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Selling my focus monitor due to an upgrade. 1303 High Bright. Monitor serviced in the last few weeks. Everything is in working condition, some discoloration from working outside. Small light leak on right side of screen has very little effect of image. Service records provided if needed. Monitor comes with custom shade and power supply. Located in LA, but willing to ship. Asking $2350. Feel free to DM or e- mail me any questions. Having trouble uploading photos. m_sumney@hotmail.com

I emailed Michael Raso at Film Photography Project about my problem with their BW40 film and he stated that this film is not Kodak Plus-X. Mark Mark Eastman Palo Alto, CA

I don't have the 4mm but I do have the Optex 5.5 and I've used it on my Bolex . There's no reason to think the 4mm would be any different. It'll cover super 16,but since It's not a RX lens so you could get aberrations from the prism if you open wider than T 3.5ish.

Aloha 🙂 Has anyone on here ever used the Optex Super Cine 4mm on a Bolex H16 SBM Super 16? The only footage I've seen of the lens online seems to be shot on an Aaton or an Arriflex, but I imagine in terms of field of view and coverage the lens would look the same on a Bolex even if it requires a PL to Bolex Bayonet Adapter? I would appreciate any insight or reassurance. My technical expertise is more on the post side of things but I'm starting to play with film again and if i'm incorrect I don't want to find out the hard way after having the gear shipped to me. Thanks so much! Erik

Necroposting to ask if you have a similar document for the 16SP mount--it's proving difficult to find solid information on it. This is incredibly useful, by the way, bolshoye sposibo for sharing.

Retro concept : National Pride Clement. But more; the king by letters hath foretold That Frederick, the Almain emperor, Hath brought with him a German of esteem, Whose surname is Don Jacques Vandermast, Skilful in magic and those secret arts. Mason. Then must we all make suit unto the friar, To Friar Bacon, that he vouch this task, And undertake to countervail in skill The German; else there’s none in Oxford can Match and dispute with learned Vandermast. Burden. Bacon, if he will hold the German play, Will teach him what an English friar can do— The devil, I think, dare not dispute with him. Robert Greene, Friar Bacon and Friar Bungay, vii.13–25. * Friar Bacon and Friar Bungay is one of the earliest comedies existing in English Literature. The play is as wondrous as it is charming, as accomplished in its poetry as inventive in its structure. In reading the play one crosses a literary bridge from the medieval era of Nice Wanton to the era of Shakespeare. * The supernational wormhole of The White Devil has a predecessor in Friar Bacon and Friar Bungay—a “glass prospective” (vi.5; viii.76), or “crystal” (vi.15), equivalent to a live CCTV feed. 2nd scholar. Hearing your worship kept within your cell A glass prospective wherein men might see Whatso their thoughts or hearts’ desire could wish, We come to know how that our fathers fare. (xiii.26–29) What eventuates from two visiting scholars looking into the crystal?—A double double-murder! First fathers, then sons. Such a surprise teaches the good Friar Bacon not to dabble with the supernatural any longer. During the double wedding at play’s end, the Friar remarks that he’s Repentant for the follies of my youth, That magic’s secret mysteries misled. The ending of Friar Bacon and Friar Bungay is Europe’s Faust myth turned on its head. Friar Bacon, initiate in the secret sciences, receives, unlike Faust, a reprieve. * Treasure hunt for lexiphiles Serlsby. Let it be me; and trust me, Margaret, The meads environ’d with the silver streams, Whose battling pastures fatteneth all my flocks, Yielding forth fleeces stapled with such wool As Lemnster cannot yield more finer stuff, And forty kine with fair and burnish’d heads, With strouting dugs that paggle to the ground, Shall serve thy dairy, if thou wed with me. (x.57–64) / [ Lemnster : Leominster, in Herefordshire ] OED—Paggle : “To bulge, swell out like a bag; to hang loosely.” Obsolete. rare. (1592) Has anyone yet found a second usage of this word in the English language of yesteryear? * A thought for Reynolds Woodcock to keep in mind? Miles. ’Tis no matter, I am against you with the old proverb, “The more the fox is cursed, the better he fares”. (xi.123–4)

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It's all just math. Since most digital doesn't go down to 50iso you'd just have to math it to whatever you're iso is. For example, an. Alexa at 400 iso would be a 3 stop difference. So you could throw an ND.9 in and be at f16 or shoot at a t32 (which I haven't ever seen on a cine lens). This is of course assuming you are keeping your shutter speed at 1/50th. Of course with most digital cameras you have a monitor and false colors.

No worries Sebastian. It's actually hard to find exact dimensions for 16mm Arriflex camera mirror clearance, so this tool is quite special. It would be great to measure it, or make a mold of the inside, in order to perhaps make 3D print copies of it.

Thanks, Dom, for this explanation. Have a nice week!

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?