Chris Millar

Might be able to access some some Plus-X - old, but still truckin fine - home processed and its been through Atlab also How much are you after ?

hmmm, more words might make it worse - look all the terms up in wikipedia etc and you might get it... In the meantime I'll work on a picture for ya. Its basically an analog version of what Will is talking about.

beam splitter, many cameras crystal locked but out of phase with each other - post sorting of frames - non digital if you have the time ;)

Doesn't the 2C have a sort of 1:1 shaft access for inching ? If so you could make an intermittent inching system... Spin 180 as fast as it'll go Stop for shutter shut Spin 180 as fast as it'll go Stop for shutter open All within your 6th of a second Spin 360 as fast as it can STOP for desired exposure ...for maximum shutter angle possible to be stopping and starting at 6fps (12 times actually) it'd have to be a motor of reasonsble torque and good design - the electronics would be a chore depending on how much user interface you want

Aspect ratios have a bearing on production deisgn... Perhaps more of a practical concern than artistic, but not exclusive if you really want to go to town on your project - good luck ;)

Interesting stuff! But not what I am talking about: From the article: The phenomenon I mention is visible light and in normal atmosphere ;)

Ms Pinky... Developed in Max/Jitter ;)

If you go the Quartz composer route (scripty/mathy/nerd) may I suggest you check out Jitter: www.cycling74.com Live the audio program was prototyped in the same suite of programs (based on Max) - no reason you cant make your own VJ software similarly in Jitter

I've seen it when loading 16mm onto daylight spools from a 400' cores the faster I would the more 'stirkes' I'd get - it was old Ilford fp4, never seen it no matter how fast I wind on modern Plus-X... Its not very bright at all, but with the proximity to the film you'll fog two areas, seperated in time by the circumference of the core when the static occurs. Sometimes it'll happen with the tape that holds the paper backing onto 120 (medium format) film even with a good flash this has never noticably fogged my stills as the actual exposed film is too far away by then... If you're interested take some gaffer tape into a dark room (Nashua brand is good for it) and peel it off fast - you can see a similar effect.

If your EBM has been converted retaining the use of reg16 (slotted bayonet mount holes and registration marks) and the GG mask :ph34r: is correctly sized and placed I'd try loosening the mount up a little and moving it around with the lens on - you should be able to see the extent of its 'coverage' through the viewfinder ... I use inverted commas on the word coverage as vignetting isn't the only issue we should concerned with, depending on the design many lenses will lose optical quality (think for instance chromatic abberation) around the edges before they vignette ... some even may vignette first, not the case with the Switar 10mm models. The abberations are more noticable in certain subjects - I imagine a checker board (face on) may not render so well.

um, whoever does it ! (not me :P )

:ph34r: Would be interesting to see side by side comparisons with the same shot wide open with ND or a faster frame rate/smaller shutter angle

Should have asked at the top of this thread but are we talking the standard 10mm or the preset model ? - and what stop was this footage shot at ?

Thats a picture for instructional purposes only (not quite an x-ray but yes you get the picture). You wont ever get your bolex like that as it isn't built that way except maybe with quite a bit of work :lol: I'd start with a mill ... As for parts flying across the bench - none - aside from the light leaks (lol) that's a working camera... The pic shows the user interface and reflex prism/finder stuff quite well, but none of the transport or motor aside from a little of the governer and the sealed spring... No shutter either. What model do you have ? a reflex camera in my experience will be more tricky and sensitive to damage...

It covers just, but the lens centering must be spot on - even a Bolex modified bayonet mount has some play/rotation around the reg/super16 witness marks that the centering must be eyeballed before locking. That being said the lens solution is far from perfect around the extremities, especially when wide open. Dont rely on any footage without a test

I was going to blog the process of super16ing both my SB and EL but discovered it aint much fun stopping to photograph and write notes at every step and so just got on with the real fun of actually doing it ... (and yes they were complete modifications in every sense) It was about two years ago, so most of the steps aren't fresh in memory either, but I'm certain I could do it again to either model in half the time - so could 'help' someone with tips along the way I guess. But yeh, sorry no photos

sorry, the EL file is yet to be scanned and will be big - boring task - but I will do it one day ... If you need to repair anything specific get in touch here and I may be able to help, there are at least two or three others with at least the same or (much) more Bolex internal knowledge also - best way to learn is just to get in there and have a look, perhaps save a few $$$ for the replacement parts you ruin first time round :lol: - just dont open the spring assembly if you value your eyesight

Have a look at the animato website - little bits there ... What in particular are you wanting to get done ? super16, repair ? I have an EL repair manual but it really isn't anything like a wind up except the film transport system and there are a few similarities with the viewfinding assembly also.

wow wow wow In Ghana tonight, first 24Hr mains and hot water for 2 weeks ... Addis Ababa tomorrow. Some interesting stuff to share about cameras in this neck of the woods (Liberia the most interesting, Ghana it seems is like any other western city) but my mac power supply has stopped working and I'm on %26 battery... I be in touch you know to tell ya sum tings my mans :lol:

Well, um, no there would be no reason to crop after you simulated grain like that, unless you wanted grain on grain (?!). I just prefer to avoid a post solution if instead a real process can be used, to a limit however (time, $$$) - but the process I outline isn't going to break the bank, and will just mean a bit of tinkering/thinking at the front end and a the same in post, certainly wont involve a Flame. More fun/more old school/more ... jeez I dunno ;) But sure, if you have access to the gear and the budget then go for it - you'll have more options. In saying that though to take your logic to the extreme - which is not to suggest you are wrong, just discussing things here - why not just shoot HD and then put your grain on in post ? Yet if you're being asked to shoot on 35mm, but then using digital solutions where arguably simpler and real ones can be used instead, isn't that something to think about ?

hmmm, interesting stuff I was guessing maybe the individual photosites would be 'snooted' off (sorry about my ignorance in terms) so they only see the corresponding area of the OPLF that would normally be in focus on the sensor - this is so the image doesn't get even more blurred on the other side (the 'not helpful blur', or is it helpful?) ... and if this is the case wouldn't this cause issues with an actively driven OPLF ? in that the snooting (again, sorry!) would also have to move with the OPLF whilst the sensor stayed still ? (as in get longer and shorter) Maybe there is some neat optical way to achieve this, akin to collimating the light emitted from the OPLF to be perpendicular with the sensor ? Am I also correct in saying that by its nature that an image passed through an OPLF with a sensor such as these cameras do will reduce contrast relatively more in the edges in the process ? (perceived at least) ?

Reason: To make 500T 5219 look more grainy. :huh:

Then you can simply crop the image to a 16mm or so size which you framed for in camera and away you go - no under/over exposure, push etc... Instant dial in 'grainifier' Only issue is to make sure you have the wide angle lenses you'll need to compensate for the reduction in film size.

Yip, I get that - I'm just saying you might want to consider 16mm - it would give you the grain you want and retain the gamma/contrast etc... of shooting/processing the same in 35mm to play with as you desire and not be stuck with the other perhaps unwanted characteristics of underexposure/overdevelopment - basically its the best way to set all things (but grain) equal. If your workflow/final product permits another way would be to simply crop in transfer and/or post, youd have to mask the finder correctly when shooting... but you can keep using your 35mm set up (lenses will have different coverage however).

um, shoot 16mm ?!?