Simon Wyss

I prefer natural intelligence to artificial.

50 mm or two inches is my favourite focal length with 16mm cinematography. We have everything here, triplets, four-glass, five-glass, six elements designs, even seven. Prices ought to be according, like $120 for a triplet. A very interesting four-glass design is the Petzval evergreen. It has been rethought and recalculated innumerable times, the Kodak Cine-Ektar 50, f/1.6 is such a candidate. Razor sharp in the center, sharp all over when stopped down to f/4 and beyond, a lens with character

Dennis Toeppen Wittner, Germany, has perforating equipment for Double-Eight. It’s a marketing thing apart from a certain financial risk. Funnily, Kodak shows a youngster with a Double-Eight camera in an Ektachrome promo video.

One side toothed sprocket rollers are readily available from Magna-Tech Electronics. A technician would simply swap and adjust.

The E of 70-E stands for economy. Therefore the finder is equippable with push-on masks only. It runs up to 64 fps. Single-row and double-row sprocket drums were optional from model DA on, August 1930. Model DLC has a well graspable release lock.

It is my firm belief that Kodak could sell more Ektachrome in Double-Eight than in 16mm and Super-8 together, if they’d offer it.

Regular 8 is in most cases Double-Eight with the according advantages. There were only a dozen Straight Eight cameras but around 400 Double-Eight. You have two cameras that take 100 feet of Double-Eight film and three for 50-ft. spools. The open concept of the older cameras (and projectors) allows you to use an almost endless list of lenses. There are adapters to fit lenses to every mount there was. Repairability finally seems to be an important aspect. Here Super-8 and Single-8 lose, they are the infamous plastic children of all-metal parents. Exception to some extent: Double-Super 8

Perpendicular to the release button axis

A medium weight wooden tripod will do the job, I like the Australian Universal a lot, Miller, Ceco, there are many. Yes, from model 70-D on you can lock the release by a push-in knob on the side.

Make sure the shutter is closed in order to protect the lens rear, then use a rubber syringe. You could also try to pick the hair with thin tweezers, carefully.

Yeah, I forgot that. And no, Filmo 70s don’t have a cable release thread or attachment. A single-frame release existed as an accessory, you may see it on images in the web, it’s got the appearance of shiny cylinder on top of the release button. One of the weak points of that camera. But you can expose single frames perfectly by briefly tapping the button.

Flicker would have to do with incompatible mains light frequency and camera speed. At constant light you have no flicker. The Bell & Howell Co. was founded, by the way, with the goal to remove unsteadiness and flicker from the flicks. The critical focusing happens on a ground prism, you see a 15 times magnified circular central section of what the lens delivers. The eyepiece can be adjusted, it’s screwed in. There is an alignment gauge on ebay from time to time. Do buy one, they make it possible to frame and focus down to an inch in front of the lens. Victor and Paillard-Bolex had a critical focusing system, too. No known rackover for Victor My suggestion is to look for a younger Filmo-70, a DL/DE/DR or HR. The DE has a rewind button on the upper spool spindle. Cleaned, lubricated, and adjusted the B. & H. Filmo 70s are first-class motion picture film cameras with a bright side finder.

Looks good. All the best for your progress

The thinner you can make any single version the easier it will go into housings. Best would be a flexible board that can be pasted. Not quite serious but as thin as possible, please. C is my favourite, four speeds.

Rather a lace-up mistake, film being pulled down during exposure, too tight loop(s)