Jesse Andrewartha

Results are probably pretty decent once you have tested your workflow... I know people that use Dektol in a similar way which seems to give a very 'chalk & charcoal' look to the images, but that could also be operator influence. Otherwise, here's a starter shopping list of chemicals (just add rapid fix).... based on Tetenal guy this should be good for at least 100 rolls of super8 Sodium Sulfite Anhydrous Size: 10-1341 5 lb $19.95 Phenidone* (Class 6.1)(Ground ups only) Choose ups ground at checkout Size: 10-0870 10 g $6.95 Hydroquinone* (Class 6.1)(Ground ups only) / Choose ups ground at checkout Size: 10-0670 100 g 8.95 Sodium Carbonate Anhydrous Size: 10-1189 1 lb $5.95 Potassium Bromide Size: 10-0930 100 g $5.95 Potassium Thiocyanate Size: 10-1090 100 g $39.95 Potassium Dichromate*(Class 6.1) (Bichromate)(§) (GROUND UPS ONLY) DEA FORM REQUIRED / Choose ups ground shipping at checkout Size: 10-1000 30 g $8.95 Sodium Hydroxide* (Class 8)(§) (GROUND UPS ONLY) DEA FORM REQUIRED / Choose ups ground shipping at checkout Size: 10-1270 100g $6.95 Sulfuric Acid 48%*(Class 8) (§)(GROUND UPS ONLY) DEA FORM REQUIRED / Choose ups ground shipping at checkout Size: 10-1445 100 ml $15.95

A few notes on the chemicals: - If the water where you are is soft, don't worry about pentasodiumtriphosphate... I don't include it and have no worries. - All the chemicals on this list are easy to come by... I tallied the cost of doing 10L of ORWO chemistry, basically 5-6 tanks worth*, on Photographers Formulary: it came to about $120. Even then it would probably just be the sulfite you'd need to get more of... *Assumes one shot... you could get through more than that through as long as you filter between each process.

Up front, if you're looking for results that rival a lab, that's not going to be a quick and easy thing, it's going to take practice. It's a bonus that you've had experience processing still film... but I recommend you take the time to research the chemistry, how to use and handle the materials and learn exactly what you're doing and why, for several different, important reasons: 1. It will allow you to understand what happened when things go wrong 2. It will allow you to use the best chemistry for your intended application 3. You will be safer. Don't let the chemistry intimidate you, just learn what you're dealing with and how to handle it safely... with that... For tank processing, I certainly recommend the ORWO process. In tank processing, I get much closer to the Kodak calibrated Tri-X reversal test strip with it than any other process, plus it provides a pleasing, slightly cool tone and a longer 1st development time which for me helps with evenness. http://www.filmotec.de/wp-content/uploads/2010/08/V-I-VV-4185-e.pdf You can buy these chemicals through photographers formulary. Note, you will always go through sodium sulfite quickly, so buy alot of it. Also please note this process uses a dichromate bleach which is extremely hazardous, equivalent to Kodak R-9. Any bleach will be really nasty, but if you use the dichromate bleach, never pour down the drain, neutralize before disposal and never let it contact the skin (hexavalent dichromate damages DNA). As far as fix, use of a standard rapid fix with hardener is fine... so at least you don't need to mix that! Use of a 50ft Lomo tank will provide the best result for consistent, scratch-free results at home. Note it will take a few rolls before you get accustomed to proper agitation so shoot a few tester rolls and process before you do any important, irreplaceable film. As far as re-exposure you can just use room light... as soon as you're done bleaching, open the tank and process in the light... or get a desk lamp and place it next to your processing area, and flash the film on the reel for 30s-1min, moving the reel and getting all angles. You can dry by hanging the film over the bath tub, that's what I do... never had a problem. Finally, I recommend ditching reversal and developing as a negative... it's much better for several reasons: 1. better latitude 2. safer, less toxic chemistry 3. the chemistry lasts longer 4. after you've gotten a print/scan you can keep your negs safe! Cheers, -Jesse-

Off topic, but on the subject of high speed cameras: I've run cameras like the Hycam at frame rates up to 9,000 frames per second... 100ft of film runs through the camera in less than a second and the last 10-15 feet simply shatters. But you set the camera to trigger at specific points in the film, so you allow at least 30-40 feet for speedup and typically the event you're capturing occurs within 10-20 feet, so the last 10-15ft are unnecessary anyway.

I think you need to have your counter calibrated or redo your math. Depending on your calibration, you're suggesting your lens gives off about 500,000 counts per minute. I haven't ever seen anything like that in any lens at any distance. Even in the massive 305mm / f2.5 aero-ektars with thorium elements that are now yellowed from radiation, the max is about 400-600 counts per minute at the lens surface.

This short video gives a great overview of the IB print, or imbibition print.

You'll be filtering the image through the antihalation backing (or in the case of colour neg, through the remjet), so it'll mostly be very underexposed... just remember to wind the film completely onto a reel, then back onto your spools to ensure correct winding. Make sure you lay everything out in an 'easy-to-feel-\' configuration before you go lights off! Keep in mind, though... you're loading daylight spools, so you will see easily whether your film is wound correctly.

You could pick up an Auricon 16mm camera with reflex Angenieux lens. It's a single system sound camera that optically records sound & image to a single strip of film. You can get 100ft, 400ft and 1200ft versions of the camera, they're heavy but they are available on EBay <$500.

If you're winding 16mm onto daylight spools, then it's 43 winds = 100ft. -Jesse-

Think of any imaging like pointillism, with grain (or pixels) being your paintbrush and the format is the canvas. If you have a stock like 500T, that's your paintbrush to make dots. Let's say that one paintbrush makes dots 1/2" across, and you have a canvas 25"x25", then you can only fit approx 2500 dots no matter what you paint. If you increase the size of the canvas, then you can increase the number of dots to make a more detailed, higher resolution image. This is akin to what happens when you move from super8 to 35mm on a given filmstock. If you have a slower film, then that's like a smaller paintbrush: then you can fit more dots on a given canvas. This is why 50D shot on super8 can be so sharp and detailed. If you choose a larger format (like 35mm) then you have a much larger canvas compared to the grain size and you get much higher resolution and why 50D on that format is just spectacular. More things happen with smaller formats. Normal lenses for super8 is 13mm, versus approx 32mm for super35, so usable lenses have a greater depth of field at normal apertures. Shallow dof is more an issue on super8... and yes: dirt, hair & grime and film weave in the gate is amplified on super8.

A metal spool or a plastic design that can be wet-loaded would be great... that way if you have a way to remove remjet then you could do that then load the film onto the spiral wet.

Do you have pics?

Not associated with the "impossible" film, but I saw your question; I just finished a documentary short shot on 35mm and I conducted a number of the interviews using 400ft 35mm loads... my experience was it was just like shooting on film in general, requiring alot of pre-planning and really formulating pointed, specific questions... depending on the person sometimes I'd ask the questions once without the film, and then a second time, shooting film on the second run. This allowed the interviewee to focus their thoughts. I averaged 3-4 rolls in any given interview.

Email sent

0.1g of thiourea per liter of solution is a great fogging agent; you can add more but it will shift the colour toward sepia. Be very careful to avoid any contamination in the first developer.

Thanks for the info! I remember a 2-perf Cameflex on Ebay back in 2014 that went for $820... would've been perf-ect (forgive the pun). I would definitely go the Nikon mount version. Anyway, thanks for the info. I'll be processing the film myself which is part of the motivation; to test different developer formulations with still-film emulsions... I'm interested to see what can be achieved, particularly with high-contrast subjects.

Looking for base and bridge plate together with rods. Thanks! -Jesse-

Thanks for the replies, everyone! Interesting that the cameflex can handle still-photo perfs... I've always wanted one of those... now I have the motivation to pick one up... or a reflex eyemo :) Cheers all! -Jesse-

Hi All! I've always thought you can't use 100ft bulk rolls intended for standard 35mm still photography in 35mm cine cameras, but I've recently seen a couple of vimeo clips claiming to have used such film rolls. I'd love to experiment with several stocks only available as 135 format bulk rolls... ...so I ask: What is the experience of people on this forum? Thank you in advance!

I have also traveled extensively with film in all formats, from a bag of S8 carts to 2400ft of 35mm film (which was probably a bit cheeky)... They are required to offer hand inspection, but the wording of the law is vague and it is at their discretion whether they can require X-Ray screening. The security in the US is very accommodating and I've never had a problem with hand inspection; they just swab it and you're good to go.... Canada on the other hand are very strict, and when you combine that with almost no knowledge of what film is, that can cause issues. I had a Canadian security agent insisting on opening each 400ft can so he could look inside. When I repeatedly refused, saying that if he does that, he'll destroy $1200 worth of film, he honestly did not understand, saying "but I open the canisters of (35mm) film and there's no issue... I need to be able to see the film". So here's the protocol I use: For S8 and 16mm on daylight spools, I print out new stickers and mark them as ASA 6400... no one knows film anymore and I never get questioned, they just hand inspect. For film on cores or 35mm I don't mess around anymore: I purchase the film and get it sent ahead of my flight via FedEx to my destination, once exposed I send it to the lab via FedEx before I leave that destination.

I use Orwo 829 for all my reversal processing in tanks and in our Cramer processor... the dev time is double D-94/D-95 for more consistent results, plus my control strips end up much closer to the Kodak reference. Plus the phenidone/HQ developer combination helps with longevity. As far as the pentasodiumtriphosphate, I skip it... the water here is pretty soft and I don't seem to have any impact from not including it. I just mix up the other ingredients: sulfite, phenidone, hydroquinone, carbonate, bromide, thiocyanate and hydroxide and it works great, plus it can be replenished. I recommend a second look at the 829.

Ready to dive deep water housing for Arriflex SR2! I purchased this housing 2 years ago and had it completely overhauled by Devon Tompkins at Pacific Housing and Repair, who resealed all windows, replaced all o-rings, replaced the original clamps with stainless steel locking clamps, added a new moisture alarm system visible in the eyepiece and replaced installed tongue-and-groove attachments to use modern ball-mount arms and pressure tested it to over 50m. He also repaired and recalibrated the Sekonic underwater meter! I've only used the housing a few times since the complete overhaul, on location in Hawaii and locally in British Columbia and it's performed flawlessly, rated to at least 50 meters. It comes complete with the following items: - Seacam deepwater housing for Arriflex SR2 - Wide angle port for use with Kinoptic Tegea 5.7mm super-16 lens WITH gears - Macro port for use with Angenieux 9.5mm-57mm super-16 lens WITH gears - Kinoptic Tegea 5.7mm super-16 lens, PL mount - Angenieux 9.5mm-57mm super-16 lens, PL mount - Viewing eyepiece for Arriflex SR2 (allows viewing through the SR2 eyepiece) - Sekonic Marine-Meter II - Close-up lens for Angenieux 9.5mm-57mm super-16 lens - Seven optical filters for Angenieux 9.5mm-57mm lens: 85 + ND9 / ND3 / ND6 / CC 30R / CC 30M / 85 / 85B - Seven optical filters for Kinoptic 5.7mm lens: 85 + ND0.3 / 85 + ND0.6 / 85 + ND0.9 / CC30R / CC30M / 85 / 85B - Accessory cables (to use with accessory port on the housing) - Set of spare o-rings and screws/bolts. - Two fitted cases A truly complete kit with everything you need... just add an SR2 and you are ready to go!! I can provide more images on request. PRICE: $2500. I hate to part with this kit, but I am selling so I can move up to an Arriflex 35mm camera and housing and need to raise some funds.

Are you still looking? I have some 1000ft recans of 8547 and 5219 I can sell for a very reasonable price. Thanks! -Jesse-

Hi! Can anyone recommend a rental house or company located in Tampa that could supply a sound sync 35mm camera, like a 535 or BL? Thanks! -Jesse-

Thanks for your help. I plugged in my external speed controller and that worked great, I was able to get the proper 24fps. But it looks like it's time to send the BL to the doctor. Thanks again, -jesse-