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Simon Wyss

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About Simon Wyss

  • Birthday 12/02/1961

Profile Information

  • Occupation
    Other
  • Location
    Äsch
  • My Gear
    Gauge blocks, gauge pins, calipers, micrometers, autocollimator, stereoscopic microscope, and everything a mechanic uses
  • Specialties
    Cinema pioneers

    Commercial hand processing of motion-picture films
    Step contact printing

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  • Website URL
    https://www.film-mechanik.ch

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  1. There are mirror shutter reflex-finder cameras for Double-Eight film. The first one was the ERCSAM Camex 8 Reflex, presented on May 6th, 1955. In 1956 came the Armor 8 C (double-prism block like Paillard-Bolex but slid in and out before a take). Then the Nizo Heliomatic 8 Reflex in 1957, the Beaulieu Reflex 8, 1959, and the Pentaflex 8 in 1960.
  2. They’re of the same five-elements design. Only the mounts are different.
  3. The original pins were made by Spirol. A couple years ago I inquired with Spirol about manufacture of these. The answer was minimum order 200,000.
  4. Fomapan Reversal was introduced in 1950, named R21 initially. Eastman-Kodak made Panatomic-X available in 16-mm. and Double-Eight in 1947, ASA 32. Super-X and -XX came out before the war, Plus-X negative in 1938. You still had the early Kodak Safety Ciné film which was orthochromatic reversible and Kodak Panchromatic Safety reversible. Bauchet introduced a Super Panchro reversal in 1939. Gevaert stocks since 1932. Schleussner and Mimosa since 1936. In Britain there was available Selo ortho. reversal in 9.5-mm. in the twenties until 1928. Ilford Pan F from 1956 on. Konica made 16-mm. film from 1931 on, Double-Eight stock since 1933. The Kodak reversal stocks on grey and blue base began being used from 1954 on. Developers used to be hydroquinone-metol formulae. Newsreels were 35-mm. with 16-mm. exceptions rather than the rule. Blow-up and reduction printing was done since the early 1930s. You had a clear-cut distinction between professional commercial cinema which used standard film and the substandard amateur or, to some extent, scientific cinema. Experimental cinema happened on standard film. Artists used the spring driven Sept by Debrie, ICA Kinamo, Cinégraphe Bol, Bell & Howell Eyemo, De Vry. 8-mm. was considered a purely home movie format. Kodachrome became available in 16 and Double-Eight in 1936. The finer-grained Kodachrome II came out in 1961. Why emulate something that won’t be recognized as original? Will you project? Will you use non-bloomed lenses on camera and projector? Do you have an idea of the light seen by the public, incandescent, carbon arc? Do you want your images go lost in the sea of LCD displays like all others? Cinema is something apart from computers and data. Films can be projected without electricity.
  5. The 1962 NS P 400 has a pair of fixed pilot pins like the Bell & Howell 2709 or an early Mitchell, closer to the Mitchell AA movement which also pivots around a shaft above the gate. https://cinematography.com/index.php?/forums/topic/72258-mystery-camera/ https://archive.org/details/americancinemato43unse/page/38/mode/2up?view=theater&q=Newman
  6. New generations grow up to replace us sooner or later. Who cares about terminology? Very few
  7. I find the G overengineered, impractical, and geometrically absurd. Although of fine workmanship the mechanism is heavy and noisy. Ventilation not so good. The film canal is of such design that you can remove the pressure plate but the other half is not accessible. You need to wipe through with bottle brushes. You can’t inspect the corners. The long canal is detrimental for splices that are only little askew. The positioning offset, i. e. the distance between the transport claw and the optical axis, is too long, far from any camera’s and printer’s one. For best image steadiness the geometries of the devices should match. Your camera positions in the perforation hole +3. Else the lens receptacle diameter is obsolete. There are better silent projectors available for less money.
  8. Berthiot Cinor might suit a French camera. They’re totally neglected and therefore cheaply available. The seven-elements f/1.5 Cinor from 1935 will surprise you. Then you have Kinoptik, expensive, Hermagis, and Angénieux. If you want to investigate American lenses, the brands are Bausch & Lomb, Wollensak, ILEX, Graf, Gundlach, Kodak, Elgeet, Century, Zoomar, Veydra. Of course, old-timers need to be serviced.
  9. I have only this excerpt from Telecasting, February 6th, 1950. $2,860 would be $36,600 today.
  10. Caro Daniele, do us a favour and try to hold yourself back for a moment each time before you send off, only as briefly As the Day Shines. Auricon were professional equipment. Amateurs, if they were out for a synch sound film, would record audio on magnetic tape rather than optically. In 1957 was already recession, I can google that within a minute. The money wasn’t everywhere at hand. But thanks anyway for the lush scan
  11. Why not C-mount optics? What makes a new generation abhor from the original lenses? Optically they’re much better than any stills photo lens you can pick because they were calculated and made for the format.
  12. That’s why, you are giving the answer. Had Dr. Bolex done his work properly you could use the critical focuser. A crisp, clean view of the scene is possible by which you can choose the field of sharpness at will. I know how much work it takes to clean an entire H.
  13. That tells everything. It had to be a Paillard-Bolex camera but you don’t let live the lenses you have. The camera is made for C-mount optics. As Dom said, the adapter may be inferior or, my presumption, the focusing prism not seated correctly. I have encountered this many times with those cameras. CLA can mean plenty of things. The A stands for adjustment and I doubt that the focusing finder got worked on. I even doubt that the mechanism of your camera was disassembled and gone through thoroughly. Else the stills photo lens by its weight or you yourself may pull on the turret plate manipulating it, lift it off slightly, enough to make focusing impossible.
  14. Since you persist: no. Since you didn’t respect what I wrote about the one-inch and the two-inch Ivotal I can’t participate in this discussion any longer.
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