Richardson Leao

when i got married, i gave a couple of loaded s8 cams to some friends that did not have a clue about filming. It turned out very nice (I also did a small animation for my james bond-like father in law also in s8 and in the begining of the film. This was just filmed from the wall, but if you wanna see: http://jcsmr.anu.edu.au/~rleao/my_wedding.mpg 50 something megs though...

than you loose the reflex option... If you don't want a reflex cam I'd then consider a ikonscope, new s16 camera.

By the way Olexandr, do you know if it's possible to buy sound films from svema? and are they single perf? Many thanks!

sorry about the confusion... that's what I meant (thicker emulsion on reversal films). I think I might try it and post the results. Thanks for all the replies! R

I have to shoot a very short scene and I have also a very short piece of 7222 neg. All the rest of the film was shot with foma. The question is, can I shoot with 7222 and develop it as reversal BW? I know it's possible with orwo and ilford, but not sure about the double-x. I presume that the main difference (appart from iso ratings) is that the base is thinner than tri-x and maybe some difference in halide shape? Thanks for the help! richard

Exactly, sometimes I do print two stripes of film together to see differences in contrast. BW (7231) is even easier as u don't need color paper or a color head (enlarger). Identifying the frame though... that has to be done either w/ the time code and film counter or by visual inspection. If you sent this to commercial labs to do, I presume you will have to cut your film, while, if you have access to a darkroom, you can enlarge your frame without cutting the film (with rewinders). Also, you can blow it up many, many centimeters (16mm is used in projection rooms and virtually, you could use a paper as big as the projection screen).

Hi all, would anyone know where could I buy 16mm shortends/recans in europe? Cheers

Check these guys out (in norway): http://www.smalfilm.no/en fremkalling means developing (i think the pprice list is in english) and the telecine is very cheap

don't forget the kinor yet... the complete kit has several primes and zoom lenses, with glasses comparable to top arri lenses. The cam is ultra stable (reg pin included) and Olexandr Kalynichenko can modify the camera to do multispeed (including 64fps) for a very reasonable price.

Hi All, We recently shot a short using foma 16mm film and I am in love with the stock. Very silver rich, nice blacks, simply wonderful. So I wonder if there is anyone in sweden interested in getting some foma 16mm together so we could manage to get some discount from foma. Tack! richardson

kinor 16cx (in my opinion it's the best u can take for <1k scoopic i think pentaflexes have zoom also

Hi All, there was a post about problems processing foma films and I have developed over 300m of the film over the last week. Verdict: the bleach exhausts faster than with kodak tri-x. So, a more concentrated K dichromate sol may help heaps with the results. i'll post the results in a couple of weeks, but great film. It looks a lot (as suggested by other member) like the film used in the 'cranes are flying' from Kalatazov

Using Labview, a cheap data acquisition card (e.g. a USB 6008 from national instruments: http://sine.ni.com/nips/cds/view/p/lang/en/nid/14604 150USD) it is easy to record sound and the camera shooting speed (frames per second) in a laptop and easily change the sound file to match the post synchronization of sound and picture. Screenshot: http://bp3.blogger.com/_YV-nMLm2V4E/R9UhWQ...kinorcorder.jpg I have a Kinor 16SX that generates a 10V starting pulse and 3V pulse with twice the FPS frequency. The idea is to connect the trigger and pilot tone output to the data acquisition card and allow labview to record the pilot tone and the sound simultaneously. Nowing the original shooting frequency, the user can then resample (stretch/compress) the sound file in time according in relation to the original FPS. The program is not quite finished yet and I hope to do the resampling routine soon. I am posting this just to know if I should bother to make it more user friendly and add instructions etc (if there is interest from someone else). Also, Labview is a commercial program and is quite expensive, but if you are in academia, you get a 80% discount in the price. In future, I may do a C version of it but it will be in linux. The labview very-beta version can be found in: http://www.geocities.com/cineguerrilha_mg/KinorRecorder.zip The same concept can be applied to other 16mm cams as well as 35mm and s8. The only thing you need is to know how the pilot tone is.

I have followed (more or less) a recipe of photography chemistry for a colorblind stock (possibly similar to the stuff they have used in the early 1900), the results are here (I've posted this before): there was some problems with the film coating as you can see, but just some remarks about the old stocks (as I've been learning recently quite a lot about them): I have used thiosulphate sensitisation to get around iso 10-15, in the past, they've used 'active' gelatin, which generally meant unpredictable sensitivity. Also, the color sensitisation was also studied in the early 1900's. People have applied different dyes to silver halide crystals to get greater sensitivity to colors rather than blue and UV and that is documented since the late 1800's, but I guess the success came after the turning of the century.

Orwo UN-54 is very fine and if you develop it as reversal it is even finer: http://www.filmotec.de/English_Site/Produc..._e/un_54_e.html I have used it recently and it's very nice, in my opinion, right amount of contrast, strong blacks, worth considering. It can be purchased from wittner kino in germany or dancan international for several countries: http://www.dancan.com/ or from: Mr. Ekkehart Sachtler Midridge Imaging Supplies 10 Franklin Ave. Midland Park New Jersey USA-07 432 USA phone: +1 - 201 444 9025 fax: +1 - 201 444 8695 mail: vidikon@att.net (i copied it from their web)

Back to DI. Could I get some lab names in US that transfer the HD to 35mm? particularly, does colorlab do it? thanks!

Hi all, just a small doubt about hd telecine. Up to now, I haven't seen any festival taking HD tapes as a final screening format. So, the reason for having a HD transfer is to get a digital intermidiate? Many thanks! Richardson

Hi all, I keep thinking about converting my kinor to s16 but I love the 6mm lens and this factor alone keeps me away from the conversion. Anyway, is it possible to get an adaptor (i dont't want to change the mount) of PL lens to kinor mount? Many thanks!!!

there's a better trailer @ their website www.laantena.ladoblea.com/ 16:9 but if that is not too perfect to u, maybe use black tape in the screen to the the 'right' 'anamorphic' aspect... otherwise, you can get the right aspect in real cinema beauties like Die Hard 4 and Rambo 2...

One idea, if you use math software like matlab... while shooting, record the camera noise, maybe use also a clapboard to announce the beginning of the scene. The camera noise will have a low-frequency component that tells you exactely the fps, as there is some kind of sound event everytime the cam pulls a frame or close the shutter. Now, you have an envelope containing the fps info of the camera vs time. So, then, you can stretch/compress the tempo of your sound file according to the fps vs time of the shutter.

what about single frame? cheers

if the bat is also from the 80's it probably will not work. get some new Ni metal cells, much nicer than Cd. Also, I bought from ebay an 'universal charger' for 20 dollars and work as a beauty.

I've came upon a new argentinian film 'La Antena' (the aerial in eng.). Just for curiosity, it was shot in super 16mm and it is a silent film. It seems a celebration of german impressionism with some Dovzhenko spicing. Haven't seen yet but, for the 16mm'er, it would be good to check it out http://www.imdb.com/title/tt0454065/ and here is the trailer:

go for it... what is 45$ when dealing with memory treasures... Also, it's just 3 years... Let me tell you a story, i've got a 16mm camera from ebay with some kind of black and white film inside. Just out of curiosity I process it and it was a orwo stock probably from the 70's. The image was bad but visible. Off course I cannot guarantee yours but it's likely that you will get stuff out of it.

Hi all, I just bought a 16mm editing table (steenbeck) with 2 mag channels and I am planning to interface the sound tracks with a custom made comp software. I've never used a table so I'm gathering info. Would anyone know a good book to start with? Cheers and Happy New Year!