Steven Budden

Please follow link for information. No reserve and starts at 99 cents. This tank can be used to process 100 feet of 16, 8, or 35mm. http://cgi.ebay.com/Morse-Arkay-Doran-G3-f...1QQcmdZViewItem

Currently no reserve. Please follow this link... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...AMESE%3AIT&rd=1 It goes through my Kern Vario Switar zoom but you can follow the links to the Bolex SB. Thanks! Steven Here is the link directly to the Bolex SB... http://cgi.ebay.com/Bolex-H16-SB-16mm-Movi...1QQcmdZViewItem

Up for auction here, with no reserve... Also, see my Bolex SB tested and regularly used! http://cgi.compuserve.ebay.com/ws/eBayISAP...=ADME:B:SS:US:1

I just got a bolex matte box and I'm wondering if anyone has a link to a site with instructions or a book that has them? I was thinking simple split screen stuff but now I'd like to explore my options. Also thinking of using it for titles if I can. Thanks! Steven

I was wondering about blowing up from regular 16mm to 35mm while keeping the original aspect ratio. I assume this is possible... just having the image matted with black around? It will just be a smaller image, but there will be no cropping correct? This is more of a question for the future. I make 16mm experimental films and am exploring my options about blowing up to 35mm. I would shoot super 16mm but then I'd lose the 16mm projection capability which I also use. I like the 16mm ratio and would give up a little in size if I could avoid cropping. Anything I'm overlooking or any advice appreciated. Thanks! Steven

In a regular fridge though isn't the RH a potential problem? I do store my color negative in the fridge but I also shoot a lot of black and white reversal and negative. Do I need to refridgerate that? I thought I read on the Kodak site that it required 70 degrees, which is what it generally is in my apartment. Steven

Please let me know if you have a used TCS bolex motor you're willing to sell. Thanks! Steven odyssic@aol.com

Oh page 2 Herb talks about a few of his hand cranked experiments. Steven

See my topic from months ago. We went into that a bit... http://www.cinematography.com/forum2004/in...wtopic=7306&hl= Steven See my topic from months ago. We went into that a bit... http://www.cinematography.com/forum2004/in...wtopic=7306&hl= Steven

Wow that sounds like it would take forever and endanger the emulsion. How much would the savings be? Black and white or color? Steven

How are you going to edit? Because there are a lot of other things involved besides the camera. If the camera works it will get you started, but you'll need other 8mm gear if you're going that way (splicers and viewers) and 16mm gear if you're going that way. Unless you're scanning it all to go to video, then 8mm is quite a lot cheaper and the quality is fine for the television screen sizes. But it is fun to play with the film itself, especially when you're just starting out. Steven

Probably worth $100 on ebay right now. That's what I just paid anyway. Steven

The only thing is check the prices on quality scanning to digital. You might be better off to edit the original and then scan what you come up with and then cut sound in? It really isn't worth it to scan all your waste footage just to snip and throw away on the hard drive. Also, there are many film festivals for super 8mm on film which could be fun if you just work on film and stay on film. Try to find old George Kuchar films to get an idea of what can be done without much equipment. None of his is sync sound but he finds interesting ways around the problem. Most people do edit on computers but not all people. There are still surprisingly many, especially in the smaller gauges, editing film film. Right now I'm working on black and white shorts in regular 16mm. Honestly, when editing film with splicers and a viewer the most difficult area is sync sound, but there are ways around this. I edit original now (carefully) and then print a silent version to film or with a musical soundtrack and then once that is finished I might scan and work with sound in the digital realm. Anyway, I have the cost down to next to nothing. It's completely the wrong way to do it (edit original) but i can't afford the right way and I like when traces of handling appear on the film. See your limitations as inspiration and it really helps. Steven Guy Maddin shoots in 8mm? I could've sworn it was at least 16mm for saddest music.

There is also a lomo tank that takes 100' rolls on the spiral, for lab quality results (except at the beginning and end of the roll). I just got a G3. From what I hear it is better if you want the hand processed look, between the spiral and the bucket method. Steven

What about Fomapan? That is the look it is well known for and it is relatively inexpensive. Steven B)--> QUOTE(Steven B @ Feb 16 2006, 05:40 PM) <{POST_SNAPBACK}> What about Fomapan? That is the look it is well known for and it is relatively inexpensive. Steven Oh but it's reversal. Steven

Hand processing is great and relatively simple with negative. Also try and find a copy of Helen Hill's Recipes for Disaster, which is a booklet containing many experimental filmmakers' observations and techniques. I know most of the stock was destroyed in the New Orleans flood but a camera shop in Berkeley here had a few so you never know. Steven

Please email me if you have a used one of these for sale. Thanks! Steven odyssic@aol.com

I've done some stop motion and other camera trickery with the bolex. I haven't had much trouble with the exposures changing as the spring winds down, but it is rather difficult to rewind the camera while keeping it very still. If you'd doing regular 16mm I'd recommend a Vario Switar MC 12.5 - 100mm with macro switch if you can find one. Macro can be very useful for animation and they're relatively fast for a zoom. POE vario switar is a decent lens as well. I like the bayo mount more than the turret mount, practically speaking. The turret looks a little cooler though... more of a classic. You could start your animation project or just start shooting some tests with whatever you come up with, and then let your collection evolve with your needs. I thought the smaller matte box tapers towards the body of the camera so the chunky auto exposure parts of Vario Switars wouldn't fit? Steven

Actually, you should watch some Stan Brakhage films on DVD to get some ideas. I'd say just start shooting what interests you while learning about the camera and processing. Also, stop motion animation can be very interesting and unconventional (and timelapse). Of course, everything also has potential to be predictable and boring, so watch out! You can also try cutting in some found footage. Steven

I like Formula MC with Luminex microfiber cleaning cloths. Steven

This should help you out... http://www.jandcphoto.com/index.asp?PageAction=Custom&ID=11 Steven

I have mine for sale at... http://my.ebay.com/ws/eBayISAPI.dll It is the standard in high quality splicers and this one is in great condition. Currently only $50 on ebay with 1 day left! Hurry! Steven

Tobin TXM 26 B bolex Sync Motor for sale on ebay at... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...AMESE%3AIT&rd=1 Also check my other auctions for a few film processing and filmmaker accessories (bolex) including a tripod, monopod, and a Lomo processing tank that does 100' of 16mm or 35mm in a single load! (rare). Thanks! Steven odyssic@aol.com (email me here with questions, as I might not check this forum before auction ends. Thanks!)

I'm in San Francisco and I generally ship to Forde labs in Seattle, if that helps. They have a decent website with decent rates (and if you find somewhere better in LA please let me/us know). Steven

Thanks! That clarifies things a little. What film prints black and white and color on color print stock lately or older? Also, does anyone know how it was done in Tarkovsky films (Solaris I think... and Andrei Rublev). Steven PS. Sam, the purist in me agrees with you.