Simon Wyss

Unfortunately no The ciné section of Gigabitfilm so to speak zonked out. Mr. Ludwig could need some help with his English Marketing Department as well as the overall website entrance. I am in a new harbour now, mechanic workshop and film lab supply. To sum up what you should know: Gigabitfilm 40, ISO 40 to daylight, in 16mm is a panchromatically sensitized black-and-white thin-layer negative film. It is coated on colourless PETP of 0,06 mm thickness (2.4 mils), has an incorporated anti-halo protection that disappears during development, and a very effective antistatic agent on the back. Chemist Ludwig has developed a formula that allows to make negatives of varying contrast between 1:1 and 1:0.3 while maintaining maximum density of the layer. That is his special achievement with the result of about twelve stops exposure latitude. The characteristic curve doesn’t have the typical toe of a classic film but a rather sharp rise from nothing. It then pulls away in a linear fashion up to log 2.2 to bend until log 2.4. Gigabitfilm 40 plus original chemistry in that respect behave like a mid-19th century wet plate. Where you underexposed, the negative is blank. Exposure must be increased by 20 percent for times shorter than 1/500 second, by 50 percent for times shorter than 1/1000 second. I have some 12,000 feet in stock, emulsion 2005-2. It’s perforated one edge, 0.3000". The film’s total thickness is an idea less than 0,07mm (2.75 mils). No marks or edge numbers nor codes.

Film is only kept alive by living it. It is not a format! There are several film formats, there are image aspect ratios and picture formats, but film is an opto-chemo-mechanical invention. A cluster of such. Video is an opto-electrical invention, binary-numerical electronic in its youngest form. It’s never been film versus video but to drop one in favor of the other. One cannot preserve film with digital data. That is a misrepresentation. From the moment on when a film’s pictures are converted to electric signals one deals with something different. The film is still there, most of the times put back into cans, but the spectators are given something else. We must be honest in the discussion. No false tears, please. My appeal is straining, I know. Most people choose the easy way. More white bread is eaten than brown bread.

Prints are on 70mm stock in any case, 65mm is for origination alone. In the eastern bloc 70mm film was used for the shoot as well as for distribution. Yes, reduction dailies, from 1991 on also from the C. O. S. H. A. R. P http://www.in70mm.co...sharp/index.htm You have wide film synchronizers and there were 70mm editing machines. Westrex with an eight-face prism, Steenbeck (pronunciation as with Schnee), KEM.

35mm and chemistry → Gigabitfilm Ltd, Heinrich-Böll-Strasse 17, 52372 Kreuzau, Germany. ww.gigabitfilm.de 16mm → Simon Wyss, forum personal message See also: retro photographic Ltd. 43 Alchester Road Chesterton Oxon OX26 1UN United Kingdom Tel. ++44 1869 240345 Fax. ++44 1494 529491 info@retrophotographic.com http://www.retrophotographic.com

It takes something like a microfilm processor. The usual machines for ordinary motion-picture film may put on too much strain. I point to spiral reel development because of the huge advantages it has over machines: Flexibility. Instant changes of processes, baths, temperature, time, and agitation Evenness. Every part of a portion undergoes the same conditions at the same time. Agitation can be much more thorough. The drying film can be viewed at a glance. Precision. Bath volume to film surface ratio can be kept to optimum at all times. Cleanliness. All parts can be kept clean way easier than with a machine. Security. Exact records can be made upon every single step in order to prove something to a customer. Pre-exposed samples (wedges or scales) may be processed together with each portion. Price. Mr. Gigabitfilm Detlef Ludwig and I cooperated towards a machine adapted developer formula. I still have a bottle of concentrate but no processor any more. If anybody feels the urge to enter that realm contact with Mr. Ludwig is advised. I think he will like to continue where we stopped. There is the one-shot formula for hand development and a machine formula for continuous replenishment.

Yes, colourless PETP polyester base Gigabitfilm 40, ISO 40 to daylight, was first used for cinematographic purposes in the 16mm format and processed on the 24th of January, 2005. Negatives out of the original developer have virtually no grain. Prints from Gigabitfilm originals on ordinary positive stock show their own grain structure, not that of the negatives. When a shot is not perfectly focused, it shows. Gigabitfilm is like a mirror. I have not yet used it for prints. I don’t have a scan and won’t order one soon because it’s impossible to display the film’s quality with pixels. It will only look like a video. For the time being there is just hand processing with spiral reels. That’s the only way to handle this thinner material through the baths. Unfortunately I lost some time with the preparation of a new spiral reel based processing system. A 100-ft. and a 500-ft. reel shall be produced. The more serious interest I find the sooner I can come up with the first series. For more detailed information, please contact me via PM.

Ilford may deliver from 10,000 ft on (108 rolls of 100'), Pan F plus/FP 4 plus/HP 5 plus. Ask them. Gigabitfilm 40, 1-r. 3000, is available in lengths of 800, 400, 200, and 100 ft. Due to its 0,06 mm polyester base you can use the double lengths, so for example 800 ft in 400-ft magazines or 200' on 100' spools. $59 per 100'. Ask me. Agfa Sound Track film 8 is available in 16, 2040 ft per roll. Agfa Color Positive film 30 in 16, 2000 ft per roll.

Christopher Sheneman, you are not alone. I second your view. I am fond of 4:3. It is the oldest standard still alive.

I know the subject. First of all, the projector must be gentle to film. So-called quick shifters, often japanese offsprings of American brands, hack into the perforation causing burrs on the hole edges. These sooner or later hook up a winding on the next, ending the experiment. Second, the film must be waxed, regardless of the projector make, very thinly only on the edges. Pressure sensitive tape is okay, but Triacetate is not. Print should be polyester base film. One projector that I have found very good for looping is the Siemens & Halske 2000. In all humbleness, I was in charge for a museum installation with endless loop projection, and one piece of film, ends joined with self-adhesive tape, then waxed, made over 200,000 runs during several weeks. There were three breakdowns, each time tore the tape. 500 Watt bulb, 24 fps.

So do I from dutch papers Such a pity!

http://motion.kodak.com/motion/uploadedFiles/circus.pdf Carlo is my friend. He had a hard time with the lab he chose. The relation with your lab is important. Everything else can be bought but not a lab’s staff’s engagement.

Let us have a list of p(a)laces where there is film projecting equipment, IMAX 70-15 horizontal, 70 vertical, 35, 16.

Four-to-three is very dynamic and strong. Image and action hold well together, the bolder you use it, the more. Study The Third Man for example or La règle du jeu.

Aiming at cinema, 35-mm. film ist still the cheapest way to have. Thorough planning, toughness during the shoot, and imagination in the (not very expensive) cutting room will take you farther than anything else. Forget video.

Exactly the kind of things that make a cinematographer’s life worth living, at least mine Thank you so much for posting!

I don’t care. We’ll be gone in December, remember Maya calendar.

Gee, yeah, gosh, cd/m2, foot-Lambert, of course. Footcandles are what Jerry Lewis mocked about when on a set he heard a technician speak of. :lol: http://www.angelfire.com/ok/kingofcomedy/book/ttfm.html

Really? 3.6 ! That would allow for a contrast of 1:4000 nearly. In other words, when clear sky is blank film and recommended screen brightness is 40 footcandles, the deepest black would stop down to 0.01 footcandles or, the other way round, the darkest shadows at 0.1 footcandles would call for 400 footcandles in the highlights. No theater on earth has ever played a print under such circumstances. My question is, why did they pour so much silver salts on the stock? I mean, EKC was the second largest silver consumer in the world, one was aware of that, they sold 200,000 miles of film a year and more. Incredible calculation! Was it that Eastman-Kodak pursued a lab hook policy through silver recovery?

Arnold & Richter of Munich still services their older products. An overhaul might do good to your camera, never a bad investment. Old grease out, fresh lubricants, check of flange focal distance, trueing of mirror shutter, check of electrics.

i) Where do you have this information from, Leo? I don’t think that one was ever able to develop Agfa-Gevaert 5.61 or Eastman 1302 to a density of more than log 3.0 or so. The older prints have a little more contrast. We also have to discern between low-key and high-key lighting, high key becoming the more important the worse people were during the second World War. ii) The first commercial run of xenon high-pressure discharge lamps occured in 1954 in a German cinema. iii) Purple is half red, half blue. I think you mean violet. After some ozone problems with the first xenon bulbs their glass got lead doted in order to retain the ultraviolet. Ozone is created on the hot surface of the bulb with UV present. Contrary to the ordinary ozone-free xenon bulbs the open high-intensity carbon arc emits a lot of ultraviolet. This is what was once known as cinema glamour, a faint fluorescence of the limewashed screen under the short wave light. Most of the arc’s UV is blocked by the projection lens and the port’s glass. The hard radiation made the Strong Super Trouper famous.

They want to sell the very core of the business, the box and the flexible non-curl film . . . Are managers born without arms and hands?

Addendum Something almost went forgotten, the weight. The Ciné-Kodak Special, empty and not bearing any lens, is 3,8 kg or 8.3 lb, of which the body weighs 2,9 kg.

I want the old cinema back with carbon-arc light, 35mm black and white plus Technicolor, clean mono sound in synch, straightforward stories for adults with active men and beautiful women, the title first, quick cashers in the box office, and an entrance fee of 10 Dollar.

Dom, there is an indicator line on each magazine’s inner cover plate. You put the film on the sprocket drum a second time. Hope you see it. :)

Hello, Steve We should perhaps continue our talk here. Have you seen the pictures? Only for curiosity