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Simon Wyss

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About Simon Wyss

  • Rank

  • Birthday 12/02/1961

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  • Occupation
    Other
  • Location
    Near Basel
  • Specialties
    Cinema pioneers

    Commercial hand processing of motion-picture films
    Step contact printing

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  1. If you want to fill an average size IMAX screen with standard film, obviously full frame, you easily reach 500 times linear magnification and 250,000 times magnification of the area. The linear aspect is doable with fixed pilot pins mechanisms as it has been done in the silent era. Screening of that order have been reported in the 1920s. The energy, however, that will have to be shot through an 18 mm × 24 mm aperture in order to decently illuminate a 9 m × 12 m surface is considerable. The problem encountered here will bear the designation Cooling. I’m writing Cooling with a capital because air won’t do. You would need liquid gates, I think, and these forbid splices. Prints must not have a single splice. Doable but it takes discipline.
  2. https://cinematography.com/index.php?/topic/24032-arriflex-ii-c-35mm-serial-number/
  3. Spool slowly and keep a finger on the film’s edge.
  4. That Marcel Beaulieu didn’t care much about mechanics but more about electrics. A contact was added next to the governor of the Reflex 8 models to give energy to the light measuring circuit. If the governor is correctly lubricated, it is electrically isolated, thereby the contact dysfunctional. After a number of copies a double contact was introduced. Having one of those examples here I learnt that yesterday.
  5. Shane, what sort of a projector do you use? A Mansfield Holiday M-1000 or a Kodascope Eight 70 or is it an Ampro A-8?
  6. I have just had a RX-2 here that came with a damaged spring washer next to the sun wheel and damaged first and second gears. Obviously the washer which has a too wide opening got jammed between the main spring core and the sun wheel or the holding plate. The owner must have continued to wind the spring with brute force until the washer came free again. I have published something about this. https://www.filmvorfuehrer.de/topic/32163-drama-in-der-kamera-im-gegensatz-zu-sonst/ Major job with complete disassembly and replacement of the washer by a fitting one. These exist. Paillard’s fault
  7. If only the shutter is out of synch, it’s a relatively simple thing to heal.
  8. That’s a good one. I like glitches. Nothing against anybody, just made me giggle.
  9. http://www.davidelkins.com/cam/manuals/manual_files/moviecam/compact_mk2.pdf Two tapped bores should be closed. They apparently were left open.
  10. The most obvious evidence for a misalignment is that the mechanism stops shutter open!
  11. You can clearly see that the film moves shutter open. A technician should adjust shutter and claw timing. It’s a REX-2, by the way.
  12. No, it isn’t. The Reflex models are only more often attacked by untrained people and then reassembled with this fault. REX-2 through -5 are still more prone to that because the front comes simply off after undoing four screws. With the early reflex models things are a bit different, just a bit. The guy is telling nonsense. Camera is out of whack.
  13. To me clearly mechanism out of synch. Most probably a REX model, am I right?
  14. Thinking over the speed question. Double Eight is the poor man’s film format. It still is the cheapest system, if it’s about black and white. Ektachrome is too expensive, regardless of which size. Sorry, Kodak! 8-R history is 88 years old now. It has, over decades, experienced a variety of SEPMAG sound systems that have something in common: high-fidelity sound at moderate costs. Sound couplers work a rougher or finer synchronism between a projector and a reel-to-reel tape recorder. There have been zebra stripes on the back of magnetic tape to allow a stroboscope adjustment with a portion of the projection beam reflected on it. Other couplers control the projector motor’s power supply directly off the tape speed, the tape rolling a smooth or a sprocketed drum. Again other couplers keep tape and film at an average constant speed. One projector runs picture film and magnetic film 8 strictly parallel at 16 or 24 fps. At 16 fps 25 foot of 8mm film lasts two minutes and five seconds. At speed 24 it’s only a minute and 23 seconds. I think we should choose speed 16 to begin with. All 8mm projectors have the 16 fps speed but not all go up to 24 or 25. Also, film should continue to be enjoyable as projected film, so the decisions ought to be made traditionalist. Last, the camera makes least noise at 16 fps.
  15. The cameras have pulldown claws. The actions of the transport claws and the register pins overlap, the film is thus always located by one or the other member. The film is under pressure only minimally in the aperture area so that the register pins can move the strip into position. The register pins have lighty tapered tips and are so adjusted that they make a snug fit with the perforation. Misalignment, if you use that expression, can’t exceed the deviations of the punched holes which typically is less than a hundredth millimeter. Only fixed pilot pins yield better registration because there’s no play of them in bushings. An important factor of image steadiness is that the camera’s or cameras’ geometry should be repeated in the duplication process. Precision is, however, compromised a little by the pin belts that introduce an overall error. The weakest link in the steadiness chain are the projectors. They don’t repeat the geometry of printers or cameras at all. An exception is the IMAX rolling-loop projector.
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