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Simon Wyss

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About Simon Wyss

  • Birthday 12/02/1961

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    Near Basel
  • Specialties
    Cinema pioneers

    Commercial hand processing of motion-picture films
    Step contact printing

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  1. That happened when Paillard-Bolex was sold to Eumig. The Austrians wouldn’t know the ramified branch. Wish I had a good translation to English of my article.
  2. Not necessarily. A RX lens belongs on a RX camera. Shauheen writes h16 paillard bolex. No reflex body assumedly. Diaphragm openings larger than about f/4 would cause unsharp images and that’s what you have the f/1.1 Switar for.
  3. Someone I know, within a good hour’s car trip, can make new spiral springs. He also made a spring for me that went into a gramophone. More spring makers that I can drive to are located in the near Black Forest.
  4. F/2.8 is f/2.8 on any camera. The focal length is different relative to the image size, so a 50 mm normal lens from a 35-mm. film camera is a moderate telephoto lens with 16-mm. film cameras.
  5. Nah, you don’t sit very close to the screen. It fills your field of view more, that’s the point.
  6. If an IMAX movie looks different from a regular movie, it would be because the IMAX image has way better steadiness due to register pins that locate each frame very precisely. Only studio background projectors have precision movements, the common 35 clappers pull on the film via an intermittently revolving sprocket drum. The IMAX projector has shutter edges moving horizontally across the screen (too fast to be visible), 35 equipment has some sort of vertical blinding. IMAX has better technical sharpness based on the film being vacuum sucked to an aperture glass, frame by frame. Besides these basic facts maybe more wide-angle lenses are in use for IMAX, depth of field shorter, and the cutting pace seems to be slower. The cameras are rather bulky and heavy, so hardly any hand-held shots are seen with IMAX. Last, I don’t know of a black-and-white IMAX movie, they’re all in colours. 35 was only black for decades and still can be so. Also interesting to ask what discerns 35 from wide film
  7. The normal image aspect ratio of regular film is three to four. The cinema screen has been three to four for more than a century now and the home movie screen, too. The wide screen era began with a multi-strip process, which was followed by an optically complicated process. Then the film was exposed horizontally. Next wide film came back into use. Crop formats are younger. 1:1.375 is the camera aperture ratio of the so-called Academy sound format. Projection is 1:1.333.
  8. Not easy to nail it down. What’s obvious is that the mechanism of the variable shutter has been done away with. A new housing. An electric motor drives an above-the-optical-axis shutter, inclined by 45 degrees, via bevel gears as I presume. How many shutter blades is unknown. Also obvious the light from the taking lens alternately hits the film and is diverted downwards. A ground glass in a cavity of the front? A prism? Sight of that from the door side, most probably. No photo of the left side The four-prongs wheel at the front right top might have received a hand knob or a wheel, it seems to have something to do with the reflex mirror orientation. The taking lens is now higher, the turret locks differently rotation-wise. Oscar Ross had applied for a US patent in 1927 (1,777,419 from 1930), the camera is the 2709 judged from the drawings. The subject was in the air regardless of opaque film stocks. Kodachrome was practically useless to the industry. Agfa in Germany had begun to manufacture colour stocks with a green lacquer backing in 1936. That information needs confirmation. Now you lay everything 90 degrees over, reduce from four lens ports to three, move the motor from the rear to the side, give up the shuttle gate in favour of a simple claw on the opposite side of the film, compress the body to a minimum and go back to 200-ft. mags on a sloping roof. Still a lot to find out
  9. This summer a special camera has made its way to an auction house. I think it’s worth to be discussed here. Have a look
  10. Super-8 that is, the image lies just next to the perforation hole. Regular-8 has the frame line on the middle of the perforation hole, like 16 mm. It’s also called the interimage. DO NOT USE dual format projectors. NOT GOOD. They can work but most don’t do the job right for both film sizes. For Super-8 and Single-8 films (identical geometry) use a pure 8-S projector. Double-Super 8 is a camera format, the film being 16 mm wide. After processing and slitting it’s called Super-8. For standard 8 or normal 8 or regular 8, everything the same, use a pure 8-R projector or viewer. Regular 8 derives from Double Eight since 1932. That’s the original double-width-half-length system. Your projector may run the films correctly, if the stock is not too badly shrunken, laced correctly, in order. The latter means that the film path is meticulously clean, not scratched or worse still, wearing burrs. The advance claw must run on the center line of the perforation holes and not be damaged (smooth plane underside). The sprocket drums must be intact and the film guidance around them correctly seated. The film side guide in the gate needs to function properly, else image steadiness is nil. I will take care of your equipment, in case nobody does.
  11. Lauste was probably the first. https://books.google.ch/books?id=86JXA-G2ovsC&pg=PA71&lpg=PA71&dq=eugène+augustin+lauste+sound+recording&source=bl&ots=KrdtPP-ES5&sig=ACfU3U13oqjho4H0BUqbEdrWYNO1ekgyWA&hl=de&sa=X&ved=2ahUKEwjzwNn3kPDyAhVEhf0HHdfADdQ4ChDoAXoECA0QAw#v=onepage&q=eugène augustin lauste sound recording&f=true Berglund held the first public presentation of a synch sound film in Stockholm, Sweden, in 1921. Of the three original processes two subsisted. The longitudinal process that yields similar records as the intensity does was never used. Variable-intensity sound recordings were relatively easily made with the aid of the Kerr cell. That system works linearly up to 100 kHz. The main problem that had to be solved was film stock sensitive to very short exposure times, the Schwarzschild effect corrected. Until noise reduction was introduced VI tracks suffered from noticeable hiss. Variable-area tracks do not use halftones, therefore noise or hiss from the granulation plays a minor role. Also, VA recordings are more forgiving for less than perfect exposure and development. VI tracks need to be mastered photographically, else you have distortions. On the other hand VI tracks are more robust in reproduction.
  12. I’d say 1950 or 1951. Craig editors were sold by Kalart from January 1st, 1951 on and the ones here are a tad older. All Bell & Howell Filmo Eights had the D-mount thread since 1951. The two 134 lying there, to my eye, have the older black clip-on mount TTH lenses. Also, the cardboard stands’ rounded cloud style would disappear in 1952.
  13. The Arriflex 16 is a turret camera. It excels by compactness and versatility when used with prime lenses. Due to its large bottom surface it makes a perfect stand on the support. I hope you have an example with feet-frames counter. The metric counter is not exact. At normal focal length the choice of lenses can become religious. Some swear on French, some on British, and others on German glass. As a matter of fact, the differences can only be seen on the very finest grained films, if at all. Actually, you can’t find a lesser lens in ARRI standard mount, no Petzval type, no Ernostar derivative, no triplet, although many like the respective characters.
  14. Forgive me, I thought you’d speak Italian judging from your name and location. Presa is the abbreviation of cinepresa. Camera cinematografica. The right screws are these. Maybe it’s better to give the Beaulieu to an experienced person.
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