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Marty Hamrick

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Everything posted by Marty Hamrick

  1. I'm pretty sure it does have an anti halation backing,but I don't think it's too much of a problem getting it off along with the emulsion if you want to use it as leader.Be sure to save the box and labelled can,if nothing else as a keepsake from another era.
  2. This is the very first time I have ever seen one of these on ebay.http://cgi.ebay.com/RARE-ESTEC-OPTASOUND-SUPER-8-EDITING-BAY-VIEWER-CONSOLE_W0QQitemZ330128290430QQihZ014QQcategoryZ4790QQssPageNameZWDVWQQrdZ1QQcmd ZViewItem Apparently they were built in very small quantities and I've been told they were so poorly made,with no consistency,that no one who bought one was ever happy with it.I actually saw one and had the opportunity to buy it back in the early 80's,but I really had no use for it. Just curious if anyone actually ever edited a project on an ESTEC and what was their experience with it.
  3. Well if you ever run a cross something like this again,I think these are the only people who will properly process it.http://www.rockymountainfilm.com/ektamovie.htm Needless to say,you're better off with fresh stock.
  4. I have seen EF film go through a processor mistakenly labeled as VNF.If it skips the prehardener, that emulsion will come right off the film and gum up the machine so badly,the entire chemistry will have to be dumped.You'll have one pissed off processing tech on your hands,the lab will probably not want to do business with you again.At least that's what I saw at the lab I worked at years ago. Rocky Mountain Films may process it,they specialize in defunct emulsions but they charge serious $$$$$$.
  5. Well,being that it cost the same as a car at the time,it was a toy for the very rich.I doubt very seriously if any of my ancestors had one.I would love to see some home movies shot on one of these things.Life was good then for those who could afford a CK model "A".It was before the Depression,WW I was a memory and the country was experiencing prosperity,albeit a short lived one. What was the subject matter that people filmed then?Wonder how many ventured into low budget independent silent film making.I understand the stock used was safety (not nitrate)so I'm sure there's some model A footage around some places.You could really get a good glimpse of what daily life was like then from someone's home movies.
  6. I'm told this is a dead link,apparently the seller took it down for whatever reason,here is an article and picture of the Model A. http://www.vintagephoto.tv/cinekodak.shtml
  7. Here is a Cine Kodak 16mm on ebay in perfect condition (or so the ad claims anyway).I understand it cost 450 USD back in it's day (ca.1923),along with the Kodascope projector.I guess you could say it was the high def prosumer camcorder and plasma monitor of it's day and being that it cost the same as a Model T Ford automobile at the time. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=250118743441
  8. I'm using the Logic Series Nicads.The chargers don't have a drain feature.What we do generally is drain them by leaving the camera and on camera light on until it drains.
  9. I was just wondering if with all the technological advancements with batteries and chargers if it was still advisable to fully drain a brick battery (we use Anton Bauer Propacks) all the way down before you charge it.It's always been standard procedure wherever I worked in a shop with a fleet of cameras and bricks.I was always told that if you used one for say,only 15 minutes before recharging,the battery would develop a "memory" and only be good for 15 minutes the next time it was used.Is this still the case or are we following an outdated and unnecessary procedure?
  10. Just caught Last King of Scotland over the weekend.Excellent film,I highly recommend it.There are parts that look like 16mm.It was shot with much handheld,doc style technique.Here's a warning if you're squeamish about violence:There were some scenes where I had to look away,and that's rare for me.The torture scenes had me squirming in the seat. There were some shots that were quite grainy and contrasty leading me to think it might have been 16mm.It was also timed a bit toward the warm end,giving the piece a sweltery humid feel to it. Anyone know the story on this film?
  11. I had some influences that got me interested when I was about 4.My parents had a local TV show where they performed music.I was fascinated by the huge cameras,lights and the control room where I watched them switch between cameras and do the simple special effects of the day.I also had an unlce who had an 8mm Bolex and he had travelled all over the world taking movies.I used to look forward to his visits when he would bring his old Argus projector and screen.I remember one such incident when I was about 5,he took some footage of me running toward the camera and jumping over a shrub.I was captivated by the way he showed how I could run forward and in reverse. At age 12 I picked up the book "Creative Filmaking" by Kirk Smallman and got involved in my school's AV club where we operated 8mm,16mm and 35mm filmstrip projectors (anyone ever have a joker in your class who would try to throw you out of sync by making a "beep" sound to make you advance a frame before it was time?) and later made films for sports,science and history classes. Never grew out of it. I'm right handed.
  12. Well my first legit job in the industry was editorial/creative services at a local 16mm lab.I did conforming,editing,title and animation photography as well as optical printing and sound dubbing and mixing.All jobs no longer needed in the video world.In my original post here,I mentioned the film production and post production houses that went belly up between about 1980 and the present. There are still neg cutters and video editors I know,but the demand has dropped considerably.The industrial market I worked in died completely.The jobs done by a production crew and a lab were replaced with a company's employee,a camcorder,a laptop and LCD projector.
  13. We'll see.While I don't expect a renassaince,I already have seen independent movies made that otherwise wouldn't have been done.True, technology doesn't make people better but it can open a few doors.I remember in the 80's and 90's you had a lot of folks attempting cinematic work with video and it didn't measure up because of the "soap opera" or "reality TV look" that you just can't completely escape with interlace video no matter what you do in post or with filters and lighting. The images I've seen from many of these new cameras is what I call "virtual film".Close enough,given the fact that the you've been freed from 6 and 7 figure film stock and lab costs. In the final analysis it all boils down to technique and skill anyway.The consumer renting the video or going to the theater could care less what the movie was made with (many people are suprised to find out that film is still being used at all),he just wants to see a good movie. I'm just sorry so many jobs have been lost as they became obsolete.But that's been happening to every industry.Why should the movies be any different?After all it is show BUSINESS.
  14. I' glad you brought that up,though I'm not sure that the gear(cameras) will be what makes the difference,but rather the know how and technique.They need to see dollies instead of pans,crane shots instead of tilts,decent lighting instead of just having enough lighting. I'm glad that you have clients that appreciate the difference and are willing to pay for it.Usually once the business world knows that they can get away with crap for little or no money,seldom do they turn back,at least not in my neck of the woods anyway.Many of the clients who once hired full crews on a film or higher end video production,found out that their training and AV needs could be filled with an interactive website with video clips.I doubt that my market will ever see the return of 10 to 20 minute industrials with 5 and 6 figure budgets. What I am hopeful about is the growing number of independent features that have been made that otherwise wouldn't have gotten made.Films that are of decent quality and not the "Open Water" level of DV junk.
  15. My first introduction to video was less than impressive.It was a black and white camera about 3 times the size of my super 8 and a reel to reel half inch deck that went to snow when the tape was rewound or fast forwarded.It was 1973,I was in the 8th grade and an AV nerd.I had enjoyed some success with super 8 film projects for science and history classes as well as sports and already knew my way around a theater projection booth.I had also been doing internships with local TV stations and production companies.I had served as a PA on such 16mm epics as "The Reason for Medicaid" and "Kaybolt Wrecking Company". At that time,there was a pretty decent "middle class" film business.16mm industrial films,commercials and corporate presentation films kept local production companies busy.Actors,cameramen,musicians,editors and lab folks all had work and didn't have to make an exodus to Hollywood to earn a living by their craft. The video revolution of the 80's caused the businesses that hired 16mm film people to reinvent their audio visual needs.Cheaper cameras and decks as well as the sudden liberation from film stock costs and lab work seriously devalued the product.Small,fly by night video production facilities sprung up overnight offering cheap production at cut rates.Quality control became nonexistent.The middle class film market died. Today,what once needed a full production and post production staff can be done by one person with a camcorder,a laptop and an LCD projector.Progress,I guess. I'm hopeful though,that what killed middle class filmmaking will someday revive it.Prosumer HDV cameras have finally approached "virtual" film quality,very close to 16mm standards,some say it surpasses it,though I think that's debatable.Still,you factor cost of film stock,processing and telecine and what differences there are between HDV 24P and 16mm become negligible. I'm even more hopeful that the recent advent of RED camera technology and Silicon Imaging's latest that doors will be open to a new generation of independent filmmakers who otherwise would have only dreams.
  16. Hi Steve, Glad to see that 16mm prints aren't completely dead.That was my workflow back in the day and I haven't seen a 16mm to 16mm project since the 80's.I would be curious to know how much of it is actually still being done.Any way to find this out?
  17. So does the Canon 1014.Also the Bolex DS8 conversion as well as the Canon Scoopic DS8.Not sure how much of a pain it is to get DS8 filmstock anymore though.
  18. Anyone see this?It was heavily advertised as a "High definition production".I was just wondering if there was any production info about this TV movie that was out earlier this year.I didn't see anything searching the forums here. Just wondering what it was shot on and the particulars of the production.
  19. I use a Canon XL1 from time to time on freelance projects.The TV station I work for has one and I have a friend who has one I borrow when I need it.I'm not too familiar with prosumer cameras as normally I shoot with a Sony DNW7.Last time I used an XL 1,I wanted to play back what I had just shot on a standard TV with RCA inputs.I couldn't get it on the screen.I looked for a menu function to see if there was something that would enable it to play through the RCA outs,but to no avail. What am I doing wrong?Was I not holding my mouth right?Should I stand on one foot while facing east on a night of a full moon?What's the deal here?
  20. Marty Hamrick


    The Frezzi LW16 is a sound on film camera designed for the newsfilm days when news stories were shot on film.It's a non reflex camera,I think the lens you have is a C mount you could probably put a prime lens on it,but how would you view through it?The 12 to 120 Angenieux has a dogleg veiwfinder. As far as opening the mags,the side facing us in the picture is where they open by unscrewing them off,like a jar lid.The side door opens up with a latch.Threading is identical to an Auricon (same movement) or CP 16.You can look up these cameras in the American Cinematographer Manual and there you will find a threading diagram. Since it was designed as an SOF camera,it takes 1R film, but I see no reason why 2R film couldn't run through it with no problem.
  21. The Beaulieu MR 8 is a really sweet little camera.Looks like a baby R 16.You can find some high end regular 8 cameras out there for really cheap,so if you're looking for a film toy to play with and not have to invest alot of $$ in hardware,the higher end R8's are usually cheaper than their S8 couterparts. Someone mentioned that R8 would be suitable for expanding the image (and therefore the gate) and coming up with yet another subformat..."ultra 8"??
  22. Here are some pics of the camera on a shoot. http://cineform.blogspot.com/2006/04/more-...hdvr-shoot.html
  23. I didn't mind the two visable splices or the camera movement.Delightfully reminiscent of the kung fu genre.The hair in the gate is a shame though.The snap zoom worked well,I might have been tempted to overdo that,continuing to copycat the style.I would like to see a sequel to that,next time try shooting on Fuji Velvia.The oversaturated colors will give it a nice unnatural feel.I might even shoot in a widescreen format,like many of the old kung fu movies were shot in. Very nice!That's one lady I don't think I want to ask out.
  24. I've never seen one with only one side of the magazine on top like that.I'm guessing that it's a 100 foot only model and that the other half of the mag is inside the camera.There's a handle on the side where the other half of the mag should be,soI'm guessing that it's complete.There's no lens there,most folks using Auricons used zoom lenses with a dog leg viewfinder.Pan Cinor and Angeniuex both made such.I'm sure they can be found on ebay fairly cheaply.
  25. Is anyone else interested in another forum put on this site pertaining to Silicon Imaging's efforts in the world of HD cinema?The SI-1920 looks pretty sweet.
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