Roy Cross

Hi Doug, Lot has happened here on this thread since I last checked in! I guess there is always a possibility that in 10 years I may want to use the film. But I have carried some of this negative since the late 1980s, and dragged it across 4000 kilometres as I moved east. Always with the thought, "well, I might want to do something with this some day..." That some day has never come. I have ample resources to transfer footage, yet I have never gone back. Except once. I shot and edited a short film around the time I left my ex-partner in 2009. The editing was a mess and rushed and, well, it's not that great. So, in 2016, I pulled out the negative and had it scanned at 2K planning to re-edit the film. Well, it's still waiting on a hard drive somewhere for that "redux" to begin. I know that I have footage, particularly of Montreal, that does not exist anymore. But nothing overly unique, I don't think. I also don't feel responsible to the future or anyone in it with regard to my work. I found all the elements (A&B rolls, optical track, final magnetic mix) from my early 16 mm films, so should I ever want to pull new prints that is possible. I also have all the 35 mm elements from my two other films. As it stands, I don't even have HD scans of the analog films. Now that I say that, I think I will get scans of the 16 mm films, and the 35 mm feature and have that for occasional viewing. If I were to ever go back, I would re-mix the soundtrack on two of the 16 mm films. If I really wanted to, I could keep these boxes in my bedroom, stacked against a wall. But I don't want to look at them. Be reminded that they are waiting around for me to "do something" with them. That feels like a burden. Furthermore, that footage is a reflection of who I was then (as are the completed films). I'm not sure if I need to go back and revisit thirty-year old me and the images I made. It's not an entirely joyful process, there is some sadness and maybe even a bit of mourning throughout the process. And I like the idea that my sons don't have to dig through all that and wonder what to keep after I am dead. I'll keep a few rolls of home movie stuff for them to marvel at. But I was thinking that maybe now I have the green light to go and make some more images! Thank you to everyone who weighed in!!!

Hi Charles, Thank you for the offer. All the fiction stuff (a lot) has actors on camera, I don't feel it keeps in the spirit with which they were made to give it away for some other use. There is a fair amount of home movie stuff that I shot with my sons. That stuff I need to decide if it is worth digitizing. The rest of the footage is diary type stuff, stuff shot while travelling, or landscape images. As it stands, I am throwing it out. I'll figure out what to do with the footage of my sons and their mom. They grew up in a videotape/digital world, so there is ample coverage of birthdays and first days of school, etc in a video format. It has been an interesting experiment/experience. A bit of sadness and grief, but also relief and even a little joy.

Yes. Pretty much! I just need a bit of help getting beyond the attachment so I can do just that. Thank you, Simon.

I'm in the midst of downsizing. Cleaning out the vaults of equipment and negative. I have numerous 35mm Russian cameras, a handful of Bolexes, and about 100,000 feet of 16 mm and 35 mm negative and 25 hours of work print from things I've made over the years. A lot of it is diary footage, but also a tonne of production from on-set shoots. A lot of the work print is on small cores, 200-300 foot rolls, poorly labelled. I have a flatbed and could catalogue it and archive it and revise it onto 1500/2000 foot cores. Which would make storing it easier and maybe even finding something if I so wished. But the thing is, do I need this? My work is marginal at best. I doubt I will be looked upon with any historical significance. I also doubt I will ever dig into this stuff. (Although, I do feel as though, I could make a dozen short "found footage" films from the pickings.) But I'm not eve sure I have the stamina for that. Feels like a retrospective way of working. I'd rather work with new images, made by the person I am now, rather than who I was. But still, it is really difficult to let go of this stuff. Does anyone have any insight or zen tips to help me work through this?

Super. Thanks!

Hello Aaron, Can I ask who did your conversion and at what price? Thanks! Roy

Hi Rick, I sent you an email.

Hi, As it says, looking to purchase 35mm Arri III, four perf, PL mount. With CE base, a couple of magazines, no video assist needed. Already in contact with Visual Products, looking for other resellers. Thanks! Roy in Montreal

Thanks, Dom!

Thank you, Dom. Thank you, Joel. I'm heading into my work space later this afternoon and will take a closer look. My hunch is they are f-stops. As they are Soviet made, I am not sure if I can easily find the t-stop online. I'll check. Am I correct in recalling that t-stops are generally marked in red, while f-stops are marked in white? And if so, did the Soviet artisans making these lenses follow that convention? Thank you, again! Roy

Hi, I have the famous NAS 35 Lomo anamorphic two-piece set. I have the 50 and 75 spherical with a square anamorphic block. The f-stops are indicated on the spherical lens. I want to shoot with the spherical lenses without the square front, but I am wondering if the f-stop markings take into account the loss of light due to all the glass on the square block. Thus, shooting without the square front would make the f-stop markings inaccurate. Does that make sense? Does anyone have any insight. I can shoot a test. most likely the best idea. Just wondering if anyone has any thoughts or experience. I had the lenses serviced by Bernie at Super16 and would like to use them. Thanks! Roy

The lab I contacted about ORWO TF12d noted that Orwo is notoriously slow to deliver or respond. It could take months, they said, to get an order. The lab known to have used ST9 in the past no longer uses it. I am now seeking an ST9 supplier. If anyone has a suggestion, I am all ears! Many thanks! Roy

Direct sunlight, 2374

Full shade, 2374

Super! I was planning to use a caffenol recipe. Thank you so much for your input and suggestions! Really helps.

Ah, good to know! Clever! What ASA did you rate that ST9 at for shooting? Scanning and timing is a real art form. Given the ridiculous possibilities of digital imaging tools, there must be a setting that can help reduce that highlight pumping. I have tried many things in the processing and exposure to help avoid it without much luck. Thank you for your suggestions! Roy

Thanks! I emailed them this afternoon!

Super, Aapo! I think I have seen that ST9 link. There is a watermark in the bottom right corner. I suspect that is Agfas method of discouraging people from shooting. I think I recognize the Morse tank process on that footage, the pumping in the highlights. I'll try Frank's suggestion as well for the ORWO TF12d. The great thing about the 2374 was I could rate it at 80 ASA and shoot easily outside with it. The ST9 is most likely rated at 6 or 8 ASA. Any guess on what the ASA might fall at with ORWO TF12d ?

Thank you, Charles. I considered Orwo, but I can't get anyone to return my calls or emails at the North American coordinates. I spoke to Niagara and they confirmed that communication with Orwo is spotty. Thank you for the lesson in edge printing. I thought it was just a spiteful action on Kodak's part to dissuade people from using it as camera stock. ?

Hi, I shot some Eastman 2374. I thought my stock was old enough that there wouldn't be edge numbers down the middle of the frame, but I was wrong. I also have some 2378. Does anyone know if Kodak did the same with the 2378? I guess I can pull a strip and process it but though I would ask. Thirty years ago a shot a few thousand feet of Agfa ST8 in 16. Loved it. Anyone know if that can be found in 35mm anywhere? I am working on a project and would like to shoot some fine grain, high con stocks. Any suggestions are appreciated! Roy in Montreal

This is some amazing research you have undertaken! I am curious to read about user results. Great work! Thank you!

Thank you, Malcolm! That is the one. Turns out it is I who is in the 50-70 year old range! And not the book. Ha! And thanks, David, for the Fielding recommendation! That particular one has some great information on rear screen projection which will be helpful for a student in one of my classes!

Thanks, Mark. As you guessed, that is not the one I was thinking of, but of interest nonetheless.

Hello all, I recall a book, perhaps 50-70 years old, that had a title like: "Special Effects for Movies using Paperclips and String" Or some variation on that. I cannot find anything remotely close to that title. It was a DIY guide on in-camera techniques and easy to create FX. Anyone have any ideas? Thanks in advance!!! Roy