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Alan West

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  1. For anyone in the UK, like it says, really: e-Bay auction for 1 400ft can of 16mm film Thanks, Alan
  2. Alan West

    GL1 vs GL2

    I think that the GL1/GL2 are called the XM1/XM2 in the UK, which are the models that my information is based on. The XM2 is physically slightly bigger than the XM1, and although the CCDs are the same size the XM2 has more pixels on them. I'm not sure about any other differences. Alan
  3. Getting back to the original question... Having just been in the same situation, learning to load and operate a simple (an old Bell and Howell 70DR in my case) 16mm camera is not that difficult, espcially if you have shot still film on an SLR. However, it is quite expensive in the UK - I found it was nearly £100 per 100ft roll for colour negative to buy the film, get it processed (with a large minimum charge) and telecine. This means that if the results are not what you were expecting, finding out whether the problem is you or the equipment (or a combination of both) quickly becomes rather expensive and long winded. Alan
  4. I had some loops, but they weren't very big. I'll try another film with larger loops and see if that cures it. Thanks, Alan
  5. It seems to me that the US unions are fulfilling a function which in my line of business in the UK (Archaeology) is covered by two separate organisations. I belong to a union who look after my relations with my employer - negotiate pay and hours on my behalf, help with disputes (and I think they have a hardship fund as well). Anyone can join for a small amount every month, but you don't have to be a member of mine or any other union to work in the industry. I also belong to the Insitute of Field Archaeology (IFA), to whom I had to demonstrate competance when I joined, and who have different levels of membership depending on competence and experience. Membership of this organisation is usually asked for by employers. If I am found professionally incompetent I can be struck off from the IFA. I know this situation is repeated in the Museum world, where curators usually have to have Associate status in the Museums Association (AMA). I'll leave you to decide if this separation of guarantee of proffesional skills and negotiation of terms and conditions with employers is a better system. Alan
  6. I'm not sure if this post belongs here or in the 16mm forum, but I think my newness and lack of knowledge makes this the right place... I recently bought a Bell & Howell Filmo 70DR - my first cine camera. I ran a film through it, with indifferent results. A short excerpt can be found through the link below: It seems that every other frame slipped as it was being exposed (apart from a very short burst where several frames ran OK). Also in the second part of the clip white patches can be seen across the centre of the frame - they are more obvious here, but they can be seen in other parts of the film as well. Does anyone know what is causing either of these problems (or are they related?). Are they problems with the camera, or with the person behind the camera not having loaded it right (I'm kind of hoping its the later as the problem will be cheaper to fix...)? Any help or thoughts gratefully received. Thanks, Alan.
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