Roy Cross

Hello Brian, Congratulations (belated) on the book! I found a copy on amazon: https://www.amazon.com/How-Films-Were-Made-Shown/dp/0955827183 $238 USD. I also saw that digital reprints were available on your website for 60 pounds. This looks like such a great book!

I just realised this thread is from 2014! Only 5 years behind on my reply.

Olex is your guy. I had correspondence with him about this. I have the earlier square-front model that is in two pieces, spherical and anamorphic. I had Bernie at Super16 service mine. They are sharp as can be, but heavy breathers on any rack focus. That said, Olex has mentioned to me that he has ways to ensure the two lenses focus in tandem. I would like to send him my lenses but I am concerned about shipping them. I shot test footage with them and they are great, but a pain in the butt to work with. I was alone during the tests and that didn't help. Keep me informed of any developments. Perhaps I'll fly to Ukraine and have them coupled in person!

Hello Gareth, I agree with Aapo. The key to the Russian camera is good service. I bought one about 12 years ago. Wire transfered $1000 to someone in Kiev and then waited. One month almost. My camera arrived intact, as described. But, I spent quite a bit of time researching and servicing it. Mostly it entailed opening things up and cleaning or lubricating them. The magazines, the trasport and pull down, drive gears. Olex is an amazing resurce. He had detailed photos of lubrication points that were very helpful. I shot two short films with that camera and have recently tested out an anamorphic lens. The camera is surprisingly wonderful to use. I recently came into a 2M package and have yet to shoot anything more than lens tests. I see that almost all Konvas packages for sale on ebay are without lenses. I purchased mine before the time when people were looking for glass for their digital cameras. I suspect that camera brokers are finding that the Russian glass is worth more than the camera and easier to sell so they are separating them. I recommend the Konvas if you can have it serviced and it isn't handled by numerous users.

I'd suggest going out of your way to credit them. Often independent and DSLR are associated with no budget, and people working for food, coffee and the experience. If they particularly interested in the camera department as a career moving forward then they most likely would appreciate a camera department credit. Taking David's suggestion is a good one. The next producer or DOP that hires them can ask for specific details about their roles if need be.

UPDATE: Solved. Steenbeck functioning. During the move the front deck was pulled up and the multi-pin connector to the front power controls was pulled out. Plugged it back in, all good. The deck needs a bit of attention but it is minor. I'm also looking for new casters as these ones are flattening out. Thanks so much everyone!

Yes, Mark. No beer for the team. I was shocked when I found out it had been shipped. I'll try to reach the people who were present to see if anything fell out while it was being moved. :-) I was too upset to call them at the time. I made a quick inspection and everything seems intact. I checked fuses and reseated the circuit boards. I noticed that the rubber grommet that the AC cable passes through on the body was missing. It could be that the AC was yanked, and the leads to the fuses were pulled away. I did a visual, but I didn't put my hands in there to see if it was loose, nor did I put meter on it to check the line voltage. (yes, I checked the wall circuit to confirm there was current there :-) ) Best laid plans. I'm confident that it's a simple problem (I can't really afford an expensive one!)

Thank you Frank. I'll settle into that task tomorrow.

Well, that went poorly! The university moving team relocated my Steenbeck without me being there to offer guidance. Everything arrived, Except the flatbed won't power up. Nothing. I was so frustrated and angry that I didn't try to noodle around with anything. I have not idea what happened, what shook loose, or where to start.

Legs do not come off. Caster will. I'll flip it on its side on a furniture dolly and roll it straight into the lift. Just need to make sure there is a clearance for the 3 inch edge that hangs over the side. I have seen two guys move a huge freezer from my basement using those straps. Very impressive. The walked it up stairs and out a door with no hesitation. I'm having it moved by the people who move things at the university I am at. I'll give them advance notice on what needs to be done and then I'll be there to show them the delicate parts. Then I'll let them do their thing. I'll snap a photo during the move if I remember and post it. Thanks so much for all the advice! Roy

Yes, as you and Frank Wylie suggested I will give this a try. It feels extremely heavy, in excess of 200kg, so I was concerned about the stress on the two legs as it is tipped on its side. I'll check to see if the legs unscrew from the frame. I don't have daily access to it so will make another trip to check it out next week. The lift is fairly deep and wide but the doorway is ridiculously narrow. Thanks again so much!

Thanks Mark! Someone has given it to me and I am moving it into my work space.

Thanks Frank! That was my first thought (don't take the front off) when I took a closer look underneath. I had thought of flipping it on its side with enough clearance for the deck but wasn't sure if the side frame would support the weight. I'll measure and investigate dolly options. Thanks for the tip about which side to rest it.

Hello, I need to move an older Steenbeck. It's been about 15 years since I did one like this. I need remove the front deck controls with the first two plates and the rewind plate so the machine will fit into the elevator. Anyone have any tips or photos of one dismantled? I might be able to follow instincts but I'd rather not remove anything that doesn't need removal. I'm not sure of the electrical switches and best way to proceed. I've popped off the screen. Here is a photo. Any links or leads would be most appreciated. Thanks! Roy

This might help. http://www.analogcams.com/Manuals16S.htm

Thanks for resurrecting the site! Very useful and fun! I've been kind of looking for an S of late, although I really don't need another camera! Shot my first undergrad film with an M and then my second with an S back in the mid 80s. Cheers!

My practice has been to run the 100' load from one reel completely to the the other reel in one minute. I forget the number of turns it is, as many of my 100" loads are broken down from larger rolls so some are 95 feet others 120 feet. But one full pass in one minute. I've used d19 and Dektol. 5 minutes with the d19 at 21 degrees. 6 minutes with the dektol. here is some Bolex footage processed last summer in a Morse. I used HC 110. Wanted to avoid the airborne chemicals when mixing. 6 minutes of developing time. The stock was some ancient 7361 print stock. I'm abandoning traditional photo-chemicals and working exclusively with Caffenol-CM. Still working on a method for processing as the Morse tank is too tedious. Hope that helps.

Hi, I've been in email contact with Olex just this month (May, 2016). Here is his address: olex.camera@gmail.com Roy

Hello Simon, I'm curious as well. Please send me some more information. I dusted off my G3 tank this summer and processed about 700' of 7361. I have a 35mm project that I'm looking at as well. Here is a clip of my modest results. Roy

Hi Steve, I'm interested. Do you have any glass that you are selling as well? I'd love to see the footage and a snapshot of the camera as well. Thanks, Roy

http://finearts.concordia.ca/officeofthedean/jobpostings/digital-cinema---film-production.php Roy Cross, MFA Associate Professor, Head, Film Production Programme Mel Hoppenheim School of Cinema Concordia University 1455 boul. de maisonneuve ouest Montréal, Québec, H3G 1M8 514.848.2424 ext 4659 cinema.concordia.ca roy.cross@concordia.ca www.roycross.com

Hi Thomas, I stand enlightened. Thanks for this explanation. I had a look at your company's site, impressive. Are you still stamping out optical sound tracks for film releasing on 35mm? You have quite a range of services and I like your ingenuity around maintaining your equipment. I am envious of the filmmakers in and around Maryland. Here in Montreal we have but 1/2 a lab. They process colour negative only. Down the highway in Toronto there is a custom lab: Niagara Custom Lab. They do just about everything on the emulsion side of production. I am head of a Film Production Program at Concordia University and we recently mothballed our Steenbecks. Until this year students cut on 16 and edited sound on Protools and then back to magnetic film for double system projection. It became nearly impossible to find 16mm workprinting which forced us to evolve to a digital post workflow (the 16mm mag stock was challenging to find as well). Anyway, I am happy to see you running a great business model. I'm somewhat reluctant to ship exposed but unprocessed film across an international boarder but I'd like to take advantage of your business in some way. Thanks for your post and I'm curious to hear about those who are striking release prints with optical tracks. Sincerely, Roy Cross

Great test and great results, Thomas. I've not tried the 5234 before. In days of old, I'd shoot sound stock. Agfa had a product ST8. It was used in striking optical sound tracks. It was 4 or 5 cents a foot and I'd shoot miles of it. Lack of edge coding proved a bit of a problem when considering the negative conform but there were ways around that. But this print stock test is quite wonderful. The 5234 is a low contrast stock that was designed to build contrast from the original neg during contact printing if memory serves me. Stacking on the ND is a bit of a nuisance but in the end I think I prefer the grain and contrast of the 5222. Here is a link to a short film I made a few years back with 5222. I shot it on a heavy overcast day. Konvas 7M. 24 and/or 30 fps. f:11 or 16. No ND. For some shots I popped the lens out of its seat a little and created a poor man's macro, which is why I was able to get so close on some shots. Also, I was turning the camera on and off during shots to create a flicker. There is one interior shot that was probably shot at around f: 2.8 but I can't confirm. I have about 5000 feet of 5222 and I think I will try my hand at some anamorphic cinema before everything vanishes. thanks for sharing your results, Roy

Hello: Just a reminder that the deadline for applications to the Mel Hoppenheim School of Cinema at Concordia University in Montreal, Canada is rapidly approaching. http://cinema.concordia.ca/ Three programs of study - Film Production, Film Animation and Film Studies. Celluloid is used across all three years of the Film Production program - 16mm, Super 16mm and 35mm as well as digital production and HD post. The program is situated within a Faculty of Fine Arts so all aspects of filmmaking are encouraged and explored. Check us out. Great city, great school! Roy Cross Associate Professor Head of Film Production Mel Hoppenheim School of Cinema Concordia University