Simon Wyss

Forgot the Elmo Zoom 8 TL that takes a 100-ft. magazine on top. 1965

Double-Eight cameras of 50-ft. film capacity Kemco Homovie 16-8, not compatible with regular 8mm projectors, 1929-1931 GIC 8 (Groupement Industriel Cinématographique), 1949-1953 Pathé Lido 8, 1958 Fairchild Cinephonic Eight, 1960; takes 50 ft. of prestriped material, maybe 58 ft. of non-striped film Double-Eight cameras of 100-ft. film capacity Paillard-Bolex H-8, 1938-1969 Pentaflex 8 with accessory magazine, not marketed, 1959

Yes, because it’s a Double-Eight film camera. Spool spindles with square lugs are normal with 16-mm. and 35-mm. film equipment. The Double-Super 8 conversion comprised push-on square-to-round spindle adapters.

A reel pity that Foma Bohemia don’t use correct spools. ISO 1020 defines the 25, 50, and 100-ft. sizes. They should all have three- and four-splined openings. The GIC 8 takes 50-ft. spools for example. https://www.filmvorfuehrer.de/topic/27598-der-chic-der-gic/

The close-up of her feet down the stairs leads nowhere. Instead try to execute a swing movement or a fast follow pam from tripod with a light wide angle lens. The apple purchase also leads to nothing. It can be understood that apples are something natural but that is not new. Basically in spring when trees begin to blossom all apples are a few months old. If one wants to point out freshness, apples are harvested in fall. A cultural lapse. Maybe a little more effort with her hair that could be pinned up outdoors. Decide on lighting, the interiors need more snap. Lots of light for cosmetics! Personally, I should not show the character straight from above lying on a bed but under two angles, sideways and in height, cuddled up to somebody (out of focus). I watched it twice, without sound.

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They talk analog renaissance, well, Jeff Clarke did, and don’t keep promises at the same time, worse than Film Ferrania. No new Super-8 camera since the announcement more than three years ago. Prices to simply forget about film. No new Super-8 projector. Analog renaissance? The hens behind the barn go laughing. Move to a different film format. Super-8 is an ugly plastic throw-away thing from the sixties. Enjoy the older open concept of film on spools, of all-metal machinery that can be kept running.

Film projection has lost its magic. Most theatre owners wouldn’t care about a snow-white screen, good lenses, and enough light. To see a fourth-generation continuously exposed print in the dull light of xenon lamps is quite different from the experience of a step contact positive off the original brought to life by the fiery light from high-intensity carbon arcs. Film projection offers the inviting subtractive imagery. Cell phone, tablet, monitor displays, and LASER projection work after the additive principle, more exactly, with better illumination evenness. But also more abstract, sterile. Architecture has failed to be uplifting, too. Why make a film when it will end on liquid crystal displays?

You can use every lens of a focal length above 50 mm. Shorter focal length lenses need to be stopped down to at least f/3.3 in order to produce sharp images. The reflex prism block introduces aberrations that special RX marked lenses are corrected for. These can be used up to fully open. RX lenses were made by Kern-Paillard, Angénieux, SOM Berthiot, Schneider, and Steinheil.

Of course, a complete overhaul by a service technician. You might want to have a fresh warranty of a year or two. I give three years.

Well, Ruben, a mechanic knows how to do it. S/he does not use a file but an oil stone or a synthetic grindstone.

I always found rounded corners ridiculous but the vast majority of projectors has them. A bigger image area with cameras and a smaller one in projection was provided by the standards since the early 20th century. It works. Mark, I was aware of the double sense and have chosen one meaning. I hope the focal side of the subject will be understood.

No. You have cameras, printers, and projectors with sharp aperture corners and such with rounded corners. A technician can lime the corners sharp, costs some money. If you produce thousand cameras, you can broach the aperture. Some aperture plates are just stamped, some are machined with end mills. A picture of a camera gate with sharp corners aperture

You cannot sharpen out-of-focus pictures. Watch too many criminal series where the good ones achieve to increase resolving power of blurred images? Such a horseplay

“The Bolex” does not exist. There were two Bolex Auto cameras made in the twenties and a number of Paillard-Bolex H models made from 1935 to 1969. From January 1970 on you have cameras from Bolex International, Inc. named H-16 SB, SBM, EBM, and EL. There’s no best lens. Among the good ones differences are small and actually lost in the emulsion for the best part. You get to see softness with lesser designs but that disappears when you close the iris beyond f/5,6. Some triplets are better than four-elements lenses, for instance the longer focal-length Kern-Paillard Yvar. Some four-glass designs outperform more complicated systems, for example the Super-Comat by TTH. With six and seven elements you’re at the top and pay the according price. Kinoptik apochromats, Steinheil Quinon, Schneider Xenon, Berthiot Cinor, Angénieux S 41, Kern Switar, TTH Ivotal. There are Kodak lens enthusiasts, others swear by Meyer or Leitz. The lightest lenses are triplets, compact, small, cheap. If you shoot black and white, you can cut out blue light with a yellow filter. That relieves the triplets that in general are corrected for the spectrum from green through red, explicit younger ones. On a post-war Paillard-Bolex H-16 you have traditionally the Yvar 15-2.8, the Yvar 25-2.5, and the Yvar 75-2.5 or the 2.8. The Pizar 50-1.8 is nice. The Switar 50-1.4 is strong under an overcast sky. Perhaps you like American lenses. Bausch & Lomb Animar are compact and light. Elgeet wide-angle Navitar, quite fast. Wollensak Cine Raptar, stopped down to f/4, useable. PL mount kills the turret concept.