Marty Hamrick

You shooting outdoors or indoors?Find where your source is and use a bounce card or reflector. Marty

I read with great interest the letter from Franklin Film Labs and the trouble they had keeping up with the new EPA regs concerning film processing chemistry and the new film stocks. What disturbs me is how this fellow discribes the new bleaches being quite a bit more caustic than the bleaches used in the past.I'm wondering how in the world can this be environmentally friendly?Certainly if it can eat away at stainless steel,polypropelene and human skin,what havoc can it wreak on the environment when the stuff is dumped? Government regulations (don't worry I'm not trying to steer this into a political discussion)have been the bane of small business for years.It looks as if Franklin Film Labs is another casualty. Marty

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...3824060208&rd=1 Check here on ebay.This is a Morse developing tank.

I see those tanks from time to time on ebay.Just keep checking. Marty

Optical sound on film quality is quite poor and magneticly striped film is no longer made.Also,ever tried to go portable with an Auricon?Nothing portable about them,they're boat anchors. Marty

Just saw this about an hour ago.Yep,I'm a little late.Wonderful images,David.I know we talked about this and it had to be in the archives,but I'm not sure which topic to look.I wanted to wait until I saw it before I read much more.What topic was it discussed under?2003 archives,right? Marty

I also started with super 8 back when there was a cost savings and depending on what you're doing,you can still come out cheaper and with a unique look. For music videos and certain insert scenes where the look is needed,nothing else seems to come to what super 8 yields. There was a fellow on one of the super 8 forums who shot a music video for 500 dollars.It was very simplistic,but given the fact there was post synced sound,professional lighting and some tight editing, I doubt the same thing,all things being equal could've been done on 16mm for the same price. Marty

I've looked at this camera on and off for years but never used one.It has auto iris with maual lock (note,"lock" not true manual overide).I'm assuming the camera is ASA cart keyed and would be difficult to overide and use if you wanted to shoot a stock that wasn't cart keyed.Anyone ever use one of these and have suggestions? Marty

That's fine as long as all your shots are static,but if you're following action or working from a dolly or handheld,you need that orientable vf. Marty

You may not have to.I would be checking the status of designs like the Angenieux finder that was found on CP 16 R's.CP's wasn't 100% orientable but Angenieux's was.There are more ways to skin a cat then one. Marty

I ran this movie and from the booth I had a difficult time getting it focused.It never looked sharp to me and it was very dim and lifeless on the big screen.When I saw it on DVD it was acceptible,but I'm still not convinved that this is any way to make a movie. Marty

The old Elmo Trifilmatic was built like that.It could shoot super 8,DS-6 and regular 8mm. I read something about a "super-duper 8"which modifies the gate so the picture extends into the sound area like super 16.That may be were the format's headed. Marty

Now you're going back a ways so what I tell you may not be accurate.It's been at least 10 years since I played with an Auricon.Most of time we used Mitchell magazines anyway.Yet I think that carter pin comes out,the core adaptor lifts out and it leaves you with a square post for the daylight reels. As for core adaptors,keep checking ebay.I see Auricons and magazines there all the time. Marty

OK,so the title is "In My Image",my bad,I stand corrected.What kind of cartdridge problems did you experience?I shot a pretty good bit of S-8 back in the 70's and never experienced any cart problems.Well,actually I had one,but was really a problem with the camera that caused the cart to jam up. I'm wondering if cart problems are happening more recently for some reason and if this will cause more filmmakers to shoot single 8,DS8 or single strand roll super 8 like the Wilcam and the Beaulieu 9008(?) uses. Marty

Doubt it,since modern Kodachrome is very fine grained with saturated colors.This was very grainy,faded colors,very contrasty much like the Kodachrome of the period,which looks nothing like present day Kodachrome. I have some 8mm and 16mm Kodachrome shot back in the 40's and 50's,it's amazing how well it's held up.On the other hand I have 3/4" and Betacam tapes from the 80's and 90's which won't play anymore. Marty

I agree,John.We could wind 16mm origninal neg on a core without a split reel on a tight wind,and when it went on the printers or cleaner there was a guard rail over the plate to prevent it from dishing or coning.Is that not done anymore?It's been since 1980 I worked in a lab. Marty

Is there a system that handles film on a tight wound core?We had some high speed printers as well as an ultrasonic cleaner that handled 16mm all on cores in the lab I used to work. Marty

I believe the title of that film was "In His Image",which I've seen on ebay along with "Lost Tribes"."Image",I believe is a 1930's period film. Marty

I really love the look of that show.A lot of high speed shutter,feel like you're there stuff.Would like to know more about what he uses with respect to film stocks,lenses etc.Anything published recently in AC about it?Been awhile since I subscibed. Marty

I would suggest the latest ASC Manual as well as the Professional Cameraman's Handbook.There's a great book of anecdotes from early cinema in Joe Walker's The Light on Her Face. Marty

I was watching Band of Brothers last night and there was a shot simulating the POV of one of the soldiers that was shooting with a Filmo.It looked like the very old,first Kodachrome,very grainy and contrasty.Anyone know how this was achieved?It almost looked like they used a print stock to shoot on,which was something I saw some film students play around with when I worked at a lab. Marty

From time to time I have seen simialr AC workshops offered in Florida,usually around Orlando,anyone have any information regarding them? Marty

There was an issue of Super 8 Filmaker magazine back in 1978 or '79 that had an anouncement that Aaton was working on a prototype super 8 camera.There was a picture of the head of the Aaton corporation with Lenny Lipton looking at a model of the proposed camera design.My understanding was, it wasn't a real camera,but a shell. Marty

Several cameras had removable lenses including the Beaulieu line.Pin registration,no,but some of the double super 8 cameras were 16mm conversions of cameras like the Bolex rex which has a trailing claw in lieu of pin registration. Back in the 70's Aaton was working on a prototype of super 8 camera with an orientable viewfinder but I believe it was abandoned. My guess is that certain 16mm cameras could be converted to D-S 8 with many of the features you describe. Marty

Thanks but I have a projector and a viewer.I need something to sync sound to pix here.West Palm Beach, a very good friend of mine is an anchor/reporter for one of the stations there,Ted White,you know him?He was a lot of fun to work with,great sense of humor kept me in stitches when I worked with him. Marty