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Ian Cooper

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  1. It must be getting on 10 years ago since I had anything to do with Blue Cinetech, but that is precisely what they used to do: You'd buy the film from them 'process paid', which was shipped very promptly. When it arrived you found an Andec processing voucher included, so when the film was exposed you'd ship it directly to Andec yourself with the vouncher. They would then process according to their normal weekly schedules and post it back to you. Depending exactly what day you posted the film off and whether or not it arrived in time at Andec, you might get the developed film returned within 7 days, else it might be within 14 days.
  2. Don't know about telecine, but in the past I understand they used Andec for processing.
  3. Great to see some proper engineering. Fingers are crossed for the results of your film test, but the project is looking really good so far. :)
  4. I doubt Arri offer an official Apple approved iPhone holder! ;) I'd suggest investigating iPhone compatible car mounts - particularly non-apple branded options from other suppliers. At the very least I suspect you could come up with something comprising of a vacuum car mount fastened to a flat plate which is then bolted to the camera. At best you might find a mount with a large enough flat area that you could drill to pass a couple of 3/8" whit screws through. (something <like this> perhaps?)
  5. I'll stick my neck out and suggest probably not. The OP's location is "Staffordshire" (Stafford Uni perhaps?), the only labs left in the UK, and the film based rental companies, are centred around London - a journey of about 150 miles each way.
  6. I'd load/unload my camera in a changing bag (Std8 & 16mm), but when I respooled from 400ft cores of 16mm film down to 100ft spools I did it in my windowless bathroom at night. If for the first time you sit in there in the darkness for 5 minutes or so to allow your eyes to adjust, you'll be able to see if there are any light leaks. To load 25ft from 100ft daylight spools you might not need anything more, but for what I was doing I made up a length of wood with two spindles on it that I could put the parts on to spool from one to the other. I would think trying to do the job in a changing bag would be just inviting dust to get all over the film. If you're using the high contrast B&W Orth film perfed by Edward Nowill then I think you can use a green safe light with it (if I remember correctly), but personally I would use total darkness, it's not difficult if you're organised about where you put things. If you're using panchromatic B&W or colour then you don't have any choice, it's got to be darkness. Ian.
  7. Mr. Nowill used to sell the high contrast B&W reperfed stock pretty cheap, but it's a fair number of years since I had any contact or did anything with Std8. Have you tried Photoworld in Llandudno?
  8. ...be aware that you can't do reverse filming with the external magazine, as the torque motor is only connected to the 'normal' take up spindle.
  9. Ok, here's the magazine: Quite a nice self contained unit. There are electrical contacts on the saddle to automatically couple up the torque motor, and a removable rubber bung that keeps the inside clean. Opening up the magazine reveals it's all quite straight forward. The 200ft daylight spools have the same size centre hole as 100ft daylight spools - so you could use the magazines with 100ft loads as well (although there seems little point). The following photo shows the magazine loaded: The unexposed source film is loaded on the left, passes over the roller at the bottom to form a loop through the aperature before then heading back inside to sit on the take up spool, which is connected to the motorised spindle. To load on the camera you unscrew the cover plate from the top of the camera and screw the magazine in its place. There are multiple recesses and lips, so it's all light tight without needing further external taping up. The film enters the camera film chamber through the top, feeds around the sprocket and gate as per normal, then you fit a removable pulley over the spindle for the film to pass around on its way back up to the magazine. I have to confess its a good few years since I used the R16, so I can't honestly remember if the pulley goes over the bottom spindle as I've shown in the photo, or if it sits on the upper spindle and the film goes straight up without looping around the lower one. Instruction manuals for the R16 are freely available online, so it wouldn't take too much effort to double check which way it should go. This is the final snap showing the whole lot... Assuming you had an adapter to go from the small square daylight spool spindles up to a core, it would be possible to load a core of film into the magazine in a changing bag. With the rubber bung in place the film is trapped in the aperture of the magazine, but there are no light traps so removing the bung might result in a bit of fogging. If you kept the bung in place, only removing it to thread the camera with the whole lot in a changing bag, then it would be possible to avoid fogging. The centre diameter of a 200ft spool is 31.5mm, whilst the outer diameter of a film core is 50mm, so using cores you'd be loading less than 200ft in the magazine to start with. I quite liked using the R16 - not exactly quiet, but fairly light. I'm not sure its as indestructable as a Bolex, but treated with care it was nice to use. Whilst the speed isn't crystal synced, it does have a closed loop speed control system that holds pretty steady. I'd use the rolling bars on a TV to get the speed as close to 25fps as I could. Best of luck with your endeavours, Ian.
  10. Well you can load the magazine in a changing bag if you want, but the spindle inside the magazine is a standard small square one -- the same as you have for a 100ft daylight spool, so cores won't ordinarily fit on unless you have some form of adapter, and by then I suspect the core won't quite hold 200ft. Philip Rigby & Sons in the UK used to sell (4 or 5 years ago) new empty 200ft daylight spools, don't know about these days. Might be worth an email/phone call to find out. If you want I can take some photos of the magazine / 200ft spools. Ian.
  11. If you can't put anything in front or behind the windows, then I suppose you could try to exclude them so they don't appear in shot? ...or if you add absolute shed loads of extra light inside the room so the room is a number of stops brighter than the light outside the windows, then the windows will appear dark. A variation on that would be to go with tungsten lights and balance on the camera, then only make the room a couple of stops brighter than outside, this way the light outside the window will appear a dark blue colour as though it's evening.
  12. The cable release socket on the front of the trigger button allows you to 'run' the camera with a release. Opposite this on the rear of the camera is another release socket that triggers single-frame exposure. Although it worked on my camera, I have read that it can be very stiff or even seized on some. I also understand the exposure can be a bit variable as the clockwork spring unwinds.
  13. Sorry, only just noticed your post. When I had a K3 I found if the camera was left stationary between shots for more than a very short period of time I would get slight flash frames appear a consistently fixed distance away from where the film was stationary in the gate. I think I eventually decided that despite fitting new felts, the light was leaking in via the footage counter. I always taped up around the edge of the door, not only just in case light got in that way, but also to avoid any nasty accidents with the door coming off! Once I put a little flap of tape across counter window as well the problem went away. Your flashing might be from something else, but thought I'd mention it anyway.
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