Ian Cooper

certainly on the standard regular-16 NPR, as built, they have an adjustable shutter. Granted, mine can be a little stiff to get to move and adjust. Why do you think yours doesn't have an adjustable one? (PS. Don't forget, when the NPR was first introduced it was a cutting edge revolutionary design. It's only now 50 years later that it is a bit basic and not so advanced compared to everything that has come since!)

I may be missing something here, but your original question was about putting short ends that are less than 400ft in length into a 400ft magazine. In this case it will be impossible for less than 400ft of film to be of larger diameter than the 400ft of film the magazine is designed for?

Shame you're not in the UK, as this chap, Steve Harris has been known to provide and operate tube cameras for productions over here.

A quick check of the Sennheiser website and instructions shows you have a choice - use it with the "K6-P" if you have ready access to a 48V phantom power supply, or use it with the "K6" if you want the choice of also using an AA battery as well as 48V. Understandably the 48V only option is cheaper, but the dual supply version is potentially more versatile.

Might it be worth trying "Frame24"? One of the former employees at Fuji UK has bought 2 million feet of the latest batches produced by Fuji and is continuing to sell it. Ok, all of the stock is 'first come, first served', and when it's gone it's gone, but at £45+VAT for 400ft of 16mm the prices are hard to beat for 'new' stock.

As I alluded to above, getting an adapter to fit an M42 mount lens on a C-Mount camera would be possible. But I suspect you will struggle to get an adapter to fit a C-Mount lens on an M42 mount camera. C-Mount has a FFD of 17.52mm and a diameter of 1", whilst M42 has a FFD of 45.46mm and a diameter of 42mm (1.65") This means an adapter would have to position the C-Mount part 27.94mm INSIDE your camera. On your K3 this most likely means it will collide with the mirror shutter - either damaging it as you screw the adapter into place for the first time, or damaging it when you try running the camera for the first time. Even if you're lucky enough to get an adapter to clear the internal mechanism of the camera, you are still faced with the problem that the new c-mount is recessed inside the M42 mount - this means any C-Mount lenses you fit will need to have a back end that is less than 42mm diameter (probably less than 39mm to allow for the adapter material thickness as well) for a length exceeding 28mm, and with no control rings in that area either as you won't be able to access them. The combination of these two factors means you are not going to find such an adapter ready-made. You will have to commission a camera engineer to make it for you, and they will probably warn you about all the reasons above why it probably won't work as well. I understand the non-reflex versions of the CP-16 did have a c-mount, but the reflex versions used their own CP mount, which was a miniature version of BNCR. I don't know the FFD of the CP mount, but the standard BNCR is 61.468mm. Assuming the same, this puts the front of the reflex cameras a long way further forward compared to the non-reflex c-mount cameras. This is logical as the design would have to leave space for an angled rotating mirror shutter that wouldn't be present on non-reflex cameras. If all of this is the case, then you may well also struggle to modify your CP-16r to C-Mount as well - in the worst case you will need to totally redesign a new shutter mechanism, in the best case you will just need a new camera front making. In either case it won't be cheap - you might find it cheaper to look for something like an Eclair ACL or NPR which are also crystal sync silent cameras, but which were already designed so accept C-Mount lenses. ...of course you may get lucky and none of the above applies, but I'd check it all out before you go too far down the road of assuming all of your planned modifications are possible.

Because it has such a shallow flange focal depth (17.52mm) there are very few camera mounts that can be converted to 'C' mount, as they would require positioning the new 'C' mount back within the body of the camera. However, precisely because it does have such a small FFD it is possible to use convertors to use endless other lens mounts on a camera equiped with 'C' mount. For example all of the Arri mounts have 52mm FFD, so a 34.48mm thick adapter on the back of an Arri mount lens would bring it into the correct position to focus on a C-mount equipped camera. The Cameflex mount is used on the Eclair NPR (one cameflex mount on the turret, the other is 'C'-mount), it was also used on the Eclair ACL, although I understand in that case the camera had a C-Mount but was equipped with a purpose made adapter to cameflex. Cameflex is a simple baynet fit mount where the lens is inserted and turned to lock into place, there is no latch to positively hold it there. It is held in place by friction. Edit: Yeah - what Daniel posted at the same time as me! Lol Les Bosher in the UK would be able to knock you up a Cameflex to C mount lens adapter - dunno what the price would be though.

I thought Deluxe had an arrangement where Techncolor did their processing for them?

You may find it beneficial to remove the microphone from the camera - bolting it to the camera means every slight vibration and noise made by the camera will go straight to the microphone. If the camera's sat on a tripod, then just putting the microphone on the ground beneath the tripod will isolate the camera noise a lot more than having them fastened together. Outdoors I used to be able to record sound whist filming with a K3 without picking up camera noise. The technique was to use a boom mic positioned perhaps 15-20ft in front and offset to the side of the camera slightly - this put the camera in one of the areas where the microphone was least sensitive, general outdoor countryside ambient noise was sufficient to do the rest.

Best of luck to the team in all their new ventures :) A shame to see Fuji leave. In the Uk they seemed very friendly and had some good packages.

<This Link> states they're planning to fully close the lab by the end of May. So not closed yet, but imminent.

Might be worth giving Technicolor a try direct as well - seeing as I believe they'd be the ones processing for Deluxe anyway. I think it might be about 2008 when I last used Technicolor. Found them Ok to deal with.

All of the labs I've come across in the UK basically have a 400ft minimum order quantity (or the financial equivalent). In my experience they don't care too much how that is made up: x1 400ft core, x4 100ft spools, or various other combinations. They might get a bit grumpy if you sent them x40 10ft lengths, but within reason they're happy to work with different lengths of film. Last time I shot 16mm it was with Fuji's now deceased "complete 16" package, which was a significant saving over standard costs. Your best bet is to drop a line to the labs to find their current pricing for process & Tk. Any info. I have lying around will be a few years out of date now. In the UK your options are going to be a little limited these days. I believe Deluxe actually send their 16mm to Technicolor for processing now (before then doing the Tk themselves), leaving the other possibility as i-Dailies, which rose pheonix like from the ashes of iLab by the staff after their parent company closed them down. Film & Photo have a website which hasn't been updated in years. I'm sure many people find them fine to work with, but my own experience of trying to contact them I found they never responded to emails, were reluctant to answer the phone, and when I did speak to them they were decidedly less than friendly or helpful (in sharp contrast to all the other labs I've ever contacted) - on that occasion my business went elsewhere! (Film Lab North - RIP). I only mention them for completeness, as I think that about sums up all the labs left in the UK now. Personally I'd try giving i-Dailies a shout, I always found them most helpful when they existed as iLab. Although they don't do processing, I had an enjoyable experience sitting in on an HD telecine session at Rushes, finding everyone there friendly and helpful despite the fact my project only comprised about 500ft of 16mm film.

Afraid I can't help with new prices, but I downloaded (from somewhere!) an American Eclair price list dated 1st October 1975, so it would have been about 11 years old as a design by then. At this time the Eclair NPR with Beala III motor (crystal sync 24/25fps, variable 4 to 40fps), one 400ft magazine, Angenieux orientable viewfinder, accessory case, case for two magazines, instructions etc. was $13,000.00. It was the same price if you chose the "Perfectone" motor instead. The lens packages (special prices when ordered with camera) were: Angenieux 12-120 $1,971.00 Angenieux 9.5-57 $2,425.00 Angenieux 10-150 $2,565.00 Angenieux 9.5-95 $3,091.00 Angenieux 12-240 $5,535.00 Angenieux 25-250 $5,715.00 Canon 12-120 $1,935.00 Magazines were $2,500.00

My only experience of them was that they were rather unhelpful and didn't seem interested in my (very small) custom. On that occasion Film Lab North (RIP) were more than happy to help, so I went to them instead. I've not felt an urge to contact F&P since. I've no doubt other people are able to give glowing recommendations of them though, so each to their own.

It's a few years ago now (I swapped to the much more friendly Fuji), but Kodak UK used to sell directly to the public as well if you contacted their office. I can't remember what I ordered now, but it wouldn't have been a large order.

Not London based, but might be worth getting in touch with http://www.processc22.co.uk/ as at least they're UK based. I've not used them myself, and as the website hasn't been updated in the last year I'd drop them an email first before sending anything off. Obviously if the films are B&W, C41 or E6 (or the equivalent codes from other manufactures) then you don't need to go to any particularly special lab as they're still current processes. Personally I've used The Darkroom in Cheltenham via post, but there'll no doubt be options nearer to London.

I think you'll find options for "industry standard" super-16 is severely limited in the Uk now, I suspect you'll be very lucky to find anywhere dedicated to serving the needs of Ultra-16. ...But on the bright side, there's so few labs processing 16mm in the Uk now it should only be the work of a few minutes to ring round them all to find out! As I understand it: i-dailies and Technicolor do colour negative 16mm film processing, and I think I've heard comment that Film & Photo still do it as well. N.o.where lab will do B&W negative. I believe Deluxe Soho have an arrangement where Technicolor do 16mm processing for them as they've stopped it themselves. So I make that 3 phone calls B)

Wow, that's impressive - they must think there's a market for it. I guess they're just on about Vision negative film, the same as Todd-AO used to be. ...just a shame that with the demise of Fuji, the "Complete16" package deal is on its last legs for 16mm :(

I've had Les Bosher do work on my cameras (Beaulieu R16, Eclair NPR), he's been friendly and helpful. I suspect he'd be more than capable of doing a super-16 conversion, but I rather suspect the time/cost involved would be vastly more than the camera's worth, ie. going back to Bernie's 'not economic' response. Might be worth contacting him though.

www.i-dailies.co.uk Deluxe Soho still advertise the service, although I seem to remember they did a tie up with Technicolor where T.C. do the 16mm processing on behalf of D.S. now, so Deluxe might just do the telecine part. http://www.deluxesoho.co.uk/ ..and as referenced above, Technicolor Uk.

That's interesting, their lab services page states they process all formats including 35mm, std16mm, S16mm and s8mm. They also state that all film processed is transferred using their Spirit Datacine... so it sounds as if there is a super-8 facility in London again, possibly even with a Spirit Tk!

As I understand it, Todd-AO and Soho Images were owned by the same company. The two were 'merged', closing Todd-AO and then being known as "Soho Film Lab". At some point Soho Film Lab became part of the Deluxe empire, and was then rebranded as "Deluxe Soho". So Deluxe effectively IS Soho Images these days, featuring some of the staff from both Soho Images and Todd-AO. Again, as I understand it Deluxe Soho and Technicolor have reached an agreement where all of Deluxe's 16mm film is processed at Technicolor. I think Deluxe still do their own 35mm processing. Derann were a shop/firm based in Dudley that specialised in selling second hand 8mm/16mm film prints, they also made new 8mm prints of films as well. I don't believe they had any lab facilities of their own. They certainly didn't advertise processing services, but did sell K40 super-8 cartridges. The original owner of the shop died, it continued on for a couple of years afterwards, but finally they closed a couple of years ago. I think "Film & Photo" still advertise processing services, but my one and only contact with them a couple of years ago didn't leave a very good (or friendly) impression of them.

Not in London, but I've been happy with the work Les Bosher in South Wales has done for me on my Eclair, might be worth getting in touch about Aaton as well. As for 16mm developing, it seems the guys originally behind "iLab" are in the process of setting up again as "i-Dailies". Their website is advertising "all format film processing and Spirit transfers...". Best of luck to them :)

But is much more likely to be 50Hz given that you appear to be based in Ireland :) In which case you need to decide if you're shooting at 24fps, or 25fps. If you're at 25fps then you won't get a rolling black bar, but you might get a stationary one depending where in the scan cycle it is when you start filming. You either need to be able to tweak the camera speed to get the bar to the top/bottom, or just stop the camera and hope the next time you try the bar will be out of the way.