Richardson Leao

Hi Guys, sorry to hack into the thread but just a technical doubt I have, the CRT tube provides the light source for the scanning or what? Also, in a normal telecine (e.g. ursa), the frame is captured through what, a ccd sensor? Many thanks!!!

if u plan to do negs, remember the evil antihalation layer!

i think that's the type i think i was looking for, like a JK printer. If she wants to send me a PM or a email (cineguerrilha at gmail.com). Muchias Gracias!

Does anyone have an old one? cheers

I don't think I'd be able to adapt to the american life stile but sometimes I envy the opportunities people over there have (and I am not talming about the american dream)... I found this on ebay: item 190240450481 BW processing machine for 800$, unfortunately I could not have it but that would be the ultimate gadget for home processing or for a film club... Also, I found a seller in ebay asking for 650$ for a lomo tank...

u should see the indicator, but if i remember well 1.8 is just after the automatic when u dial anticlock

The camera is single 8, it's based on the fuji 300. The projector can do super 8 (and single) and also regular 8

i'd spend 600$ in that thing, i'd rather pay a bit more in a kinor (that could be mod to sound sync by olexandr) or get an arri bl, or anything reflex (remember that there is a significant light loss with those prisma coupled lenses).

Hi all, I just would like to share the formulas I've learned to develop the stock. Cheers

in the beginning of photography, people have used egg white (albumin) and arabic gum to emulsify the halide. Preservation and durability was not great. And as David said, gelatine is a byproduct of the meat industry, if it does not go to the film, it will be mashed and served as cattle food, triggering more prion diseases (madcow). In the 'Photography Chemistry' book they say that pig gelatin is more suitable to photo, not sure what is used by industry, but if it's pig gelatin the stuff in film emulsions, at least there is not a huge carbon production related to the gelatin industry.

not sure, but tri-x outside at 16fps or 18fps you'll need a hell lot of neutral density filters. Also, not sure about the scanning, if u opt for pal (or ntsc) for that matter, you should aim for 24fps. About the shortends etc, you want an old look, so u can use old, expired stock without being afraid. I used one a rool of film expired in 72 (tri-x) and it turned out fantastic. And welcome to 16mm!

i had some s8 films scanned by uppsala bildtek and they also turned out great. It's a very good and reasonably priced place.

Dear all, I know some people here have used sound recording film to get some high cons effect. So, could I also achieve the high contrast of a sound rec film with BW print film? Like here with kodak sound film: many thanks!

you can also buy cheap handheld meters but for me, after my kinor 16, my pentax spotmeter is the most useful piece of film equip i bought

Hi all, just a info on the camera. I've just picked one up, non reflex for some stop motion work It has a fixed lens (25mm) and 2 adaptors that change the angle to 12.5 or 50mm. It's much quitter than the k3 and bolex (expected as there is no mirror shutter). Several speeds and single frame. An internal light meter (very cool designe) and u can change the film speed from 12 to 600 iso. There is an indicator that shows how much winding left. And it's very pretty. OK, to the point, i was nearly buying a nonreflex bolex for 60 pounds (more than 2x what i paid on the eumig) so I think the nonreflex bolexes are a bit inflated. I'll do a test drive this weekend and project, to give an idea on stability. Anyway, if anyone is considering a nonreflex cam, the c16 should be considered

Yes, that's true, ORWO can be nicely processed as reversal also and it is also very silver rich.

one option is to replace the lightbulb socket. I did it to a B&H I have and put other modern bulb. with ektachrome 64, i'd always use an external lightmeter. I have a nizo something (not the fancy ones) and it's always nicely exposed (measuring with a pentax spotmeter). Back to the projector, maybe u should consider this for previewing: http://film.club.ne.jp/english/englishgakken.html u probably will never have to replace the bulb in your lifetime.

foma cannot be done as negative as it needs to have a silver based back layer removed during the reversal process. It's a bit harder to process than tri-x but not too hard. A lab that does tri-x could do the foma if pushing 1 or 2 stops during the dev. (extending the 1st dev. time), but I cannot guarantee that it will work (that's my own experience)...

Please correct me if I am wrong, but doing more searches, it seems that the gevachrome film uses a similar method as the orwochrome or the svema color. Olexandr used to have color kits for the svema films, so I might try it. I had SOMETIMES (not always) some luck with developing orwochrome with: BW developer, re-exposure than C41 chemistry. (all at room temperature). Also, I found this post with formulas for the developer7bleach: http://www.keyong.de/954830-agfacolor-dia-...ung-development That may also be a solution as I have 16 x 122m rolls of this gevachrome...

i'd go for the foma. pretty and rich blacks.

And I suppose nobody does this process anymore, right? Would it be any similar to the svema color process or orwochrome? And I don't get it... the cans and the print and the box in which the cans came, they look way modern to be so old. I threw the old box away but it looks like it was from few years ago... Anyway, thanks for the info. Btw, John, it was an impulse buy...

And I suppose nobody does this process anymore, right? Would it be any similar to the svema color process or orwochrome?

Hi All, I have several rolls of gevachrome 702 made in belgium by agfa-gevaert. I've been gathering information around and it seems that this film is a newer than the 'gevachrome' produced in the 70's. It seems that the film was produced in the late 80s. And, as far as I understood, agfa does not use a proprietary color process since mid 70's. OK, now for the questions: Does anyone knows this film? is it compatible to E6? I will try to develop with E6 a few strips but if somebody knows that stock I might skip the striping and shoot a few meters. thanks all! richardson

I have a kinor and for sure it's a fabulous camera (also modified by Olex), I just wanted something to film inside a train at rush hour. But I gues I can always smuggle my kinor... but thanks for the info.

I was thinking more like the k3/bolex type... Everything packed in a piece. But maybe the arri s...