Richardson Leao

I was just thinking about another DIY project and i'd like some ideas... would it be possible to make iron oxide emulsion, apply to the corner of s8 film (developed) and then record sound with a magnetic head, possible? cheers

wittner also sells foma s8 by the meter

Dear all, I am honored to be able to help to organise one of the first super8 only short film festival in Brazil. It will happen from the 25th till the 27th of November at the beautiful Curitiba (about 400Km south of Sao Paulo): http://en.wikipedia.org/wiki/Curitiba The Festival has had already a great start as a major Brazilian bank backed the sponsorship. The program is not quite ready yet but I can forward that there will be plenty of activity beyond the screening (e.g. workshops of home film developing and photography principles applied to s8). We will be taking submissions soon, probably before the end of the week. I am just jumping ahead of the main organisers as I understand the drag associated to overseas trip planning. Just one point, the main contests will prize films FINISHED in super8, with magnetic sound strip or a separate sound track (for example in a CD). There is also a smaller competition for films finished in video, but the idea of the organisers is to praise the s8 medium from shooting to distribution and the people that used scissors and scotch tape as tools instead of mouse and keybord. I'll post the dates, the website and addresses for submission. ciao richardson

Hi Simon, I heard also you might be producing stainless steel spirals for processing, r they available yet? cheers richardson

Hi, My kem 16 table has a prism that rotates in close contact with the film and it always gets dirty. I wonder which kind of product i could use to clean the prism and if it would exist any antistatic solution i could apply to it. CHeers

thanks Stephen! But if 3rd party companies do the reflex viewfinder, why it does not come from factory? that's what i don't get about this camera, why it's not reflex...

i am just a bit curious about this camera, is there anyone using it? how are they sales? cheers

In super8??? From where?

And one from england (a kinor) was in ebay for 100 pounds and no bidders...

don't forget the canon 814, it has almost everything of the 1014 but it's much lighter. Also, I am very happy with my Nizo S560 I also think that a camera with manual exposure option, a good sharp lens and different fps is a good learning tool, as it opens the way for understanding the principles of other formats (16 or 35). Don't forget to get a cheap lightmeter too.

i didn't add a shutter as the spinning prism does the job (in some angles, no light passes straight to the ccd. maybe i'll try until the perfect camera appears. I was more thinking in using the table to cut the film before doing HD, specially if I get a camera that could invert the image (negative). Then I could cut before scanning. But thanks for all the replies!

the film plane. I think the machine vision monochrome idea is great. And which software I'd put the channels together?

Hi all, I am converting a stenbeck table 16mm to a telecine machine but i am stuck trying to get a camera for it. First i got a sony with 420 tvl resolution and then i remove the ccd from the case and used a single macro lens between the ccd and the film frame to do 'on the fly' scanning. Well, that was almost good but i believe the resolution of the camera is the drawback of my system. I also tried to use a minidv camera (consumer) to do it and that is also not good and i have to have 2 extra close-up filter to make the system compact enough. Anyway, I would like some opinions in regard a camera to buy. I am very tempted in getting a board camera as they are small and they can be mounted in my custom-made xyz system. But are they any good? I found these with 550 tvl: http://www.rfconcepts.co.uk/board-pinhole-sony.htm but i dunno any thing about board cameras. Also, should i go for ccd or cmos? many thanks!

the 125 ft length is because the polyester base is thinner than the acetate, so you can pack more film in a 100ft spool. And Karl, thanks for the info and i understand that the process is the same, the problem with high-speed old films is that they fog more than low iso films. I had once 2 packs of orwo expired in 1982, apparently stored at the same conditions, one 400 and the other 100, the 400 was terrible while the 100 was almost like new. Best,

that's not mine, and the film is using the kodak sound film stock. But i don't think the guy altered the processing. the high cons is a characteristic of sound recording film. i'll post my first results tonight as i developed the agfa film as reversal last night. It's soooooo beautiful.

i am using sound film in my kinor (that also uses polyester as base) and if it jam, the camera simply stop. Like it does with acetate. I think that was a safety trick olexandr included in the mod he made to me. Anyway, what is the iso of this film? I have processed news film in e6 iso 100 and it was ok. iso 400 was poop. The other option would be cross process, then, any lab could do it.

if people keep doing everything on post, very soon we won't need people, except from the post people...

Hi all, I have ordered 2 x 600m of agfa sound film (the ultra high contrast we discussed in a forum a while ago) and i wonder if someone would be interested in some of it very cheaply (for example, 7 euro for 30m without a spool or 10 euro with the spool). I could list it in ebay in if preferred. i thought about puting it in classifieds but i guess it's part of the discussion on the usage of high cons as it would be good to share the results of the experiment. Cheers PS: Sorry if I bother anyone in writing this topic in the 16mm forum. this is a clip with the kodak sound film:

the bw part is awesome!

there;s a place in Oz that sells recans of both 35 and 16mm, the name escaped from my head now but i bought from these dudes in syd. maybe if u do a search in this forum u can find it.

concerning arri models, the BL is not one of the best models but it's a very good camera. we filmed a short recently with a friends camera and it was damn silent. you have to be a very unlucky person to have this camera broken,. Unless off course you don't maintain, lubricate etc. Poor image is also unlikely. The bl is a sync cam and it's very stable. Go for it man... if the camera is runing smoothly when u get it and u maintain it well, that will be with u forever. i'm a russian gear advocate but if u need silence... i guess i have to agree that the bl is better. Just a few remarks: NOT MANY PEOPLE CONVERT BL TO S16. I don't think Aranda (in australia) does nor the Les Boshes (forgot the spel) in the UK, so, if u wanna the 16x9 you'll have to crop.

i am more for the buying than renting. u can buy decent regular 16mm cameras for the price of few days rent and u can familiarise yourself with the equip. i see some differences in price with 35mm but they are not exorbitant. if you buy shortends/recans, the only thing I believe will cost more is the processing. the telecine is generally paid by the hour. So, there's not a real difference. Also, the cameras off course are more expensive. But, if u have 5K to spare, u could get a kinor 35 converted to to perf and then u would save a lot of film and film in native 1.66 ratio.

u have more options than ekta. Wittner in germany sells 64t fuji and 50d velvia (also fuji) i imported from them from australia and i had no probs at all. http://wittner-kinotechnik.de/katalog/04_filmm/16_filmm.php

didn't realize that 100d was so nice. I'm converted... Welcome to the forum!

check the fuji vivid, great stuff. Also, there is orwo, foma and in europe, some companis sell fuji velvia in 16mm, also great stock.