Jack Honeycutt

Robert.... Thanks for the good feedback. Are you saying that if I wanted to shoot it & process it as a reversal stock I use the ASA of 25, outside, with no filter? I'll see what my local film lab says about D76 processing (I use Forde in Seattle Washington). I had not thought about it until I read the post by L.K. Keerthi basu, but it appears that Kodak has an equivalent optical sound stock; perhaps 2378E?? I will look into it. The Agfa ST8-D is only available in 2,000ft (624 M) lengths which is much more than I need to experement with. I wonder if I can do any home processing? I don't know anything about D76 processing. That is new to me. jack

Thanks Sam. I'll keep digging for more info about it. I appreciate the feedback. jack

Folks.... I play around with vintage optical sound cameras & equipment like the Auricon for example. I was reading a AGFA data sheet on a B&W film stock they sell that I *believe* is used to record optical sound. It is sold in 35mm & 16mm. Here is the data sheet: http://www.agfa.com/motionpictures/pdf/st8d_en.pdf This film is not used to record images other than sound is it? In other words, I could not use it to film to say, film my family & friends. Right? Has anyone played around with this film stock? Thanks in advance. jack

Robert.... Yea, I don't want to get too over the top with this old optical sound stuff. But I would like to see just how good I can get it. A modern mic will help I think. I looked at the specs of the Azden SGM1000, the SGM-2X, and the SGM 1X. The difference between the higher end SGM1000 & the lower end SGM 1X is: SGM1000: Freq Resp: 80Hz - 20Khz Dynamic Range: 96db Signal to Noise: 70db Maximum Input Sound: 120db SGM 1X: Freq Resp: 80Hz - 18Khz Dynamic Range: 80db Signal to Noise: 65db Maximum Input Sound: 110 db After this vinatge tube amp passes the audio to the exciter lamp in the camera, and it burns some optical sound on the film, and the film is developed, I don't think I could see ANY difference between the above two microphones. I am thinking of maybe buying two microphones now. The Azden SGM 1X for a parade/market place enviroment. And maybe the Shure SM57 or SM58 for hand held "man in the street" interviews. I think I need to learn the difference between the pattern of "Super Cardiod" & "Cardioid". Back to the Internet for more Microphone FAQ's!! Thank you for your help. jack

The Dolby A unit is a slim 19" rack mount unit and could be taken in the field. I think it might reduce the noise floor. I am not sure about DBX encoding. It may or may not work. I need to build in a test point in my vintage tube amp & do freq run & roll off test. That will let me know if it is linear enough to take DBX (I think Dolby needs to be so to a degree as well). OK. I guess I will just have to experement. If I am filming a marching band & I am on the sidewalk, will a shotgun mic cut out all but what I am pointing the mic at in the marching band? Or will it grab the entire band? I like the idea of cutting off the sound of the crowd behind me. Ah, so much to read & learn.... Thanks again for your help Freya. jack

The old Auricon (Electro Voice) mic I have now (the one that came with the optical sound amp) is rated at 50 ohms. The Azden is rated at "680 Ohms @ 1Khz". I am guessing it would work, but would a higher ohm rating make me turn the volume up or down in my amp? Or will it work at all? My amp has a XLR plug for the mic input. Do I need a patch cable to plug between the mic & the amp to turn 680 ohms into someting closer to 60 ohms? Thanks again for the help all. jack

Is a "Lavalier" microphone a mic that you wear on your self? Like pined to you, or around your neck? jack

Wow! Thanks to all for the many tips! I think I have enought pointers to keep me busy for a few days reading. I remember walking in a open air bazaar in Manaus Brazil once. All the sounds around me were unique. (I live in the USA in Oregon). I wished I had someting to record the sounds. That is how I felt last weekend filming at a UFO/Alien parade. lovely sounds coming from every direction. All I had was this original Auricon Electro Voice microphone. It is fine if I am holding it & a person is talking (as in a interview) & we are very close together. It has that old Newsreel footage from WWII sound to it. But I wanted to stick a mic in the air, & point it at the parade & record the marching band. I know the dynamic range & fidelity of this old tube powered optical sound equipment is not at all modern, but I think a better mic will go a long way in helping it out. Also, I am about ready to remote a professioanl Dolby "A" unit with it. This will help reduce the noise floor. I also have a DBX unit I would like to try. Would a shot gun mic be too directional for recording a crowd & sounds, like the ambient sounds of a parade or a open air market? I found a cheap microphone book on Amazon I just bought. I need to learn some basics I see. Thanks to all for the many tips & help! I will be reading the links above all day today. jack in Portland Oregon

Can someone who knows audio recommend a microphone to me? The last time I read about microphones was in 1968. I know a lot has changed. Unless I can find a good reason not to, I will probably buy this Shure SM57 from Amazon (about $90.00 US): http://www.amazon.com/exec/obidos/tg/detai...ronics&n=507846 It is that or maybe a Shure SM58. I dono... I am looking for a multipurpose one that I can use with voice & music. I don't want to get to excited & buy a thousand dollar state of the art one; I am using this on my tube powered vintage optical sound amp for my Auricon 16mm camera. It has the bandwidth of a telephone. On a good day, the audio will roll off around 8K. In theory, I am suppose to be able to record some low freq audio, say, maybe 100Hz. I have been using the original Auricon (Electro Voice) E-6 mic. It is time to upgrade. Here is a data sheet for the Shure SM57 (instrument mic) http://www.shure.com/pdf/specsheets/spec_wiredmics/sm57.pdf And here is the Shure data sheet on the SM58 (Vocal mic) http://www.shure.com/microphones/models/sm58.asp I would like to film at a parade or a open market & record the ambient sound around me. Any tips, recommendations or help appreciated. I posted this in the professional audio area of this forum, but it appears to be dead! Thanks in advance. jack

It is a B&W reversal film. To me, it looks like B&W stock from the 1930s & 1940s I have seen. It is said that this stock has more silver content in it than current Kodak stocks. Here is a data sheet: http://www.foma.cz/Upload/foma/prilohy/F_pan_R_en.pdf And here is a little more information: http://www.foma.cz/foma/produkt/foto.asp?seznam=cernob_fot jack

To my eye it looks like B&W Kodak stock from the 1940's. It is said that Fomapan has more of a silver content than current Kodak B&W stocks. I don't know if that is true or not. Here is a data sheet: http://www.foma.cz/Upload/foma/prilohy/F_pan_R_en.pdf And here is some more info: http://www.foma.cz/foma/produkt/foto.asp?seznam=cernob_fot jack

That is just not true. You can call Kodak now & order 16mm K-40 or 100D. I like to use Dwaine's to have my K-40 16mm developed. Call Kodak at 1-800-621-FILM (3456) and order all you want. Here is what you can buy now: http://www.kodak.com/US/plugins/acrobat/en...og/quickref.pdf jack

Email from John Schwind says he might carry Fomapan 16mm again if we show some interest. He did not say at what price, but in the past he has been cheaper than anyone else in the USA and did not rip us off for postage either. I want him to carry some 1R. Drop John some email if you think you might be interested. If we make it worth his while, he will stock it again. And no, I get no kick back or anything. He just had the best price. His email address is: jaschwind@operamail.com & John's web site is: http://members.aol.com/Super8mm/JohnSchwind.html jack

Email from John Schwind says he might carry Fomapan 16mm again if we show some interest. He did not say at what price, but in the past he has been cheaper than anyone else (in the USA), and did not rip us off for postage either. I want him to carry some 1R. Drop John some email if you think you might be interested. If we make it worth his while, he will stock it again. His email address is: jaschwind@operamail.com & John's web site is: http://members.aol.com/Super8mm/JohnSchwind.html jack

Unlike most of the folks here who are cinematographers, or budding cinematographers, I use K-40 in a different way. I like to film my friends & family, mail the film in to get developed, then project it on the big screen. I just *love* the BIG SCREEN. Mine is 85 inches by 85 inches. And K-40, properly exposed, looks great! My neighbors & friends have spent *TONS* of money on large Plasma & LCD screens for video. Any yea, it looks nice. But even my picky neighbors agree they can't touch the quality of projecting a tiny frame of Super 8 K-40 twenty five feet across the room. The other thing I like to do with film is recover & restore old 8mm & Super 8 film for my family & move it to DVD for them. I know many will disagree with me, but IMHO I see no modern color film stocks that look as lovely as old K-II shot in the 1950s, 1960s, and 1970s. (I *guess* it was K-II in 1950 - I could be wrong). Before Kodak killed it, I shot Ektachrome 7240 in Super 8. I did not like the color. And I have looked at older Ekt film. To my eye, the only reversal film I can shoot & then drop in my projector that has the colors I like is K-40. Yea, I *know* I can shoot a negative film, send it to a processing lab, pay a lot of money & have them mail me back something I can drop in my projector. But it is *way* too much money for me, and the colors don't look as nice as K-40 anyway. I suspect that many of you Super 8 folks don't project your films like I do because many of you shoot negative films. But for a guy like me, I am *really* going to miss K-40. It is the last remaining film stock that looks almost as good as the old Kodak color film stocks from the past (IMHO). Sniff! jack

I can't believe that Kodak is dumping K-40 in Super8. I would think that Kodak sells more K-40 stock in Super8 than any other film type (JMHO). K-40 is the rock that keeps Super8 alive. I am very sorry to see it go. Good thing I am moving to 16 mm. Sniff! Sad day..... jack

Hello folks.... I am looking for some 200 ft & 400ft daylight spools. I can't seem to find any. If you have a few to sell, or know where I can buy some, please let me know. Thanks in advance. jack

What camera & film do you use for optical sound? jack

Here is a fix: http://www.hermes.net.au/bayling/repair.html jack

That is a great camera. Have you shot any optical sound with it? I was wondering how optical sound might turn out with PlusX. I was playing with the idea of sending the projectors audio into a equalizer, then into a expander for a little extra dynamic range. I think it might sound quite nice considering the limitations of optical sound. jack in Portland Oregon, USA

Just what I needed John! Thanks so much. jack

Karl.... Thanks for the tips. While I don't have a background in film, I do however have a backround in sound. I have run a sound board in the studio & in the field, and have worked with many tape formats. But I don't understand the film processing lab's use of full coat, how it works, what equipment is (was) used) etc. That is a great idea of your to contact Bill. I'll have to pick his brain & see what he can tell me. Thanks! jack PS: I may have a big Auricon amp with noise reduction for sale soon (one that will work with your 1200). Are you interested? PM me if so.

Thanks to all for the many tips. I will start looking or a library in my area that might have past issues. jack

What you are talking about is the freq. responce of a optical sound track. Unless you are filming using a old Auricon camera, AND using it's optical sound track amp, you will not get this. Most modern audio is two part audio. You film with the camera, and record audio on another divise. jack

Folks.... I am trying to learn about fullcoat. Mostly as it applies to 16mm. Mostly I am interested in it's application in the 1950s- 1980s. But any good technical article or book will do. I have not been to film school, so if a "Classic" work is what I need to read, please point me in the right direction. Thanks in advance. Sincerely, Jack Portland Oregon