Webster Colcord

I have some 16mm tourist footage that was shot in Paris from a similar venue. A bit less production value than that program shows. I have to get it properly scanned, color corrected and retimed - looks like it was shot at 18fps. But here's a 24fps telecine that I had made of it years ago:

https://vimeo.com/126567894/eaf06ad07f

would you be interested in 500D?

Here's some pictures of the backside of the cameras, opposite the film chamber. The first is heavily modified with an animation motor, the second one has its original (I think) wiring for live action.

Thanks Frank, that's great information!

I have seen some pictures of the Wall set up with the optical sound attachment, and I thought that you had to thread it thru an additional set of rollers so that the distance would be the standard. Good to know that it's different.

This is off-topic, but I had heard about a shorter sound-to-picture displacement on some 16mm mag sound cameras.

Here's a couple close-ups of the movement, out of the camera body. In the first picture the registration pins are retracted and the pulldown claws are in the middle of their arc, in the second picture the pins are engaged and the pulldowns have retracted and moved back up into position to pulldown the next frame of film.

I think that they came out after the Bell & Howell 2709, but pre-Mitchell. Hopefully someone here knows more about the history.

They utilize B&H mags, and the design of the movement is really clever - it seems as though Arri was influenced by the design when they were making the Arri BL. The dual registration pins and pulldowns are all self-contained along with the gate in a little module that easily slides right out of the camera and is driven by one cam on the backside.

I was helping an old animator-pal of mine out this last weekend in Seattle, and in a closet he had two immaculate Wall cameras (35mm). The Wall was the first proper 35mm camera that I purchased many years ago for animation and I have always loved this seldom-seen beast.

I believe that they were made by Western Electric, newsreel cameras, sometimes with an optical sound attachment. There was also a 16mm version.

One of the two that my friend had came with very nice Baltar lenses.

Call ARRI. Maybe they still have a LOCPRO

 

Else: Debrie Jacky https://fr.shopping.rakuten.com/offer/buy/1782213013/projecteur-de-cinema-portatif-cine-cabine-jacky-debrie.html.,DeVry, RCA, Holmes, Philips, Kinoton, Zeiss-TK, Microcine, Wassmann

I love the LOCPRO! I have seen them at a number of the VFX studios where I have worked, and I once owned the medical version. Here's a photo of my son when he was about 8, looking at film of himself when he was about 1. The medical version unfortunately ran at 30fps and was bigger, it could both project (with a little arc lamp) or view on the screen (halogen lamp). One of these days I'm going to buy one of the proper LOCPRO units.

Here's how they did it with a Technicolor camera. This was posted by FX cameraman Jim Aupperle on the "Motion Picture Technology" facebook page. No one is sure what show it was rigged up for, but there's some speculation that it's from the movie “The Band Wagon”, in which Fred Astaire’s number “The Girl Hunt Ballet" has a spinning camera when he gets knocked out: https://youtu.be/SaGbuoMlIvE?t=19

I didn't realize that it was so hard to find 2R film!

Michael, I have some old 2R stock that has been frozen up until recently (and is currently in my fridge). I have 7296, 7297, and 1 100ft roll of 200T. I have been testing the 200T and it seems great.

I would trade for some 1R B&W stock.

I just got gifted a bunch of film, some of which was from the 90's and all of it frozen. We tested some 5247 and it looks great. I would say that if this was really frozen all this time then it's probably ok.

Also, $47 for 400ft. is a bargain when a 100ft. roll of new stock from Kodak is around $50. But yeah, those speeds are inherently grainy.

A short film made in Nepal called "The Woodpeckers of Rotha" won the special jury award for cinematography at the Sundance Film Festival in 2017. One of the filmmakers is a member here.

Amazingly, they shot it with a BMPCC in HD and scaled it up to 2K. It looks great!

here's the trailer: https://youtu.be/Ysrb0oW7_-o

There's a guy on Facebook selling 10 100' rolls Eastman Ektachrome 7239 Daylight double perf (from his freezer). $325 or $35 ea.

https://www.facebook.com/groups/8mmand16mmfilmmakersgroup/

- I would buy it but I have too much film right now, no room in the freezer!

Glenn, hit me up in a private message. I have about 8 rolls, I think.

Glenn, I have some 2-perf Vision 2 200T from 2002 (that's a lotta 2's!) that was frozen until about a year ago and is currently in my fridge. $25 per 100ft. roll plus shipping.

I have been using it, here's a sample shot with my homebrew spring wind Revere 103 modified to Ultra 16 (stabilized in post):

https://vimeo.com/291471088

I hope he got a good price for those lenses. I just traded my Cooke Speed Panchro 25mm and got a good deal, but I miss it already!!

I have an Arri IIB with an academy gate. I am looking for a full aperture (Super 35) gate. I found one on eBay for the IIC but it's a high speed gate. I'm told that it would work and should be interchangeable - though the ground glass assembly might be different.

Have any of you ever swapped out your gate before, is it tricky? I have pulled Mitchell and Wall movements before, but it seems like it would be little more difficult because of tight space and mirror clearance.

And would you recommend the high speed gate for normal shooting?

I got some Vision 3 50D cut down to R8 & re-perfed by Edward recently. It's intended for some shooting with a loaner Ultrapan 8 camera.

After I test the stock, I might sell off a few 100ft spool-downs since I have 1000 ft. and it's probably more than I will ever be able to shoot. Message me if you're interested.

I shot a test with an old Pan Cinor zoom on my BMCC and got some significant chromatic aberration out around the edges of the image:

https://vimeo.com/261773903

I think you're looking for that "Coke bottle" effect.

Looks gorgeous!

Paying homage to his classic - almost the same font:

https://youtu.be/YdJW2UxvSFQ

Thanks guys! I will be sure to post the results here (if they look good!)

As I understand it, because it's a print stock 5234 has no remjet backing. So if I'm shooting it on a daylight spool, like in an Eyemo, will the lack of remjet allow light to pass thru the film layers? Would I have to load in complete darkness?

Pam Smith has listed several Bolex' for sale on this Facebook group: https://www.facebook.com/groups/8mmand16mmfilmmakersgroup/

She lives in France, and her cameras seem to be very reasonably priced.

- Webster

I love cameras but it's such a burden to collect stuff that I try to keep only what can be used. More important for me is to have an ecosystem of compatible lenses.

Digital

BMCC - bought used, just for fun and learning

Canon 60D - for animation only

35mm

Mitchell NCR

Mitchell GC

Wall

Arri IIB

Eyemo

16mm

Bolex Rex 4 - currently being converted to Super 16

Bolex Rex 3

Bolex M

Revere 103 - homebrew Ultra/Super 16, love this camera!

Super 8

Canon 1014XLS

Elmo Super 110

the cool-looking Bolex

a Eumig sound camera

a tiny Chinon camera

Standard 8

mostly Revere and Keystone from the 30's because of the beautiful craftsmanship

I was just gifted 2000ft. of 5234 (from a Freezer) and I'm thinking about shooting with it... wonderful that I was able to find a discussion about it here!