Richardson Leao

Hey Stephen,

 

I didn't realize that these tubes had so little life in them. 1,000 hours isn't very much. What's the very limit of usefulness in them? Can they plateau at a reasonable time and, then, still deliver useful results at a lower resolution for a longer time?

 

Could you cool them and get better results or longer life?

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!!!

Hiya folks. Just thought I would dig up this old and useful thread. Interesting stuff about tanks and chemistry. Anyway I found this French made tank last month in the North London suburbs. I was picking up some C41 chemistry at RK photograhic, www.thedarkroom.co.uk and told the manager it was for home processing cine film. He says wait a minute and comes back with this tank covered in a layer of dust. A customer ordered it ages ago and never picked it up, so that's how I got it. Sorry it was the only one in stock. Looks to me to be a bit easier to make than a lomo or rewind tank. Still need some extras for 16mm 100' / 33m processing, like a giant changing bag and a 16mm split reel or 600' projector reel for unwinding the dimpled separator strip onto.

 

 

 

 

G

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

I know of one, but it needs work. It is Bolex camera based, one frame at the time. The owner has had problems with the electronic controller. She bought it from a guy who used to make them, but now with the advent of computers, the man's business is all but finished and repairing this unit may or may not be an option . . .

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...

hi, sorry to jump in here... i have nizo S 480 and i want to use the manual aperture feature. does this manual setting only open or close the f stop based on the automatic reading? or can one use a light meter to get a reading and then set the dial to a stop. if you can do this, which side of the dial is F22 and which is F1.8? (close to the automatic setting or far from it?)

 

many thanks if anyone knows : )

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

It's definitely for Single-8 cartridges

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).

Here's my rough understanding:

 

Essentially most of the early news cameras were "chopped" auricons with 400 ft mitchell mags added on, and a lens with a viewfinder built into the lens (typically an Angenieux). Companies then started putting the auricon movements into their own housings but the movements were essentially identical. Cinema Products and Frezzi started that way. CP improved the mag with their PCL4 series, and added the reflex viewfinders.

 

I used to have a great picture clipped out of a magazine, of John Waters shooting Pink Flamingos with a non-reflex CP16 with Mitchell mag slung on his shoulder.

 

Ken Hale at Whitehouse AV can fill you in on more history, I would imagine.

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

Do you know soho square?/ you go down the left of the 2 roads that go into soho (Greek St) just a couple of minutes down - i think theres a street art gallery along that road. but its a real nice little restaurant for 5 pounds for a full on meal. and a veggies/vegans dream!

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.

Are you putting us on?

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!

Hi Adam,

 

If you have a digital photo camera, you can use that. Set the iso on the photo camera to match your film, shutter speed to 1/60 for 24 fps and determine the aperture from the digital camera. I find this very useful, and especially with "special" exposures - silhouettes etc.

 

Best of luck,

 

Kristian

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

Yale DOES NOT process Fomapan anymore. Like just about every lab around, they finally threw in the towel due to the problems with getting

good reliable results without ruining their chemicals, so I was told. If I were shooting a feature in B+W and didn't want to use Plus-X or Tri-X, I would much

rather shoot Orwo UN54 than Fomapan. Orwo looks great without all the problems of Fomapan.

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

Could be a dozen things, but the meter battery is the most likely culpret. The batteries do not need to be Malloy, but they do need to be PX625, and yes, they are readily available. What are the three letter codes on the light bulb?

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.

Uhm, I was under the impression that you could do B&W as either. Why not Foma? Or am I remembering this wrong?

 

@Will, can' t help w/ North America, but Wittner Kinotechnik in Germany carries the stuff and processes it too!

 

Cheers, Dave

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)...

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...

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 use 3374 high con, Fomapan R100 or good old-fashioned Plus-X

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

It is to be processed in Gevachrome 2 process. I stopped this process 25 years ago or more. It is a low temp (21°C) process with light re-exposure as opposed to high-temp Ektachrome process with chemical re-exposure.

Running Gevachrome film in Ektachrome process will ruin the film completely, no need to test this again.

 

You might still get a useable image if you process it as B&W negative.

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...

It is to be processed in Gevachrome 2 process. I stopped this process 25 years ago or more. It is a low temp (21°C) process with light re-exposure as opposed to high-temp Ektachrome process with chemical re-exposure.

Running Gevachrome film in Ektachrome process will ruin the film completely, no need to test this again.

 

You might still get a useable image if you process it as B&W negative.

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 Kiev 16-UE though the picture you show is of the clockwork version. The UE is electric powered using about 12 AA batteries. I bought mine from Olex and he provided a special connector so I can run the camera off an AC adapter or a larger battery. I shot one roll of Fomapan with it and the camera is very noisy but it does shoot decent pictures. It uses a mirrored shutter with propriety screw mount lenses. The film spools are side by side but not difficult to load. It comes with a pistol grip so it can be used handheld. It is about as heavy as a Bolex but has a low profile. I really think the Kinor 16-SX is a better choice coming with interchangeable 100 foot or 400 foot magazines. Olex can provide variable speed and crystal speed motor modifications.

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.

Arri 16s

Kinor 16SX2

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