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Simon Wyss

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Everything posted by Simon Wyss

  1. Super-8 that is, the image lies just next to the perforation hole. Regular-8 has the frame line on the middle of the perforation hole, like 16 mm. It’s also called the interimage. DO NOT USE dual format projectors. NOT GOOD. They can work but most don’t do the job right for both film sizes. For Super-8 and Single-8 films (identical geometry) use a pure 8-S projector. Double-Super 8 is a camera format, the film being 16 mm wide. After processing and slitting it’s called Super-8. For standard 8 or normal 8 or regular 8, everything the same, use a pure 8-R projector or viewer. Regular 8 derives from Double Eight since 1932. That’s the original double-width-half-length system. Your projector may run the films correctly, if the stock is not too badly shrunken, laced correctly, in order. The latter means that the film path is meticulously clean, not scratched or worse still, wearing burrs. The advance claw must run on the center line of the perforation holes and not be damaged (smooth plane underside). The sprocket drums must be intact and the film guidance around them correctly seated. The film side guide in the gate needs to function properly, else image steadiness is nil. I will take care of your equipment, in case nobody does.
  2. Lauste was probably the first. https://books.google.ch/books?id=86JXA-G2ovsC&pg=PA71&lpg=PA71&dq=eugène+augustin+lauste+sound+recording&source=bl&ots=KrdtPP-ES5&sig=ACfU3U13oqjho4H0BUqbEdrWYNO1ekgyWA&hl=de&sa=X&ved=2ahUKEwjzwNn3kPDyAhVEhf0HHdfADdQ4ChDoAXoECA0QAw#v=onepage&q=eugène augustin lauste sound recording&f=true Berglund held the first public presentation of a synch sound film in Stockholm, Sweden, in 1921. Of the three original processes two subsisted. The longitudinal process that yields similar records as the intensity does was never used. Variable-intensity sound recordings were relatively easily made with the aid of the Kerr cell. That system works linearly up to 100 kHz. The main problem that had to be solved was film stock sensitive to very short exposure times, the Schwarzschild effect corrected. Until noise reduction was introduced VI tracks suffered from noticeable hiss. Variable-area tracks do not use halftones, therefore noise or hiss from the granulation plays a minor role. Also, VA recordings are more forgiving for less than perfect exposure and development. VI tracks need to be mastered photographically, else you have distortions. On the other hand VI tracks are more robust in reproduction.
  3. I’d say 1950 or 1951. Craig editors were sold by Kalart from January 1st, 1951 on and the ones here are a tad older. All Bell & Howell Filmo Eights had the D-mount thread since 1951. The two 134 lying there, to my eye, have the older black clip-on mount TTH lenses. Also, the cardboard stands’ rounded cloud style would disappear in 1952.
  4. The Arriflex 16 is a turret camera. It excels by compactness and versatility when used with prime lenses. Due to its large bottom surface it makes a perfect stand on the support. I hope you have an example with feet-frames counter. The metric counter is not exact. At normal focal length the choice of lenses can become religious. Some swear on French, some on British, and others on German glass. As a matter of fact, the differences can only be seen on the very finest grained films, if at all. Actually, you can’t find a lesser lens in ARRI standard mount, no Petzval type, no Ernostar derivative, no triplet, although many like the respective characters.
  5. Forgive me, I thought you’d speak Italian judging from your name and location. Presa is the abbreviation of cinepresa. Camera cinematografica. The right screws are these. Maybe it’s better to give the Beaulieu to an experienced person.
  6. Quite the wrong screws. In caso di emergenza prenderei la presa.
  7. Thanks, Dom, for the explanation which I second completely. My English will never be so fluent and pinpointed that I could make myself understood the way you do. T stands for transmission, if I may complete something.
  8. Mary Pickford’s Mitchell affords the same image steadiness as the latest Panaflex or Arricam does. Nothing has changed in that respect. If film should have a (new) future, printing needs to be improved. Intermittent equipment should be used, be it old or fresh, and―to fantasize a little―projectors with precision movements. The industry would have to find a way how cutting on prints can be prevented, else registering movements won’t last long. The film must remain uncut in one piece. As a projectionist (for more than 20 years) I can sing a song of mutilated positives, literal ruins of films that actually constitute fraud on spectators. Even a fresh print with bad steadiness, worst were the 1990s high-speed printing methods, is not what a producer wants to sell.
  9. What do you mean by overwound? You can’t overwind the mainspring of a Paillard-Bolex B 8. There are gears that limit the number of revolutions of the wind key. I suspect something else is the problem.
  10. In a pleasing way the camera movements are calmer than with small-gauge equipment.
  11. The motor should start when you depress the switch in the flm chamber, lid off. Although made rugged the switch can be cold for some reason. You have a wire circuit in the camera body that might need to be checked out. In most cases problems arise with the motor. The self-regulating motors have a centrifugal switch that is not so well made (IMHO). I’d look that up or have a tech a go.
  12. U. G., I can help. First of all, you won’t need to broach every single die hole. There’s a neat trick I’ll disclose to you once you have a rough. Besides that, dies can be EDMed. Agreed, the rest of the device can be bought, you have standard stamping guides and posts. For the feed an intermittent can be found as well. If you come by Parlin, NJ, have a look around for old Du Pont equipment. They made their own continuous perforators like Kodak and Agfa did, a bit different. Maybe that a step perforator can be tracked down that got mothballed then. If a Bell & Howell perforator would be available new today, it would cost $50,000.
  13. Made a mistake, the die holes would be broached, not reamed.
  14. But you think you can afford to build a perforator that fulfills the task? It was described by Eastman-Kodak people in a issue of Kodakery sometime in the thirties that the making of a single punch involved 60 operations. You have to grind the form of the intended hole within half the tolerance. You will have to ream the die holes so that the fit between punches and die is near zero. Assembly of all punches to a set is relatively easy because they are ground at gauge block accuracy. Maybe your machine shop is properly equipped. Charles explained it, to reperforate one-row 16 is not wise.
  15. Ahem, I think the SINMOR has a different mount. Debrie standard is bigger.
  16. How are you going to lubricate the switchwork that sits inside the housing?
  17. Debrie Parvo from model L on, 1921. It’s called the Debrie standard mount.
  18. Claw-shutter mistiming. Claw late, shutter already opening while film coming to halt. Images are upside down and left-right inversed on film. Technician needed. Where is the camera from?
  19. Sewing machine oil, acid free and resin free, one drop into each of mentioned openings. The best thing you can do to keep your Eyemo in a good state is to use it. Wind the mainspring fully and let it unwind uninterruptedly with film loaded. Without film only at lower speeds These are the oil ports: Front, center, main excentric Front, off center, governor Wind key/crank port, gear train (there should be a felt pad down in there, six to eight drops) Little bore close to the rewind crank bush, if rewind attachment present You can apply a little grease on every shaft end you see turning in the film chamber. Put finger on while shaft is turning to rub it in. A complete service will bring the camera back to full potential.
  20. Second Dom Jaeger entirely RX lenses have stronger positive rear elements. There is no other possibility of correction of the optical changes the reflex double prism introduces. “Collimation” of a regular lens for RX models is fraud. AR simply means Anti Reflection (coating). DV on the other hand was an early designation of reflex lenses. DV for Direct Vision The Switar 10 mm, f/1.6 is a ten-elements system, five cemented achromats. It should cost more than an Yvar 75, 100 or 150 which are triplets. The Macro Yvar have an additional element, so four glass. People tend to be impressed by long tubes and flatter glass surfaces. I see Yvar 100 and 150 offered for hundreds and thousands of $, totally wrong. I think an unscratched Switar 10 is worth USD400 today. An Yvar 75-2.8 around 200 max. Switar 25 some 300 max.
  21. I’ve got the impression that that claw is in a raw state. If you’d send me the camera, I’d investigate the depth of it into the perforation, give it two parallel flats correctly spaced, and make everything slick. I have fine files, oil stones, very fine ceramics, binocular loupes and measuring instruments. Oil is not the best lubricant for a claw joint, it gets thrown out and it runs off. I’d apply a soft grease.
  22. I know that all. Isn’t a list around of service people? Anyway, I should take care of the DeVry.
  23. They’re not. Without going into details I’d like to warn you before a, how shall I say, void attempt. Just know that it’s about an amateur camera which compact and practical lenses have been made for. You won’t get any better picture with lenses for stills photo cameras. Plus it needn’t be Kern or Angénieux. Wollensak made good and very good glass. What I want to bring across is that you film with better contrast and quite sharply through a clean and adjusted triplet than using a slightly foggy complicated system. To revive a triplet is a two-hour job for me. To service a Nikon lens with ten elements costs more. Believe me, the longer you’re dealing with film motion-picture equipment, the stronger you’ll feel a certain emptiness in your wallet. Therefore I always suggest to keep things simple and straightforward as they were conceived initially. I mean, you can always acquire a 35-mm. camera, if you don’t mind about the money for showing off. Professionals have reasons for using a Panaflex or something. Get the suspense?
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