Richardson Leao

I guess the first batch was about iso 10. But the second batch, that I did in a much more controlled environment... I would say 20. And now it's very flexible and I'll try in 16mm once I get my clear leader. The only thing I don't understand is why silver is becoming so expensive. As everybody says that film is dying... Where all the silver is going to? Thanks for the comments though.

I will try today with a new batch (that's much more flexible), however, I think I'll only try 1/30 and 1/60 as that would be 24 or 16fps. I have also ordered a tinny bit of panchromatic dye to see if I get some pan sensitivity (the PanGly) cheers

Exactly... It started by putting a silver ring on a beaker with nitric acid = Silver nitrate, then slowly dropping silver nitrate onto potassium bromide (on a safe light), then, soaking gelatin... Then I actually washed away the emulsion of an old film (with a hard brush) as I could not get clear leader here in Australia (at least not cheaper than the same footage of film stock). Then I used a brush to spread the gelatin on the acetate. It got very irregular as I did not use any surfactant (to spread it evenly). Once I get a good emulsion I'll build a heated compressed air system that I could just coat larger quantities of leader. Cheers. richard

Dear all, I decided recently that the ultimate DIY thing to do in filming would be to do my own film stock... the OGly 10 (Orthochromatic Ugly Film Emulsion iso 10) to then play with the sensitivity, grain etc. I had a few problems with the gelatin consistency but this appear to be improving by the addition of sorbitol. Thanks to the helping hand of the people at the www.apug.org forum, I got the emulsion now with more flexibility than I had before. I will now work on increasing the sensitivity (right now, iso 10) and later work on a coating machine (as coating 30m of acetate, does not sound fun). Anyway, I am showing one of the frames that survived when traveling through the spools and threads of a konvas 1m (there was a lot of emulsion shredded as I didn't use the flexible emulsion). Once I get a nice and soft emulsion with (at least) iso 30 I'll post the recipe. Anyway, here is the frame:

dude, fantastic set-up! the beam splitter, it passes all wave lengths?

yeah man, i posted 2 rolls of svema s8 to the UK (from australia) and it costs ~9 dollars. i think they may be including some salty handling fee on that.

i think it's the same as the 16 sx

I don't know the seller but that was the only one i could find. Is it possible to find a 100ft tank? That would be cool! Olexandr, I think, has some tanks for sele but i think are the 10m ones. He is very very reliable.

found this the other day in case you're interested: http://cgi.ebay.com/LOMO-8-16-mm-movie-cam...1QQcmdZViewItem

thanks for the suggestion Joseph, but i guess leader would be too thick? it will take a while for it to get to the stage that i can do film over long lengths. i am moving countries soon and hopefully buying a house somewhere with a large basement, then I could try to do some kind of continuous system for spraying the emulsion on the acetate, meanwhile, I'll try to make it hard enough. Cheers.

Dear all, Recently I have posted a post linking to my 16mm clips using a kinor and k3 that were done from film expired nearly 30 years ago and developed (at home) specially to look grainy and silvery? It also showed other clips from old color negs and short ends developed with c41 chemistry (at home)? Anyway, some people thought that these were the ugliest 16mm clips on the web, truly awful. Fair enough. So, I would like to share some of my existential antagonisms and the views regarding film aesthetics and experimentation. I know there is a lot of professionals on this forum, that generally, are focused on high-standard image quality, impeccable illumination and cutting edge high-definition media. Most of the time, the clients require impeccable images. Suppose that a musician wants a video clip, he wants his clip to look like that other clip that then look like a movie that look like another movie. For that, the DP will then get the latest and freshest Kodak vision/fuji eterna stock, that was developed during many many years by thousands of professionals. He also uses the latest in photo-metric technology, developed by several other professionals. Then, if he has the 5C?s of cinematography, he will then dial the appropriate aperture on the lens in order to get the desired DOF based on his seikonic meter. After that, the film will be sending to that lab, where the professional technicians really know how to handle the film and use the freshest ECN chemicals available. Then, without even touching the film, the negatives are sent to that telecine house that does the best high definition transfer on the market. Result: impeccable clip, the client is very happy because his video clip looks just like that other video clip from that famous group? Sometimes, the DP can even dare, by applying gels and using filters (which the professionals that made these filters already indicated that you have to compensate the aperture by x/f). And if he really really wanna dare (as nature has made humans very daring), he may then ask the lab to do a bleach bypass (and as the lab professionals know they trade, it will turn up perfect). But then, there are people, like myself, that don?t want pristine image, that actually want most of the image definition spoiled, then the spectator can define a lot of the frame themselves. People that want to develop a more intimate relationship with the image. Even knowing that most people out there are not interested in how the filmmaker does his film, or how he relates to the image. Most of these filmmakers (including myself) are amateurs. The word amateur come from the latin: amare, or to love. And I guess that was the kind of relationship I wanted with the image: love. So, if I then, for my own sake decide that I need a low definition image for over 30 minutes, to emulate the vision of a dog, I cannot buy the latest Kodak Vision Tri-Spoiled II and ask the lab to please add coffee on their continuous machine? I actually have to hunt for spoiled film in flea markets and ebay?s, in enough quantity. Then I have to try each roll individually for it to look consistent as time affect rolls differently by the inherited unpredictable way that nature affects objects. Many developing hours, many testing strips, many hydroquinone concentrations. Then, after weeks and weeks of EXPERIMENTATION I will have consistently ?ugly? results. On the top of that, I also did a wireless device (recipe and software on the web) to synchronise the sound w/ the picture (total price: 50$) and remove most of the kinor noise using a program that I made myself and once it?s user friendly, I would love to share to other amateurs like me. OK, then define UGLY? Look at the picture attached. Technically it looks awful, maybe the worst BW picture on the web. But that particular picture was taken with a film that I made my self, mixing silver nitrate, K bromate and K iodate, then adding gelatine, hardening slightly it with formaldehyde and coating a piece overhead transparency and placing it at the back of an slr and then develop it using hydroquinone. Still the picture looks ugly, but the relationship I developed with the image is still fulfilling and more rewarding (for me) than what would be with a digital still using the latest dSLR model. The emulsion is quite weak at the moment and I don?t think it would survive a MP camera. But I?ll keep experimenting and one day, if I find a place to buy clear acetate, it I make it hard enough, then, mate, you?ll see 16mm clips on the net that will be 100 times uglier than the ones I sent using expired/spoiled film. On this day, I guess I will stop to take part on the discussions if film will ever die, or be worried that a evil CEO will change Kodak?s or Fuji?s policy as it happens to Ilford. Anyway, if there are people out there that is interested on experimentation aesthetics, the usage of very old film, how to get pre-40?s look, how to make a world on the eyes of a dog? not on impeccable images obtained by the finest lenses and the latest stocks, please check the website. And I would really appreciate to exchange info with other people, that like me, are amateurs. Many thanks for the attention, especially from the professionals that have give me essential constructive advice.

Oh, I forgot to mention, i developed the film using a morse G3 tank.

if this stoop had read what the clips were about... (also, i haven't finish the page yet, so there's a lack of description) the NP7 was expired in 1982, iso 400 and the idea was to show the world on dog's eyes, low definition, kind of unsharp edges (based on a dog eye physiology). The developer also was a mixture of D19 and instant coffee. I don;'t want to compare home processing with continuous lab processing but for the effect I was looking for it really works. Also, my idea was to do a film using only old expired film, the NP7 rolls I've bought in a flea market in St Petersburg for less than a dollar each and they were sitting in the sun for god knows how long. After a few test I thought that it would be close enough for a dog's perspective. Off course there's always the possibility of getting the sterile looks of other dog films like benji or bethoven, but this film was never supposed to look like it. I'll get the clips from the new kodak vision (that are part of the film later on). Anyway, I just want to show that, depending on the effect, old expired film can be used. also, that was again for comparison. NP7 30 years old vs. double x ( sample1_7231 .mpg (11MB)) ~15 years old, same clip (both processed w kodak d19 and coffee)

sorry nick i keep forgetting to make external links... its: http://jcsmr.anu.edu.au/~rleao/dogheart.html btw, i am at the moment doing a little video about film craft that explain, among other things, lomo tank loading, the reversal and neg (including color and remjet removal) processing (step by step), film splicing and kinor and k3 film loading, a home made rewind tank with an ice cream tub etc. once i finish i'll let any interested person in knowing how to get it. about the remjet. if you properly remove it with a borax pre bath, you don't make your dev. dirty. but even if the developer turns blak, it's only cosmetic as the carbon does not react with the developer. replenishing in this case does not help.

I don't think there's any similar probs. kinor mags are insanely simple. the only thing it can go wrong is that if the film between the cog reel and the take uo spool is floppy, the film can roll over the spool jamming it.

Hi, i had no problems w the kinor. I do suggest you to have the motor modified to multispeed (Olexandr). Some of the clips shown there are shot at 12fps and 48fps. Make sure the film is tensed at the take up spool of the mags and nothing wrong will happen. About the noise. It's a bit noisy but nothing unmanagable. I am very close in finishing a little program that denoises sound files from my kinor using 24fps using some fancy mathematical algorithms I developed during my masters. i'll keep you posted.

i have recentely finished a project (a dog's heart, from bulgakov). It was all filmed in 16mm using my kinor and k3. i included few clips (mostly the ones i developed). if you want to see the good quality ones (lab developed) i'll be posting it soon. http://jcsmr.anu.edu.au/~rleao/dogheart.html There are a few I didn't edit yet and yoy can choose it by: http://jcsmr.anu.edu.au/~rleao/samples/. Sorry about the telegraphic message but i'll post a decent post after i finish the website. there's also of cross processed stuff there. e6 film, exp 1972, processed w c41, 37C, reversal bw as neg bw etc.

hi there, hopefully, this will be functional tonight. I shot a short w/ k3 and a kinor, i used several stocks and several speeds, (descriptions will come soon). most of the colours stocks w/ the k3 were shot w 48fps. Anyway, have the clips but it's all under construction. Go to: http://jcsmr.anu.edu.au/~rleao/dogheart.html several k3 shots (that i developed myself)

Thanks everybody!!! very helpful.

Dear all, I have just finished editing a film (16mm, BW color - most of the film we develop ourselves with formulas we made to obtain unique grain/colors/contrast) we've been working on and now i am having some decision problems. The film is kind of sci fi (stalker/solaris style) and it ended up w 47' (instead of my original 25min aim). I have been showing it to friends and other filmakers and the conclusion is that it's cut to the bone... unless i make it as a trailer sort of story and forget most of the underlying stories I originally aimed for (e.g. a critique of conservative governments, the lack of investment in science/education etc). I know this question would be better answered by myself but I thought I would ask before to someone that would have had similar experiences. Should I cut the film trying to get accepted by short film festivals or should i keep it as is and try to find festivals that are not so an... about length? Also, how hard it is to find festivals that accept longer films? Would anyone have a similar problem? thanks all. richardson

Go for the Nizos, good optics, quite reliable... I also like the russian quarz as they are all manual (including a spring motor). If you get a Nizo, try to get one w single frame and intervalometer: http://cgi.ebay.com/Nizo-136-XL-Super-8-mm...1QQcmdZViewItem

Hi all, I was delighted to know that there's a lab in melbourne specialised in small gauge film (s8 reg8 mostly), that also sells a variety of stocks: http://www.nanolab.com.au/ cheers richard

Hi all, I have bought a Kiev 16UE to shoot a short in Brazil but I had it posted to an address there, so I can't see the camera. I want to get some filters for it but I have no idea of the lens thread. Would anyone have an idea of which size filter I should get? There are 3 lenses, 20mm, 12.5mm and 50mm. Many thanks

We had a previous post about it: http://www.cinematography.com/forum2004/in...422&hl=Leao orwo still makes BW stock and it's easy to find. Also, there are alternative reversal stocks. Please check the post.