Marty Hamrick

I would be interested to know if this foam was used in other cameras as well and if it's something a user can fix himself.

I don't have that one but I do have a Sankyo XL 620 Supertronic manual. I think these two models have similarities, if I'm not mistaken.

OK,it's the repair and service manual?Are you able to email it?PM me and I'll send you an email addy.

This makes me think....

Has anyone seen or shot film that was flashed and then pushed? It seems counter-intuitive, but I'm thinking maybe this would help lower contrast while also increasing speed. Thoughts?

I shot some 7250 that was pushed 2 stops out of nesessity and preflashed as it was intercut with other reversal stocks.It wasn't pretty but it worked.

Anyone have a service manual for a Sankyo 420 XL in a downloadable form?I need to get into the iris window for a minor repair.

Looking to buy a sync sound camera I have 2k to spend.All help would be great.

 

Arri BL?Good choice?Is it reliable and durable?

Been some time since I've priced them, but I haven't seen an Arri BL or Eclair NPR for less than 4G in a long time.By sync sound do you necessarily need something self blimped or do you plan to record your audio with a noisy camera and re record your dialogue in an ADR session?If you can live without self blimped camera,then your price range could get you a Bolex EBM or Beaulieu R16.I've used both for sync sound and they served me well.If you simply need something capable of sync ,quiet running for run and gun stuff,similar to working with ENG,your 2G could get you a CP16A or Frezzolini LW 16.They're non reflex cameras with a dogleg viewfinder that gives a through the lens view.There are reflex versions of these cameras with orientable viewfinders but they're more expensive,never seen one much under 4G.

You might be better off renting your sync sound cameras for the shoot you really need it.Could give you some versatility with what you end up buying as your primary camera.Often these older sync cameras don't have features like single frame,multiple speeds for over or undercranking without additional motors.

Here at Colorlab, we've had maybe 2 requests in the last year for 16mm prints from Super 8.

I would be curious to know who the clients were.I think the last time I did something for a 16mm film distribution was about 1986.

Here at Colorlab, we've had maybe 2 requests in the last year for 16mm prints from Super 8.

I would be curious to know who the clients were.I think the last time I did something for a 16mm film distribution was about 1986.

Here at Colorlab, we've had maybe 2 requests in the last year for 16mm prints from Super 8.

I would be curious to know who the clients were.I think the last time I did something for a 16mm film distribution was about 1986.

As far as I know, this is the only dual 8 sound projector that will also do regular 8mm sound striped film.I've never used one, so I'm assuming it has a second set of sound heads since reg 8mm sound stripe is on the side with the sprocket holes and the separation is 54 frames instead of 18 for super 8.

A few of the Kodak Moviedeck sound projectors were dual 8 but could only handle reg 8mm silent film.

Thanks, hey I was in Charleston last week. Stayed on Folly Beach!

I grew up in Charleston.

Hi,

 

I have little 16mm experience and and seeking an answer to a two part question:

 

Does the 200ft mag. for a Beaulieu R16 only accept 200 ft spool loads or can it take a load on a core??

 

If spool only....am I correct that Kodak does not produce a 200ft. daylight spool for any of it's stocks anymore??

 

Thanks!

It only takes daylight spools.If you look around, you can probably find a few around,just make sure they aren't bent.You can darkroom load your own.

Never used an EL,but I did own an EBM.Is the EL capable of single frame operation?I liked the EBM but I had problems with the 400 foot mag take up motors.The rubber tits (it's what my repair tech called them I swear) that engage the take up spindle melted on me once during a sports shoot.The take up motor had to be completely rebuilt.This, I think is a design flaw as I've met many other Bolex users who have had that problem.

As for regular 16mm, the stocks are the same as for Super-16; the only issue is whether you will feel limited by the 4x3 aspect ratio or feel OK with cropping it to widescreen.

Is there that much of a noticeable difference in shooting S 16 and shooting regular 16 and cropping?I was talking to a shooter friend in NYC who is still debating on whether or not he wants to spend the money on converting his Arri SR 2.He says he shoots slower stocks for the tighter grain and says right now his clients aren't pressuring him to do so.He shoots primarily commercials.

I'm sure alot depends on what your end result is going for.Blow up to 35mm or straight telecine.

I felt it worked.I found the overall feel to be distancing.Combination of video format and hard,contrasty lighting.It worked well for the feeling of gritty underworld, the distancing effect here is good.These are characters you don't want to feel close too.Very unlike the 80's show which went for glamour.Reality look this time around.Where I found it disturbing was in the scenes where the high contrast made it,for lack of a better expression, video "artificial".Particularly with the white boats against the blue water under direct sunlight and one shot of Li Gong with hard light slashes across her face.Very unflattering IMO, but yet keeping with the "reality" tone of the film.I would've been tempted to soften it up a bit here,because in the story he's supposed to be developing a love affair with her.As it was, I didn't really feel for them when it was revealed the love affair couldn't happen.Yet were we supposed to feel that way because we know from the jump it wasn't gonna happen?

The Colombian aerials were stunning though.Lush,jungle landscape,rich greens,deep blues,palm trees and waterfalls.Diffuse sunlight,video friendly.The gritty night scenes were interesting.Storm clouds jumping out in the BG,surreal.

Not a "pretty" film overall.

They haven't made 200 foot carts in a long time.The 7244 was discontinued somethime back in the 80's so what you have is probably bad.

I felt like I was watching a documentary of the movie. It's like your just watching the characters act instead of getting into the story. very strange. does anyone else feel this way or am I alone in this.

I'm glad you mentioned that.We did a thread on that film when it came out.The general consensus was, was that "it worked".I didn't think so.I ran the movie as a projectionist, so I got to see it a few times.I had the same impression as you.It looked "wrong" to me.

great camera when properly serviced but the standard lenses arent quite good at wide open.

 

very under rated camera,

 

beware of worn rechargeable batteries,

usually expencivee replacement.

And potentially explosive.Had a close call with a Beaulieu 2008 battery.The camera is very much like the Beaulieu R 16,which I loved for handheld.The one I used was a tad noisy, I recall having to post dub dialogue,which was a bit painstaking in super 8.

I was looking at a friend's Fuji ZC1000, really versatile,well thought out camera.Rivals the Beaulieus imho.I was wondering if it could be modified to take something like a Supermag.It could take on 400 foot loads if any super 8 stock.A possibility?

Kodak would be wise to educate these sales people that think film is not a significant part of the HD movement.

As well as point out to them that most music "videos" are shot on film.

I had this problem with a Beaulieu R16.I found that heavy blankets or a Turkish towell would work for outdoor shots where there was a good bit of distance between camera and mic.Indoors was a bit trickier,but it could be done.I wouldn't want to try to shoot sync sound with any MOS in a studio though.

So Fuji discontinues two amateur movie films in a unique format that was sold almost exclusively in Japan, and the "funeral dirge for film" is starting? :unsure:

 

Kodak now offers FIVE Super-8 films, and more MAY be on the way. ;)

 

The finer grained Kodak VISION2 films have given new life to the Super-16 format, which has been doing very well of late. Arri seems to think so too.

 

And Kodak's 35mm camera films continue to set new records.

 

As Mark Twain once said: "Rumors of my death have been greatly exaggerated". :D

 

I prefer to build with nails, rather than bury them.

I hear ya,John and like I said, I'm the last person to predict the death of celluloid.All I'm saying is that when a film stock dies, any film stock, a market,albeit a small one goes with it.I'm well aware of the strength of super 16 and 35mm as well as the new super 8 negative stocks.However, do the math here on cost.Stock+processing+telecine= a budget the small guy can't afford without outside funding.Outside funding means somebody wants a return for the investment.This spells more trouble for the small budgeted art for art's sake crowd.When a video format dies,it's no biggie.The same guy that shot Hi8 can now shoot MiniDV or whatever.But the film class at the local high school or junior college(or other similar groups) that wanted to do a film project is rapidly running out of options.They have nowhere else to go but to an electronic format.

Gee, there have been a LOT more video & digital formats to die off, in a much shorter time span...

That's quite true,David.But I think the analogy is comparing apples to oranges.I'm the last person in the world to start the funeral dirge for film, but with every small film format or stock that dies, it seems to push celluloid formats further away from the small independent guys who want to use it for artistic reasons(which is the main motivation to shoot any film format in the first place].It gets more expensive and further out of reach even for the small shops that want to provide niche markets.Pretty soon a point is reached where it will only be available for the studios and when that happens,it's only a matter of time before the people paying the salaries look to cut their bottom line.As long as the genuine film look makes the difference in the bottom line,film will thrive.When it no longer does that.......

I

The thing about rewinding and shooting a second pass that I find yucky is there is the possibility that both passes will nullify each other if one of a myriad of things goes wrong. However I bet it's real satisfying to successfully pull off the challenge of rewinding and doing another pass and having the end result work.

There is.I've done some multi pass work in 16mm animation.It can be fun.I just always thought that the single 8 cartridge design was indeed superior to Kodak's coaxial design for the reasons I mentioned in my earlier post.Too bad it seems to have been poorly marketed.Like I said, someone needs to offer respooling services.

One more note.Whenever a stock or format dies, any stock or format,to me, it's just one more nail in film's coffin.

I have never held or touched a Single8 cartridge... But from the pictures I've seen, they appear MUCH easier to "reload" or "clone" than Super8. If someone wants it, and is willing to pay, someone will supply it.

I've never used single 8 either, though I've always felt the Fuji design to be superior.One, there is a REAL pressure plate, and you can do multiple pass work.There are times when you want to do multi pass work in favor of post produced digi effects.

Someone should and will supply it.Even if it's in a form of respooling film into empty carts.I was surprised to learn that there is a lab that offers super 8 prints from super 8 negative, something that most everyone on this forum anyway believed to be long dead and not worth reviving.I can't imagine anyone who owns a ZC 1000 willing to just let it sit on the shelf,unless of course it's a collector.

Does Kodak offer anything in S8 on Estar base they could sell on single strand rolls?A single 8 fan could roll his own.

I haven't seen any contact prints from super 8 negative, but I have heard that the quality is excellent.A bit pricey though.

I used one on a project many years ago.Not much I can add except that even though it was a heavy camera, the balance was pretty good.It was one of my first experiences of shooting hand held run and gun style in 16mm.The threading scheme is one of the most unique and ingenious I've ever seen.

It's my uderstanding that Arriflex designed and built these cameras for Bolex.I guess they couldn't compete with the SR or the Aatons.

Just looking at an old Bell and Howell 70 DR.Just glancing on at the gate and sprockets, I don't see that conversion to S 16 would be as hateful on one of these as other cameras, such as an Arri S.I also know that a 35mm Bell and Howell Eyemo can be converted to reflex viewing.Is it safe to assume that the 16mm little brother is convertable to reflex?