bloody success, Piero favourably compares himself to gods. The word “topless” is a sly set-up of a fundamental character trait to come; or, the use of “topless” already reveals the arrogance of the character. Lord! In two hours what a topless mount Of unpeer’d mischief have these hands cast up! As with the word “rise” in Marlowe’s Doctor Fasutus (3.1–15), the use here of the word “up” is a cue to the actor that his emotions grow in intensity during the delivery of the line. Lord! In two hours what a topless mount Of unpeer’d mischief have these hands cast up! A bipolar (so to speak) Piero is once again high on his own supply of triumph, celebrating the success of his terrible duplicity. Like The White Devil and Richard III, Antonio’s Revenge opens with a psychopath. A murderer riding high on the success of his violence brings to mind— “I had not felt so nice since I was twelve”—An American Dream. Piero’s bloody success infuses him with supreme confidence; and the complexity of his language is evolving. Lord! In two hours what a topless mount Of unpeer’d mischief have these hands cast up! “unpeer’d”—i.e., unrivalled. Piero is celebrating himself as the most brazen operator of all. “unpeer’d” in a second sense—his fellow noblemen lack the courage to pull off his bloody deeds, and he mocks them for it; and on the thought his wild emotions rise. “unpeer’d” in a third sense : no one saw him do the deed of horror; and the rush of getting away with it is transcendent : I can scarce coop triumphing vengeance up From bursting forth in braggart passion! [ O how Senecan this hysteria is! 1.1 opens as purely English-Senecan as, say, The Spanish Tragedy or Fulke Greville’s Alaham. ] Strotzo. My lord, ’tis firmly said that. i.e., “Well said”; “You said it”. —or, “You flow well, brother” (Revenger’s Tragedy, 2.3.146). Please recall the not uncommon Shakespearean-era technique of a character meta-praising the play’s poetry. Strotzo. My lord, ’tis firmly said that. —is also Strotzo applauding the acting skills of Piero. This signification, too, is a not uncommon meta-theatrical technique. For example : Iniquity. O my heart! This wench can sing, And play her part. (A Pretty Interlude called Nice Wanton, 146) De Niro. You’re a good actress, you know that? Casino * The play has only just begun, but Strotzo is already praising its poetry and acting; and Piero is about to appeal for applause—twice! (The credits haven’t even ended yet, so to speak; which recalls the credit-sequence shenanigans opening Fox and His Friends (1975).) The appealing for applause is yet more Elizabethan stage convention. But its use here is maximum absurdity. Appealing for applause—at line 20?! Piero. You horrid scouts That sentinel swart night, give loud applause From your large palms! Then again at 31–2 : Hell, night, Give loud applause to my hypocrisy [ successful falsity ] ! Asking for applause twice in one scene would be questionable at best; but asking for applause twice in almost the same breath is intentionally engineered-in meta-theatre overkill. So are the cliché appeals to “Hell” and “night”. Most absurd is the bumping up of an appeal for applause from the end of a play to its beginning. It’s loony, as if the projectionist got the reels out of order. * The character Piero is on full tilt. I can scarce coop triumphing vengeance up From bursting forth in braggart passion! cf. Max Cherry. Now you want me to speculate on what you do.