Richardson Leao

Hi all,

I am looking for a reflex 16mm with 30m loads and I was curious if there is anything apart from

K3

scoopic

bolexes

beaulieus

cheers

richard

They used a Projector-Camera telecine system. Those ALWAYS turn out horrible since most Super8 projectors send a beam that's brightest in the middle of the frame, so it's incredibly difficult for a "lab" such as this to expose correctly for the entire frame.

 

If you want a quality telecine, find someone who has a rank telecine system. What they did, you could have done yourself with a projector, a $10 Ambico telecine box off eBay and a 3CCD camera.

it seems like the light was measured in the ground so the sky got burnt out. A handheld lightmeter will probably solve your problem. But if you wanna see how well exposed is your film... get a projector and have a look.

Will,

Sorry my ignorance, but when u dv-convert anamorphic r16 the telecine gate is cropping the film frame above and bellow right? I am now banging my head on the table thinking why I haven't done it in my last telecine...

I currently output both Super 16 & Regular 16 to anamorphic SD or 16:9 HD since everything I create is 16:9 these days.

 

For regular 16mm I crop the top and the bottom and stretch it vertically to fill the frame. There's a little math involved to get it perfect, but the result when imported into Final Cut Pro works great. Just tell Final Cut that the clip is anamorphic and *poof* you've got a 16:9 clip that works great and uses all available pixels in SD. Same for Super 16 but less cropping.

 

My transfer house has a setting saved for me whenever I show up and it's really easy to do. Their monitor can be set to 16:9 and automatically stretches it back out for viewing there. That's on a Y-Front for SD.

 

Generally I will transfer to DigiBeta with a DV backup. I use the DV (with the same timecode as the DigiBeta) for editing and if the piece is worth it I can always import the DigiBeta and reconform for that.

Hey Michael, love the job you're doing to mother earth (resurrecting the leaded car)... btw, there are other reasons to do film at home more than commerce. I made some film from silver extracted from some litters of old fixer I had (I have an old post about it) and yes, it's ugly and it's ASA 5 or 10 and it's uneven but, I made it... and from waste...

Anyway, i actually have a question for you, was it filmotec that was making that 'gk' cartridge? I thought that they'd do only the film that went inside it. Thanks!

I also would get something without sound as it just adds useless weight. About the reading of the cartridge speed, there's always the possibility of measuring light with an external meter, that would actually add to the film pedagogy

Buying a cheap S8 camera doesn't really make sense - each roll of film will cost a minimum of $25. You want the best image possible on that film. That said, it's possible to stumble upon the occasional bargain.

 

When shopping for a camera, you want one that can shoot at the "pro" speed of 24 frames per second (along with the old home movie standard of 18 fps and possibly one or two 'slow motion' speeds such as 36 fps). An intervalometer is a nice feature for shooting time-lapses, too.

 

But - most importantly - many cheaper late-model Super 8 cameras cannot read the speed notch on some modern films correctly. Check this list at the Super8Wiki to find a camera that can correctly meter the new film (it's not complete by any stretch, but it's a good starting point.)

try www.qvcvideo.com and check out their helmet cam.

Not sure the lens that you'll need though, probably an 8mm but not 100%. lenses are cheap though so just buy a few and use the one you need.

i guess it depends a lot on what kind of damage you're keen to inflict in your camera. If you wanna keep the viewfinder functional to the eye, u will need a cam with lens and macro. But, if you are willing to remove the lenses from the original viewfinder, you can try to have the image projected straight to the ccd, then u could use something like a board camera:

http://cgi.ebay.co.uk/Sony-1-4-CCD-COLOR-C...1QQcmdZViewItem

It is very cool - thanks for letting us know they're now available. I suspect we'll see some clever hacks as DIYers get their hands on these (crazy hand-cranked film loop exhibits, or integrated into wacky steampunk projection machines). That said, anyone who uses this to project their old family films will probably inflict a lot of damage on them. I can't see it having a particularly gentle film transport.

I'm not 100% sure about the film transport, but it seems that it is not supposed to hurt the film (at handcranck speeds at least) and the LED illumination is not supposed to burn the film... But as I said, I am not sure...

I saw this in the smallformat and went to check on the webpage. Super cool gadget:

http://film.club.ne.jp/english/englishgakken.html

i've developed orwo with d19 and d76 developer with awesome results, I also sent the film to a lab that only did double-x continuously and the orwo behaved like the kodak during the development.

Another thing that's good to know about orwo films:

They can also be developed as reversal.

The two common tests for fixer at home are

 

1) dip a sample of unprocessed film in fresh fixer, record the time it takes to become clear. After you use the fixer, repeat the test witha sample of the same film. When the time to clear has doubled, the fixer is full of silver and should be repleced or regenerated.

 

2) Look for a chemical called "Edwal Hypo Check" follow the directions but a drop of the stuff in used fixer will turn cloudy if the fixer is over used.

 

Labs will have more complecated checks, but they also use replenishment and so are chasing a moving target

That machine is awesome!

 

Last I heard, acetate film base was made from a cellulose source like tree/wood-pulp or cotton linters, no petro-chemicals (or dinosaur goop) involved.

i think the base is normal acetate. I am waiting for filmotec (orwo) to reply to see if the sell clear acetate leader precoated with transparent gelatine as photo emulsion does not stick properly to normal uncoated film leader.

Thanks, Paul. I am a little bit surprised. I always posted the content of smallformat magazine, and sometimes some articles with it, on cinematography.com and there was no discussion about that in the last year. Chris of Super 8 Today did the same thing. This year was different, some threads have been deleted here.

 

We also do these postings on filmshooting.com and some other European forums where the members are happy to read it. To speak about a commercial product is a little bit too much of honour. The German publishing house of smallformat (I am only a freelancer of this company) is far away from making money with a magazine for such a small community...

I agree with Paul, there's already so little material available out there and the smallformat is a great source of knowledge. It's amazing though how people waste time in complaining to such trivial things...

With the currently minute super8 market, a magazine that praises the format is not fully commercial, but there's a lot of idealism behind it.

Dear all, I found this in the apug.org forum.

This is a machine build by a dude in australia to coat photo film. I have been experimenting with home-made film and my coating process is rather primitive but this guy took it to another level:

http://www.flickr.com/photos/dark_orange/s...57603226919391/

Hi All,

sorry for my ignorance but I need a video camera to do a film scanning device and I am a bit confused with the terminology. What is the advantage of a camera with more TV lines? And would the TVL be equal to the pixel resolution of the ccd, let's say, PAL, 720x5andsomething, wouldn't the no. of vertical lines be equal to=5andsomething? But I've seen cams that have 470TVL and full frame pal resolution. What does it mean?

Also, just to not bother u twice, can someone indicate for me a nice PAL video capture comp card (for uncompressed video or DV25 compression - NO MPEG).

Thanks heaps!

Hi all,

I am a bit confused with all the video terminology. I am looking to buy a camera head for my home-made telecine based on a kem editing table. I was looking into ccd cameras and I am a bit confused with TV lines vs. pixels.

What does it mean if you have a camera with 540 TV lines but 720x576 resolution? Also, if one compare to a DV camera (PAL), what would be the no. of TV lines of a PAL dv cam?

Many thanks

I'd have to agree about Double-X (why no triple-X stock I wonder? :rolleyes: )

 

I just finished a shoot with 7231 Plus-X negative and was disappointed. Low contrast but also low grain. I'm sure Kodak spent many dollars researching how to minimize grain in their stocks, but this Plus-X negative didn't have the character I was used to from Double-X; Plus-X negative was almost too smooth for my tastes. I probably need to filter more for more contrast.

 

I've also found Fomapan to be a really interesting retro look although it's hard to find someone to process it properly these days.

fomapan is No.1!

then ORWO NP4 and Plus X are drawn in 2nd place.

Great information gentleman.

 

I've got a 35mm KEM Junior telecine and didn't know KEM was still in business.

 

My KEM has a Denecke film footage/frame#/elapsed time counter on it that counts frame pulses. If no-one can supply hard information, I can probably reverse engineer the connection the Denecke uses. It doesn't use the Cinch plug terminals, there's an internal modification somewhere inside.

Thanks Heaps guys!

a c41 kit from novadarkroom costs 11 pounds... washing the remjet from a meter or so of film is a deadeasy job... and, btw, not all cameras have 180o shutters (then there are variable angle shutters)... But I use 1/60 in a slr as there's no 1/48 setting. It's less than 1 stop difference (3/5th of a stop).

Hey Karl,

I've been using a new lab here in London called 'ilab' they charge about £50 per still roll for an ECN-2 process. Why they charge more than the C-41 process must be down to costs on logistics of processing. Chemicals, machinery etc....I mean, the 'snappy snaps' on the high st has an automated machine that needs an operative to have about 10 mins induction to work it, whereas a pro lab, as you might know, is a 'little' more complicated.

I don't really get too involved in the intricate technical depths of it but I'm sure someone else here that is more technically minded in this dept can help.

 

As for the grammar question, a still slide is a single frame that is put into what we call a slide case where as a movie print is a roll of several frames. Unless I'm not getting your question I don't particularly think that our grammatical differences have any play in this instance.

 

Cheers

S

Hi All,

I think it will be hard to get any replies on this but... If someone has a manual or schematics of a kem 16mm editing table (flatbed) i'd like to find out the terminal that sends the frame pulses to the frame counter. I want to connect the table to a computer to sync the pic to digital sound. Gracias

Hi All,

I think it will be hard to get any replies on this but... If someone has a manual or schematics of a kem 16mm editing table (flatbed) i'd like to find out the terminal that sends the frame pulses to the frame counter. I want to connect the table to a computer to sync the pic to digital sound. Gracias

You should just have mixed the R9 bleach yourself, it's such an easy formula - Potassium Dichromate + Sulfuric Acid (car battery acid). They used to sell car battery acid in Sears, although post 9-11 I think it's hard. You don't even need a scale, there are tablespoon/teaspoon equivalents.

 

Basically B&W reversal is 1) a high con first developer like Dektol (I used to use Rodinal for the super sharp grain), 2) the R-9 bleach (will process Plus X at 50 asa), 3) A clearing bath, which is Sodium Sulfite, 4) second developer can also be Dektol, 5) any off the shelf fixer.

 

- G.

I don't believe there's a lack of reversal chem. I use kodak D19 for both developers and ilford hipan for fixer. K dichromate (for the bleach) can be EASILY purchased from artcraft (if you're in the US) as well the sodium sulfite (clearing bath)

Alternatively, you can buy kits from foma (wittner kino for example sells it) or from Olexandr.

Color reversal u can find in BH or Karl Film or do a search for tetenal e6.

i'd say that to make 2l of ea working solution you will spend 20 usd or so and you'd be able to develop around 200m of film (if you do it in a roll) by systematically replenishing the solutions (AND i suggest filtering the bleach after each development)

btw, my table is not in the basement... I dedicated a room in my house specially for it... Sometimes I even think that the only reason why I bought a house was to fit the table ;)

You won't regret to do it using a viewer and a splicer...

This is a nice book:

CUT ? ALL ABOUT SPLICERS

u can get it for free if you subscribe smallformat:

http://smallformat.schiele-schoen.de

I remember seeing a video on how to use a cement splicer that helped me heaps. cAN'T FIND RIGHT NOW BUT YOU'LL FIND A LOT OF INFO HERE:

http://www.folkstreams.net/vafp/

I got so hooked onto cutting by hand that I ended up buyng a KEM (like a stenbeck) table:

http://bp1.blogger.com/_YV-nMLm2V4E/R3eRU5...0-h/Kem16mm.jpg

Go for it man! No fear!

Hello,

 

I was just wondering, if these kind of lenses can be converted to arri PL? It comes unmounted, how much would a re-mount cost?

 

http://rafcamera.com/12120mm-zoom-lens-16o...0067-p-606.html

 

comments appreciated.

 

Thanks,

Steven

i love this lens... and if i can hack the post... If Olexandr will do the job you'll not be disappointed.

G'day Michael,

Richard Tuohy in Australia here. I have something you might want, but I can't give it away I am afraid.

I bought an ebay scoopic about 6 months ago. It cost me Aus$200. I can't get the motor to run. It just the plain old early model. I could take the front part of the lens off (the part that rotates when you focus) and send it to you for Aus$100. You would then have to put that element on your camera and re-collimit the lens. Maybe that is easily done ... Send me an email if that is of interest, otherwise, good luck with it.

Richard

richard@nanolab.com.au

Hej mate,

unrelated to the scoopic but I've looked at your blog. Audacious project... Just one aspect, telecine... If you want to do the transfer in a half decent way, you'll need a very strong light source to compensate for the orange backing of the negative. Just keep that in mind. I am converting my stenback table to a neg stenback table. I can let you know about my results once I have any.

Hello everyone.

I'm trying to find someone who can develop Tri-x resersal here in Switzerland, where I live. I'm asking around but they are telling me that is difficult to develop Resersal film, they say that a negative will have better results. I do know that but I've got this 12 spools of Reversal that I would really like to use.

Now, someone knows where I can get them developed in Switzerland or somewhere in Europe?

 

Thanks a lot

 

Giuseppe

ANDEC

http://www.smalfilm.no/en/priser.html

also tri-x can be developed as negative and it's bullshit that negatives give a 'better' result. they are basically the same kind of film.