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Simon Wyss

Basic Member
  • Content Count

    1963
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About Simon Wyss

  • Rank

  • Birthday 12/02/1961

Profile Information

  • Occupation
    Other
  • Location
    Near Basel
  • Specialties
    Cinema pioneers

    Commercial hand processing of motion-picture films
    Step contact printing

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  1. Forgive me again, I’m such an old fashioned and bourgeois-elitist educated central European that I don’t understand today’s abbreviated sign language. What do you mean by S35, Super 35 oder Standard 35? I can assure you that I know the Arnold & Richter cameras. Since you stated EXR on the film which stands for extended range sensitivity I presume a Kodak color negative stock. As I said make sure the air in the camera is dry so that the film can lose moisture. You can as well use rice in fabric bags in lieu of silica.
  2. I wasn’t aware of the focal length in question. Seems to be 28 mm, so the Distagon design. Googled and found https://www.opticallimits.com/nikon_ff/586-zeisszf2820ff?start=1. All retrofocal wide-angle lenses have some residual field curvature.
  3. Zeiss standard speed is not very precise. Could you clarify a little?
  4. One attentive Oz. Excuse me, that was chauvinistic. Yes, modernity started in 1930 and motion-picture manufacture became most modern in 1948. In that year you had (thin-base) polyester stocks, magnetic full-coat stock, and low-rate shrink acetate film. Carnauba wax has been in use since the 1930s. On the camera side we always have the possibility to add a velvet pad to the pressure plate.
  5. No, look, high relative humidity is something you can do nothing about. What really counts is the climate at the moment you’re exposing. Luckily modern films have hardened coatings and a wax lubricant applied to them. It now only depends on the camera’s gate whether the film will run nicely or start to build up residue or even stick. Wipe the cans dry, let them accomodate to the ambient climate for at least an hour prior to loading, two hours is better. If you want to get rid of moisture, buy yourself an underwater housing. Stuff that with silica gel bags and let the loaded camera dry in
  6. In case of failure I should take the camera for repair. Have you noticed the rather small shutter opening angle? A Filmo 70 will give you 50 percent longer exposure. The scotch-yoke mechanism is similar to the one used in the Eyemo.
  7. https://www.cinematographers.nl/CAMERAS2.html, scroll down http://cinematographes.free.fr/debrie-grande-vitesse.html, http://cinematographes.free.fr/labrely.html, http://www.cineressources.net/consultationPdf/web/o002/2383.pdf (pages 81 and f.), http://cinematographes.free.fr/debrie-gv-notice.html scroll down manual (notice)
  8. I’m not. The first Moviecam was made from a Mitchell. On the second a new movement was introduced. All articulating movements have an ancestor, the one invented by Labrély and built into the Grande Vitesse Debrie of 1923.
  9. In 1935 there was the Arrow camera for 16mm film, a Victor clone. Haven’t heard of a 35mm camera from Japan, yet. Maybe that Konishiroku made one. Possible also an attempt before the Tokyo Olympic Games of 1964 parallel to the Doiflex.
  10. None. The counter of most cameras for 135 film will end at 36. The difference in base thickness is small, about a thou or so.
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