Sean McHenry

Not worrying about the edge codes myself, I have 24+ 400' cans in the mini-fridge here and have been happily experimenting for the past year with a set of rewinds in my basement office/editing suite. Somewhere about 1am normally (I'm a big time night owl) I pull out the rewinds, drop the 400' core onto the right rewind, load a 100' on the left and backwind it till it's about right (by feel normally). Once I have the footage about right, pull the 400' core off, load it back into the black plastic bag, can it and then drop another 100 daylight reel on the right rewind and wind it up again. This isn't rocket science for me as this is all for the Bolex Rex1 and my K3, and used for the experimental shorts I have been making lately. As a clue, it takes about 43 cranks to load up a 100' reel on my rewinds. I try not to spin them too fast in case of static and yes, watch out for stray pet hairs that cling to pretty much everything, especially fine cat hair and short haired dogs. I have a whippet and the stuff is everywhere. Like I said, for me it's all play time so I am not too concerned with the codes or dust issues but yes, for the pros, it's dicey unless you take it to a lab I would think. If you are playing, like me, give it a shot but yes, one way or another, you 'll end up winding it back and forth. I like the 400 reel idea. Saves wear and tear on the brain too. Sean

Ira, Sean here. I also have a K-3 in my stock pile and I just recently pulled the loop formers off mine. After all these years, the little piece of string seems to have loosened enough that the loops weren't completely opening and the film was getting pushed slightly when the supply reel spun I guess. The note is right that it is easier to take apart than put back together. There is a small gear under the plate that has to line up but follow the directions and just "feel" for it to catch and it will drop in. Shot a roll of 250D this past weekend but haven't sent it in yet. Previous footage shot with it came out needing some stabilization in Avid after TC. Hopefully that corrected it all. S.

Hello Ira, Don't want to drag this too far off topic but, I got the idea from what I have always heard about ghosts haunting the same place going through the same routine every day/night. I thought I would shoot a piece where you couldn't tell the time period, hence the kerosene lamps. The woman is the ghost and she keep repeating this routine over and over but all is not as it seems. Dim dark B&W inside the house but the last shots are the exterior of the same boarded up abandon house in present time, daylight. She is repeating her routine even though nobody sees her in this abandon home. The little girl is supposed to be her and the bear, all shiny and new is the same bear left on the step outside at the end, all ragged and beat up but I didn't get close enough to really see the wear. Also, all the clocks are going backward in time, just to make things more interesting. I like ambiguous details. I'm a huge David Lynch fan. It all has a purpose but I want you to figure it out, and there's no wrong answer, just interpretations. Thanks. Feel free to e-mail me direct of check my sites for more info. Shot by the way, if I didn't mention it, a non-reflex Bolex H16 with a Pan Cinor 17.5-70 Zoom and a 150 W work light. It's not the tools, it's how you use them. Sean http://www.DeepBlueEdit.com http://www.MySpace.com/DeepBlueEdit http://deepblueeditor.deviantart.com

Forgot to add, I have had more normal success shooting Vision 250D stock and simply pulling the color out in editing. Now my stuff is just fooling around but if you want to see another video I did with that process, see this link for something I shot for the NIN thing they are doing on YouTube. OLD Vision 250D, Bolex, one 150W light. NIN Ghosts I:I It isn't perfect but at this point I'm just a hobbyist. Sean

Hey all. Someone handed me a ton of 7222 (4 x 400' cans) which I have bee re-spooling onto daylight reels for a while now at 2am in my basement office on rewinds. Anyway, my experience with 7222 is about the same. Now granted my batch is probably a few years old now but kept cold all the time. In fact, I know Google Video is no way to see film quality but you'll see, evn in the compressed footage, it's super grainy. Link: Short 7222 test I'll try to dig up the stills. These were shot a few months ago with my H16 and a Pan Cinor 17-85 zoom on the beaches in Maine. Metered at 250 ASA straight. Transferred by Justin Lovell on a MovieStuff system, Sniper I think. Even the good quality video transfer reminds me a whole lot of some of the old scary movies from the early 1970s or late 60s. S.

I suppose to make life easy I could buy this one then send it up to you to have that done? It is something that can be corrected if it is not already collimated to a Reflex, yes? I'll drop you an e-mail about it. I'll let you know the deal if I take it. I can't pass it up if it will work. Thanks, Sean

I have a chance at a really good deal on the following Angenieux 12-120 10 x 12 B in a "C" mount. The question is, I see on the Bolex Collector site that it does show the standard Angenieux 12-120 as compatible with the reflex models if it says RX. The one I am interested in, he cannot find that on the lens body. I am not sure what else to ask him to look for. He tells me it was used on an NPR but also says it's a "C" mount. I have a few small pics of it: If they don't show up from Ebay (borrowing them from the ad) let me know and I can send them to an interested party. Looking to close the deal soon. Please e-mail if you have any ideas. Thanks Sean Sean(at)deepblueedit.com - direct e-mail change the (at)

Hello all, I was searching for some interesting or fun T-shirts to show off my love of film in Super8 and 16mm and found there wasn't much out there. I grabbed all my cameras and some of my friends, took a few pictures of them and made my own T-shirts (Mens, Womens, Kids) as well as mugs, mousepads, keychains, BBQ aprons, etc. I just thought some of you film shooters would appreciate some of these. I have various cameras and test charts, etc on the Zazzle site at http://www.zazzle.com/deepblueedit If you have pictures or anything you would like to see in a film related item, please let me know and I will do what I can to do the hard work for you and let you know when it shows up. You can contact me, I believe through the zazzle web page. If not try my MySpace page at MySpace.com/DeepBlueEdit.com. I don't make it over to these forums too much anymore so messages left here may not be seen for a long time. Enjoy the walk down memory lane with the old cameras like the Auricon, the Cinema Products CP-16, Bolex's of various flavors and so on. Send me your old higher quality camera shots. I'll clean them up and offer them for everyone on shirts and mugs if you like. I would love some shots of Mithchell's, etc. Don't forget about the upcoming Holiday seasons. Old camera coffee mugs would make a great gift... Thanks, Sean

As he noted, he ran the film through once and is attempting to run it again. The first time would have been right but now the film would be tails out. It is on the take up spool. You would need to manually rewind it back the other way to run it through again I believe. You don't take it back and forth from one spool to the next over and over. The only time you do that is when using double run 8mm like in a Bolex H8 or other dr8 cameras. You run the 16mm film through once to the take up spool, remove the spools and flip them and run them again. You can't just flip the reels in a 16mm camera, the sprocket holes in single perf films would be on the wrong side - I think. Also, since this is the first time running 16mm, are you sure the thing the film is catching on isn't the claw that feeds the film? The claw is somewhat triangular and grabs the holes in the film and pulls it down one frame at a time. Just want to make sure we are all hearing this right so we can help you correctly. S.

The large long rod rewinds I have it takes about 41 turns to wind up 100'. I do exactly as mentioned otherwise. Carefully set the core on one of the rods (shaft) on the right rewind and an empty daylight spool on the left. I wind to the left for 41 turns then cut the film off. Place the film back in it's bag and can then load another empty 100' spool on the right rewind. Wind it all backwards keeping an eye out for static flashes. Don't get in a hurry and wind too fast. After that load is wound onto a spool, I tape it down and put it in a Kodak 100' box and tape the seam. I have made my own Kodak labels up with the film type, processing info and space to write "exposed" and other notes on. The lab I have been using, ColorLab in MD has been very gracious in sending me half a dozen spools free every time I send in rolls for processing. As I have about 17 400' cans in the fridge, this has been a great help getting me down to 100' daylight loads. They don't seem to mind as I keep sending them more and more film that way. I always send them a nice note thanking them too. Sean

I just hand cranked 1/2 of a 100' roll in my H8. It was processed yesterday. I shot at the meter suggested reading figuring I was still keeping close to the actual speed selected due to the governor not letting me over run the set speed by much if at all. I'll know how that worked in a few days. H8 is nice to play with especially if you can run 100' loads. Lots of run time... : ) S.

I would think if it was a light leak and you were shooting in the same conditions for the entire roll, it would have leaked onto the entire roll, not just the first 2/3. You see this streak in the frame edges, between frames, correct? That would mean the body was leaking someplace or around the lens mount. Do you have a filter holder on that one that might be leaking? Not a Rex5 owner but those can be trouble I hear. S.

I also have the Cinor 30 for my H8 and when I rotate the dog leg on that one the image spins. Makes it hard to figure out the mounting. I think I need a manual on these things. S.

PS, I didn't mean to imply that everyone using video is out to make a fast buck and not interested in good work. I know some very dedicated Videographers who do excellent stuff and really know an F-900 or Varicam forward and backward. Sorry, just wanted to make sure I don't unintentionally insult folks. I do that sometimes. S.

I haven't read all the reply so this may have been said but, we have gone round and round on this one at the local film club, part of a somewhat growing international "film" club where probably 90+% of the folks have never touched film. Nothing inherently wrong with that except the attitude that video is king, the way the world is moving and all that prevails to the intentional exclusion of film itself. I disagree. I think filmmakers that use video are generally more interested in the entertainment business and not in making the best photography (another term that is dying by the way, and related to this topic) they can fro the scene in front of them. Why would someone limit their depth of field (or negate the effect I should say) or give up half or better of their latitude, etc? Not sure. Various reasons I am sure but, I propose we call the folks by what the end result is. Moviemaker - makes movies for Hollywood type mass consumption and box office cash rewards. Filmmaker - people that love working with bona fide film as a medium for entertainment or artistic reasons. Experimental filmmaker - people that use the medium of film but not necessarily in it's intended usage or form specifically for experimental (outside the norm) art. Etc. Is it a dying word? Sounds like it. Should we let it morph into a useless word? Not me. I still maintain that someone that has worked only in video is missing a huge chunk of the process and the history of film. In a short argument I had with one of the club folks, if I only shoot videos on my cell phone and put them on YouTube, am I a filmmaker? He thinks yes, I think no. I have heard all the arguments by now but will stick to the idea that the terms moviemaker and filmmaker represent different aspects of motion pictures. Just me being stubborn I suppose. Sean

I don't want to sound like a leech but, if you get desperate, I may make an offer. I don't really need it right now as I have about 6 hours worth of old stock in the mini-fridge as it is but I can offer a terrible price on it. I mean it, terribly terribly low. Only call on me last and if you get really desperate and nobody gives you what it is worth. Sorry. : ) I tried to sell off some recent 35mm stock and nobody bit on it except a few smart alecs that wanted to harass me for doing it on Ebay with a minimum bid. For some reason folks don't trust individuals selling film stock. I'm still in my "playing around with 16" phase so old stock suits me fine for now. Best of luck, Sean

You know, after looking at it on the Bolex Collector site, it looks like that is a possible position for the viewfinder for some versions. Huh. For the 85-2 at least. I have the Pan Cinor 70 but mine may be an odd bird. Mine is all black. See this site if you don't already know about it: http://www.bolexcollector.com/lenses/60berthiot.html Sean

Nice color and quiet solid. I'm always pleased with how steady these are - when one remembers to open the loop formers. : ) What was the stock? S.

Like the "Bulb" on older 35mm still cameras. The "T" setting in single frame mode that is. Stayed open as long as you squeezed the bulb which was like an ear syringe. Sean

AI don't think you can/should rotate the entire lens that far, to match the position of the critical focus tube that is. I have never seen one oriented that way but - you can rotate the entire assembly by looking at the back side of the lens where it fits to the C-mount. There is a brass piece with two small cutout notches in it. If you VERY CAREFULLY insert a quarter in that set of notches you can rotate that piece. Doing so a small amount at a time will allow the entire lens to rotate to a new position. DO NOT scratch the back of the lens doing this or it's all over. If you are talking about rotating the mask, that's different and covered in the other gentleman's note. Sean

It does indeed sound like the top supply reel is spinning when there is demand from the claw/take up reel. If it spins too easily and quickly it will outrun the supply needed and get jammed. What you do to fix this I am not sure Jean-Louis? Could be the reel spinning on the shaft or the shaft spinning. Make sure the film reel is seated on the square part. Sean

I revised the ads just so you could bid on them. I put down exactly the minimum I want to let go of it for. Good luck. S.

I guess just putting in what you were willing to pay is too much trouble then? Ah well. Someone will buy it I'm sure. S.

So I suppose this means you aren't interested? Thanks for the advice. It is starting super low. Value of the film retail is $232 at one film retailer. I am asking I think $45 for the reserve on the one and less on the other (as I recall). It's not bogus but it is advertising. It gets people to stop and look at what you have. I suppose I agree in concept and it could be irritating, as I see in your tone you seem irritated to me. Too bad - life is short - be happy, shoot film. I don't normally list things that way, but it is an accepted practice. I'll try to refrain from using all the tools provided for my use next time. Besides, I have more and it isn't listed yet. Make me an offer, or not. This board is for listing items, not arguing about it. I listed. S.

I fell into, legally, a somewhat sizable amount of 35mm Kodak 5229 Vision 2 Expression stock. One can is a recan but seems to be all there per the numbers on the can and on the tape left by the Camera Op. I have a second can on Ebay right now, with more to come that is unopened and has been refrigerated since it was used on the shoot just over a year ago. I shoot 16mm and am selling this off to get a supply of 16 in house for my projects. If anyone is interested, it's starting super low on Ebay. I didn't think to post here first for some reason. Details can be found on Ebay at these item numbers: Recan roll - 200161355286 Sealed roll - 200161360264 I have other rolls from the same case available if anyone is interested. I didn't list them all on Ebay yet. These are current stock and listed at places like Film Emporium going for .58 per foot. (400'=$232) Please feel free to e-mail me at mchenryproj@yahoo.com if you have direct questions because I don't get over here as often as I would like these days. I didn't buy the stock, I didn't use the stock and wasn't part of the project so all I can tell you is it has been kept cold and in the original Kodak case since the shoot in June 2006. Thanks, Sean