Andries Molenaar

The Hamburger Winterdom is still on? Plenty of color there :)

Possibly a WiFi antenna normally built in into laptops (or tablets) could work. Fast changing availability is a risk here. Although it likely cannot be installed inside the metal housing :) Possibly inside the top handgrip?

Odd that this ancient article was never was brought up before in the registration and breathing discussions in all this time I have been visiting ciné fora! It is clear writing and explains all effectively. It makes clear the NIKON micro gate ramps help forcing the film to the far end of the channel. It is also clear the NIKON stop pin is an invention which works and explains the far better registration on these. Considering the OT Logmar it makes one wonder why it doesn't expose a dot at the side of the frame like the MEKEL SP does? This would make teleciné so much easier. It would require very little hardware since the camera is already so very much electronic and digital. And putting it in when building from scrap is really a minor thing?

Filming from a groundglass is the best thing in this Nolab. It is near impossible to get a sensor surface at the focal plane. Another method would be to use a fibre block like in the polaroid backs for 35mm still cameras. These transport the image a few millimeters. All this shutter interaction is way too much trouble and unsolvable. The cartrdige should be switched on and film permanently. The software should trash all black frames and make a sequence from a set of frames who appear within a timeframe after a previous one. The only thing would be that no near black frames can be recorded. When no filming is imminent. The cartridge should be switched of. Or it could do this itself. That way no wiring or interaction is needed. BTW another method would be to send IR light and when its reflection from the shutter disc disappear a frame should be registered.

Patents aren't just somebody. You are just like any somebody. Good luck.

These are the applied adjustment tolerances from the maintenance book for R10 R8. These form no information in itself about the the design or functioning.

There are two stop pins. One in use forward and the other for reverse. Easy to feel and see when you move the REW/FOR switch. The one stop pin comes up the other retracts. And reverse of course. Very very few people actually have an idea how these R10 stop pins work.

The description of Friedemann is the acurate one. The same understanding of how it works was described here a year ago (or so). By somebody else :) Not me or Friedemann. The R10 ramps (and in R8, 8x super Zoom) at the centre are there to cast the film to the far end in the channel where the focus was put by the NIKON designers and factory. Also the the R10 stop-pin makes sure the film is not yanked past the gate too easily when the shutter is open. This way the R10 out classes all others. Nikon engineers had a good grasp of the features of the S8 cartridges and way of working. BTW Leicina Special have no ramps and have a straight plane gate which is suppose to be crafted from a spage age material.

Your chances are near zero and it is a waste of money to attempt somehting new on these. Mind the processing tariff on these ancient Kodachromes. It costs an arm and a leg. You are now still better off using fresh Tri-X and having these processed at a standard tariff :) Good results at half the budget !

Show it to a lab technician from Kodak (if they have any left). It is processing trouble. Poor chemistry due to contamination or poor replenishing.

Somewhere there is a report of a group who took film through tens of checks. Just for testing. After a few checks there is no visible damage. Only many many x-ray checks damage could be shown. These 3 stops darkenings with sharp borders are just made on purpose for demonstration.

Obviously a processing error. X-ray makes coarse grain.? Parcels are only x-ray-ed when there is a suspicion at customs. Or they open the parcel and yank out the film :) Any idea of the heap of parcels. Who is going to inspect these all?

This is not from one exposure in a modern scanner. It is an urban myth.

How may checks would it be? Just a trip somewhere back and forth is not going to hurt film of any kind. S8 cartridges are way too big to be allowed on without X-raying if they take their inspection duty serious. There could so much inside in just one.

Wait for another body to show up. Also, the camera has an external powerpack socket on its left hand side. Find a connector and use a clip with 4 x AA 1.5

Have you developed a procedure to convert these BW negative processed Kodachrome films conveniently?

The original Leicina suitable ones are over 30 years old. There are plenty C-mount lenses from Fuji and Nikon who deliver better images. It is an illusion to think the science of optics hasn't advanced since then. Not to forget the modern glasses which are so much better. Also there are real wide-angle lenses with C-mount which can be interesting.

Which brands and models do so?

The F to M facilitates infinity. If the C to F could do the the same it would work. I doubt the modern C lenses will produce macro images. Too often there is a back focus lens which is not moving at all when focusing. I.e. it will never project a sharp image when it is not at the correct distance. It is a misrepresentation to suggest it will do macro. There are P to F adapters which have indeed a lens to stretch the back focus a bit. F bodies are thicker dan P bodies. The question is if a C to M could exist with a cup like the listed C to F which would allow the proper distance.... In the mean time you are likely would be best off with Nikon DX lenses on a F to M. There are plenty cheap one with short focal lengths. It must facilitate closing the aperture and the lens must have manual aperture and focusing :) Are there any Nikon 1 to M adapters :) Digital M are so terribly overpriced and sparse that they form no market for adapter makers from China. Who swamp the market these days.

The repair manual is online somewhere. Scanned in PDF

It has been there for years. It is mostly strongly priced fleamarket finds. Don't expect to get overhauled cameras or such. The seller is under German commercial law but relying on these from a distance is cumbersome.

You might care to explain how shutter speed and aperture can be displayed on the remote. Or how it can display the numbers of frames left. Or how the control can set shutter and aperture... OP is best off with a classic remote or a suitable simple modern one with a make-contact-switch across the two contacts of the 2.5mm jack. It is a Euro 5 thing at best. My digital NIKON doesn't have a 2.5mm remote and I suppose few have. None of the 35mm or R10 or R8 had one either. Late 35mm ones had a 10 pin serial with a switch line for trigger. Digital ones have mini multi-contacts.

OP needs a simple remote controle with a switch which is open and closes to start the camera. Very much a standard thing on Super-8 cameras. These EOS things are NOT suitable. The mini jack has three contacts and it uses a serial protocol to drive the camera. The same suppliers usually have NIKON and other brand versions with a different connector and protocol. The handheld part is then still the same. Check if they have something simple too. Or find a vintage one. It needs not be Canon.

Just shoot some film from a tripod. :) Use wide aperture and focus on the ground-glass circle in the viewfinder. Do several shots and find objects nearby and at infinity with many sharp lines. Judge the film using a viewer or microscope.

I learnt that Agfa 200D stock meterware will be available again by the end of October and that Wittner expects to fit 72.5 meters on 60 meter daylight spools... Which implies that it is thinner than other earlier stocks. Good news for the Fuji reload experimenter :)