Richardson Leao

Dear Richard, I am terrebly sorry for missing your question. I hope you are still around and I will test now that RAR stock. 

On 1/4/2010 at 5:48 AM, Richard Tuohy said:

g'day richardson,

did you have a go with the RAR film stock? Can you let me know if you did? Perhaps send me an email

richard@nanolab.com.au

cheers,

richard

Hi, did you sell your film?

Thanks for the help. The serial no. (i suppose that is the no. in the base of the camera) is 209366. Bolex H16 Reflex. many thanks!

Hi all,

that may be a stupid question but i recently bought a bolex h16 reflex and i need to fix the dioptry knob but i have no idea how to remove it from the camera. many thanks

svema, bw, 50 asa. I love it! I have used almost 20 of those in the past. the widescreen shop in UK uses to sell them. Develop as tri-x, it should work. when it is totally exposed, there will be some hieroglyphs (cyrilic :-) ) written on the film, like the 'exposed' of kodak.

these are two of these rockets. That isn't so bad though:

the 2nd one wasn't so bad. My initial idea was in fact a rocket because I was planning to do a scifi short.

A bit off topic but have you guys seen this ffotage (challenger explosion in super 8)

I tried to fly an rc plane with a fuji single 8 p2 (250g) but my piloting skils were not the greatest and I smashed the plane before I could start filming. I thought a DJI phanton could do the job. they can lift over 700g but I am a bit traumatised after various accidents.

Hi Guys,

I've been away from this forum from a long time and it is very good to be back. Anyway, I wonder if anybody has tryed to fly a super8 camera using an rc plane or helicopter? I saw a video on vimeo (

richardson

Hi All,

I have a KEM 16/35 editing table and after moving to a new place a plug on the back (that was to emulate a foot pedal) went missing and the table refuses to run. if anyone have a similar table, I would really appreciate if you could open the connector and send a pucture of its guts. I think one has to short circuit 2 or 3 terminals but i can't remember which. Thanks immensely for the help! Happy 2011!

Richardson

PS: I tried to email KEM (the factory) but never got a reply

Hi All,

after spending some time in australia and then in sweden i was loosing my hopes with the way filmlabs in those countries treat non professional customers with a small volume of business. it was even worth in my home country (brazil). it's tough when you don't speak the lingo... and i understand 'money talks' but then i found the light in the end of the tunnel when i've sent some stuff to the Colorlab and then also to Andec. The attention I received was remarkable, given the bellow 1000$ budget i had... Anyway, i open this thread just to know other people POSITIVE experiences with labs and post houses. cheers

richardson

to develop as a neg there should be no special chemicals. it's only bw developer and fixer

Hi,

I have some rolls of Kodak RAR film 2496 and 2498 16mm that i'd like to try, so I was wondering which ISO should it be exposed at? Also, are they both orthochromatic? Thanks heaps for the help!

richardson

Who develops Foma R in CZ?

there was also a lab in Portugal atom43 that used to do it. Dunno if they r still around. U need reversal, right? because I think nordisc film process bw neg. when io bought orwo from dancan in denmark they suggested nordic film co. for processing. Maybe if you want to do it yourself, i can lend you my tanks after january when i come back from holidays.

I'd love to see some frames! I am currently shooting with svema 16mm reversal and it would be nice to see. Cheers!

Sorry about those three consecutive posts with the same thing - my computer was acting up.

 

Anyway...I went to DuArt today and watched the footage and surprisingly it doesn't look bad. The one developed as 5222 was a little granier than the one developed as 5231, but they both had solid blacks and the grain didn't seem any worse than actual 5222 or 5231. The fog level wasn't really an issue. The two biggest issues were that on the white side of the background, near the edge of the frame, there was some noticeable flickering, and there were some occasional static marks.

 

All things considered, I would say the film is definitely usable. Steve Blakely from DuArt agreed, though we both agreed that its not really safe for an extremely important project that would be costly to re-shoot if there was a problem.

 

I may try to scan some frames and post them here if anyone is interested.

 

Mike

Actually I don't see anything difficult in diy e6 processing, especially if you can get the Tetenal 3 bath (which is still available in Europe and Australia at least in 1 litre and 5 litre size). Doing it 'in the field' is something you would have to be very dedicated to do however. I have done it, but its much easier at home in my lab. Actually getting good results in e6 is just that bit easier than bw reversal in my opinion. Go for it, but you will have a hard time finding a 100' Lomo. I have several, but they are all VERY PRECIOUS. It takes ages to find even 1.

good luck

richard

I agree with Richard, e6 is quite simple, I'd say even simpler than BW, specially with the 3-bath tetenal kit (that can be found EVEN in sweden). The trickiest is the temperature control, but a warm water bucket might suffice. If you can't find spiral tanks, you can always build your own (but i'd not do it in the field). THere are a few 15m x 2 tanks in ebay right now.

Sorry, I think you misunderstood me. I know I can edit my own films at home. I was just curious as to how difficult it is for a first-timer. I didn't want to end up cutting too much and not being able to stick it bak together properly.

 

And the dunce thing because I've never used film before, i'm completely new to it. I've used 35mm SLR's but that's about it.

 

Thanks for the info.

with an editor and a tape splicer is quite easy. Using the editor u can mark exactly the frame u wanna cut and tape splicing is dead easy.

Hello all. I'm a high school senior living in Berlin, Germany (though I am American by birth), with an interest in film. I recently purchased a Super-8 camera (Kalimar Electric Zoom Reflex) and tried shooting one cassette of Kodak Tri-X 200.

 

Since my funds are somewhat limited (being a student), I decided to process the film as a negative in my school's darkroom, with the same chemicals I've been successfully using for developing Kodak Tri-X 400 35mm still images. I assumed that, because both films have the same chemical components, that this would work. Unfortunately, however, when I was finished, the film did not have any images on it, but was transparent and dark blue/purple in color.

 

Barring a camera malfunction, does anybody know what I might have done wrong? If anybody has perfected a way of cross-processing Kodak Tri-X (or a similar stock), I'd really appreciate finding out about it.

 

Thanks in advance.

Was the film all the same (i mean, no edges around frames)? i'd say that your development time was too short or your developer is too old.

maco/rollei 850nm can be found @ vanbar (.com.au) in 30m loads for 55usd

iso 400.

Well he'll learn some B&W by shooting it. He did say cinematography student.

 

To the OP, I think getting aggressive with filtration on 5222 (probably a good choice given the filter factors of things like a #25 might produce results that are satisfying altho not true monochrome IR as per Brian's good and informative post.

 

http://www.schneiderkreuznach.com/tipps/sw_fotografie_e.htm

 

If you were going a digital post route there are some interesting possibilities with using a color original in camera but likely another subject entirely. (And drives the purists here crazy !)

 

-Sam

another option, would be resensitise the film with IR dye. I had some notes from someone (very scientific... but i do have a them piled up somewhere) saying that he/she was able to resensitise tri-x with IR dye. Last year I tried to buy the dye last year without success (i remember that the dye name started with neo and the recipe suggested dunking the film in a dye+methanol solution). OK... this is too elusive and i should not continue, but I will post the results of the maco filme as soon as i have them and some stills of my tests as soon as i can figure out how to make my scanner to work in linux.

Hi,

dunno which camera you have but my konvas can take 35mm still film perfs. I bought a 30m roll of maco infrared film and i am planning to use it soon. I took some still photos with it to test using a red filter (r25). Didn't get good results with an infrared filter but the deep red was fantastic! I will probably also buy a r29 or a r70 film to use during the shooting.

this is the film:

http://www.mahn.net/TAIRe.htm

I will scan the stills tonite to show u

i will use 30m rolls because it was easily available, but maco is a small cozy photo company and i believe, depending on the amount u need, they could sell it in longer rolls.

Another option (also if u use a camera with no reg pin or a russian cam not converted to kodak perf) would be getting ilford sfx 200 in 30m bulk rolls. This film is actually closer to the soy cuba stock (a pan film with extended sensitivity to 820nm) but i'm not sure if they sell the sfx in bulk loads.

The main problem in achieving an infra-red look is that fact that panchromatic films and infra-red films see the scene differently. Panchromatic films have their sensitivity to colour adjusted so that a black and white image shows all of the colours with their 'correct' density; that is colours that are dark to the eye such as reds appear dark and colours that appear light to the eye such as yellow, appear light. Many years ago when colour was not in common use cameramen went round with a pan glass around their neck. This was a dark green filter which when you looked through it you could get an idea of how the scene would look in black and white.

 

Infra-red stock is recording the way the scenes reflect or absorb infra-red light. For example leaves reflect infra-red strongly so that they will look white in the print. You could get something of this result by using a green filter on the camera but this would distort the rendition of other colours; reds and blues would look dark. As I mentioned the tonal reproduction would entirely depend on the infra-red reflectivity of the objects in the scene. The only slightly helpful suggestion I can make is to try various colour filters and see what the result is.

 

Incidentally around the time of the Vietnam war Kodak produced Infra-red Ektachrome. The layer that produced the cyan dye was sensitive to infra-red. This meant that if you photographed the jungle any camouflage that was not made out of trees stood out as magenta while fabrics that were green and brown stayed their normal colour. It was used by directors who wanted psychedelic colour and produced some fantastic results.

 

Brian

Thanks, Art.

wittner also has color stocks for d8

I posted a topic a few weeks ago about a super8 festival that is happening in Curitiba, Brazil late November, so, now, I just would like to announce that the fest is accepting submissions. Please visit:

http://www.curta8.com.br

The site is in 4 languages (Portuguese, Spanish, English and French)

More info will soon be added, but it would be really cool if we could get your film.

It's a pioneering festival in Brazil and there is a feeling that if this one works out, a beefed up one might be happening in Rio next year.

There's a lot of people over there that are ultra eager in start shooting but don't know how. So, if we support the fest it's is likely that we will be recruiting a new army of s8 filmmakers. What in turn, increase the number of people buying s8, keeping film alive. Btw, we also going to have a workshop in film processing, building processing tanks etc running at the same days of the fest

and i wonder what is the value of a someone talk about a camera that would never exist... like Bush's mission to the moon... Mars and beyond... dunno, but if i'd organise a symposium in neuroscience for example (my field), i'd actually invite passionate people that actually produce data (or have ideas) that would revolutionise neuroscience, either to broadening it (by making it more ACCESSIBLE) or by inventing techniques that permit the researcher to explore further nuances of the brain. And as we are researchers that use public money, we are always careful with methods that promise and cost too much

This is meant as a joke only...

 

Dear Lab X, I heard you do clip tests. I really appreciate this as the lower cost labs won't do them for me. If you can do the clip tests for me it would really help me out. I probably won't use you if the clip tests come out ok because I can't afford you, but thanks in advance for doing the clip tests.

i bought from this guy before exactly that stock. I wish I still had my former webspace to show u some clips and I thought that they were good, but because I always use expired stock, the 'good' to me is a very slack concept.

Hi Dan,

loved the idea! dunno if maybe is a bit far fetched but some people (and I in certain extent) are organising a super8 fest in brazil and we will have a workshop in hand processing. Dunno, maybe it would be nice to have something also for amateur craft of DIY developing/tanks/telecine etc. I think we should broadcast home-processing for the sake of reversal film. Maybe invite Olexandr Kalynichenko for home processing and to unveil the mysteries from behind the rusted iron curtain?

>If u need any hand (dunno which kind) i'd be glad to help (if your symposium is happening in UK, but I can't be of much help if it is in the US because all the crap involved with visas blabla)

cheers

PS: I visited the page of the festival and it's a pity i didn't know about it. I love the idea of 4:3 review and the struggle against the industry dictatorship. REVOLUTION IS NOT A ONE TIME EVENT (A. Lorde)

Following on from the relative success of the Flipside Festival which I curated in Plymouth, UK last year (http://flipside.co.nr) I am thinking about possibilities for next years festivities (c May 2009).

 

One of the features I would love to have would be a symposium type event which would explore the extent of current use of the super-8 format and also discuss its future.

 

Obviously the event would I hope feature 'experts' from right accross the wonderful world of super-8, at present I'm thinking Giles from Onsuper-8.org, Nathan of Super-8 Cities, Straight-8, someone from Soho Images (since they took over Todd A-O (to discuss where Todds s-8 neg dev facilities might be going), maybe Tony Brakespear from Kodak, maybe someone from a-minima / aaton to discuss their (allegedly) proposed new 8mm camera (yeah fat chance I know), No.W.Here, Super-8 Today and a selection of film-makers who actively use this format.

 

I'm well keen to progress this - but would like to hear your thoughts first. Would you be interested in the event, or even participating in it? Who do YOU think should be invited to participate? Obviously there are going to be glaring omissions to my list - who are they?

 

I don't think that anyone's done anything like this recently and it could potentially be something really interesting which might make others take this format a little more seriously - you never know!

 

I'll do the legwork & the admin etc - just wondering who might be interested or indeed would there be enough interest? I'm looking to publish any results obtained from this research event.

 

And of course the whole thing would be filmed on ..... you know :D (",)