Joseph Winchester

Steve, PM'ed you. Dory, Only the 100' reels are daylight loads. The 400' come on cores.

As Dennis says, this only starts and stops the two in sync with each other. This will, however, not KEEP them in sync. The issue is the camera not running at 24 fps exactly throughout the take, but your audio device will. A crystal sync motor regulates the cameras speed so it is exactly 24fps and will stay in exact sync throughout the recording. Then you can line up your audio recording and it will sync nicely. With your device, they both will start at the same time, but what if at 10sec into the recording the camera suddenly slows slightly to 22fps then back to 24? Your audio has stayed constant, but is now off by several film frames. That's the problem with syncing, not starting and stopping at the same time.

Not entirely true, matthew. The eyepiece has a diopter, which is the ring that is fused on Sandra's camera. Sandra, hopefully the diopter in it's fused state is focused for your eyes well enough to see through the viewfinder. If it looks fuzzy or overly-sharp, then you'll have issues seeing throught the finder well enough to focus properly. Perhaps a shot of WD40 on the ring? Good luck.

Well you're the only one who can determine how much bang per buck you need. A $500 camera is pennies compared to other things in this profession, in my opinion.

Assume the camera wants to use Tungsten-balanced film.... which is the way it was designed. So, the "Sun" filter means it adds an 85B in the lens so you can use tungsten film outside. This converts daylight to tungsten temperature (ie: 5500k - 3200k). The "Bulb" setting means it does not use a filter, as you are indoors (tungsten light) and you have tungsten film. So; 200T in daylight = "Sun" setting (85B) 200T in tungsten light = "Bulb" setting (no filter) Daylight film in Daylight = "Bulb" setting (no filter) Daylight film in tungsten light = Screw-on an 80A filter to 'cool' it down (3200k - 5500k) to daylight temp, and choose the "Bulb" setting (no filter in the lens)

Matthew, It does not have a lap dissolve, which I prefer, as I would never use it. I like to get super8 (and especially 16mm) telecined to uncompressed 10bit and edit in FCP, so I don't use editing and fades in the camera. It does have a shutter fade, however. The camera is moderately quiet. It is not as quiet as my Arri 16BL, but that's to be expected. I would guess a shotgun would pick up the noise if the camera were within 5 or 6 feet of the mic.... but this is purely speculation as I have not recorded audio alongside it yet, so don't quote me on that... I think this camera is worth the price. I'll be getting my tests (BW and Color neg) back next week in 10bit, so we'll see. So far, the funcionality has been great. Very comfortable camera to hold and shoot with.

Super 8 cartridges only come in 50 foot rolls, so 1000' at once is not possible. If you had 20 cartridges of 50' each, that would be 1000', which equals about 56 minutes at 24fps.

You could replicate this by shooting with tungsten film at dusk. The fire light is a lower temp than tungsten lights, so it will appear yellow as seen. The sky will come out a nice rich blue, since the film is balanced for yellow light. This is a common trick when shooting interiors of houses and buildings with windows showing dusk light. Very simple, actually.

Jay, I LOVE this camera! .... NO WAY this is 20+ years old! This camera is immaculate! Worth every penny. I fired off a few rolls as a test this afternoon, so we'll see what comes out. Thanks again!!! -Joseph

These are great cameras. Especially for a student. And $2250 is a great price. This is a wonderful camera to shoot with, and the lens is sharp. The lens blimp really quiets the cam down. I agree an SR may be a better buy if you're wanting a S16 cam, but this will do everything you need, at a 1/3 the price of the cheapest SR. I would go for it. I own a BL as well. Great cameras!

Jay, PM sent.

Karl, If you re-read my post I never said HP5 was" less professional" than Delta. I simply said there was a big difference between the two, namely grain.

"but "amateur" and "professional" is a bunch of marketing hype bullshit aimed at amateurs or students." I can agree with the nomenclature of 'Amateur' and 'professional' in regards to film. However, there is a big difference between the HP5 400 and the Delta Pro 400, especially in 4x5. I've developed both stocks in Ilfotec, D76, T-max and Accufine and would choose the Delta anyday of the week. Now, does it need the 'Professional' markings on the box rather than 'fine grain' or ? I don't know.... There certainly are films designed for professional use, and these can have the designation as such. Kodak's Portra 120 and Fuji's Pro-C 120 are such films.

You are correct, it is not a C41 process. Ilford BW film is a silver gelatin film, like any other BW film. It is processed in any number of general developers (Kodak D76, Ilfosol, etc. etc.) or special developers and processes that you may so choose (ie: pyro developers, reducers, intensifiers, etc.) For your purposes, you'll just need to find a lab that develops BW film. Most large camera store chains will send it out to be developed for you. If you want prints from the negatives, they will generally cost a bit more than color prints. Many labs will hand-process BW, as well as hand-print. This is ideal, as they care for your film more than a machine. There are many places that machine develop and print BW as well. 50 speed is a beautiful film! 400 is great too, if you got the Delta Professional line. I don't care too much for the HP5 films. Delta 3200 speed film is indeed very grainy. Try this page for more info: http://www.ilfordphoto.com/products/produc...fessional+Films

6000' of 35mm = 1 hour, 6 minutes and 40 sec @24fps. 133:1 ratio ???

Like you, I enjoy the idea of creating your own medium. One of my pet projects is learning salt printing in the old Talbot style. I've made quite a few prints from contact printed 4x5 negatives. All of the material is hand coated and the chemicals hand mixed by me. I love seeing the 'hand' of the artist present in these types of projects. I've been experimenting alot with hand processing movie film (after years of hand processing my own 35mm still photo film). There is a different aesthetic for sure. Your idea of creating your own emulsion is fascinating. Would clear leader work as a base for this experiment?

Yes, you can shoot SD on the H1. Look on the left side and you will see the switch for 4:3 or 16:9 SD. By left side I mean the side without the tape door.

"Hi, Point of order - you don't get native 24p on an XLH1; if you're finishing SD it might be good enough though. Phil" FWIW, you do in fact get true '24p' on the XLH1. It is called '24F', however. It's just semantics. FCP and other NLEs capture, edit and output this as '24p'. Same thing.

did you sell this camera yet? I'm in Austin too, btw. VERY interested.

If I may ask, you said in your first post that you did the first developer, then looked at your image, then went to the second dev.... how did you look at your image? The film is still very light sensitive at this point and needs to be fixed before exposure to light. Maybe I'm reading your first post very wrong, and I apologize if I am.... This could be your problem with no image/fogged image, depending on your film/developer. I agree with some of the others: Shoot a fresh roll of B&W, I would suggest Kodak Double-X 7222. 1. Develop in D76 for 12 minutes at 68degrees. (This is what I do and it has worked well) 2. Stop in any stop bath for a minute or so. I use Ilford's Ilfostop. 3. Fix in Kodak rapid fix WITH HARDENER... for 5 minutes or until the film isn't so pink/purple. 4. Wash with running water for a few minutes 5. Wash in Heico Perma Wash solution for the recommeded time, usually 1 minute, to remove the fixer more economically. 6. Wash for another few minutes. 7. Dry. Hope this helps.