Simon Wyss

I think you’ll have more luck finding Filmo 70 magazine spring belts than me in Europe. At total failure a spring factory can make you those.

Cinema Products

Should very much like to help you with it. Have a look at my website, if you please, to be found with my profile.

You’re not ADD, you’re DDT.

What pride jumps off that label!

No, it doesn’t. Variations in development change the character of the image.

It’s Abel Cine, isn’t it? The difference between jams and none may be that negative stocks are perforated short pitch and reversal films full pitch. An LTR claw pushes onto the hole edge at a very narrow angle. With long or full pitch stock you would have to adjust the claw stroke length which is not possible.

No adjustment necessary.

Yeah, the tension. Mind you, that motor was made for 220 Volt, yet we have 230 Volt. Just of late I had someone here with an Arriflex 16 SR II and an old, half-melted charger. It gets dangerously hot. Why have you fallen for the WEBO M?

Just for clarity, you mean a Pathé WEBO M, don’t you? There are various electric motors, the torche ones, a big one made in Germany, others from France. -What watch? -Ten watch. -Such much?

It’s comparing an apple with a coconut. The one is normal focal length, the other a moderate wide-angle lens. The Elmarit has the old Tessar as its base, the 35 mm R just got an afocal group added frontally. The Summicron was designed after glass of higher refractive index has become available, n = 1,7000, and it is a slightly asymmetrical double-Gauss six-elements lens. If you wish to read yourself in technically, have a look at the publications of Prof. Cavina. The criteria you are listing can be respected with an 1893 Cooke portrait triplet. Creaminess is bullshit to me. Work with light, the lens just depicts what’s there.

Thanks for sharing Typical Camex overexposure of the first frames of every shot which comes from the heavy governor. Hence also a relatively low max. speed of 32 fps. Some years ago I published an article on that camera (in German).

What value did you note on the customs slip?

Michael Tisdale does great work but the data aren’t waterproof. Paillard & Cie already have given wrong numbers. The H-16 S for example has a 170-degrees shutter opening. The instructions to the H-16 Reflex speak of 17,526 mm flange focal distance, also besides the fact.

With the Paillard-Bolex H-16 it depends on the model; angles vary between the early 190 and 144 degrees (M); same with Paillard-Bolex H-8, whether early, Standard or Reflex; Keystone A-9 has 160 degrees; Revere 16/26 have 133 degrees; Ciné-Kodak E has 165 degrees.

Theater owners needed to invest also in special non-magnetic sprocket rollers for the projectors, aperture masks, sound readers for the COMMAG prints, pre-amplifiers and amplifiers, a curved wide screen, if it were to be done correctly, loudspeakers behind the new screen plus in the auditorium. With regard to the image aspect ratio, its presentation, and sound reproduction CinemaScope has suffered more than any other wide-screen system. VistaVision Motion Picture High Fidelity was too complicated for a gain that got zeroed by the improvement of film stocks.

I have found out that the designation is petal sleeves.

Left top you have a Movie-Mite 63 projector which appeared end 1945 or early 1946. This model seems to have a different motor, so could be a little later. The women’s shortened sleeves put us to 1951-52.

Well, I actually meant the hundred-footers. The Kodak 200-ft. spools for the A-Minima should fit. Do check every spool on a rewind before use in the camera. ISO 1019 prescribes max. width of 19,5 mm in a rotation diagram.

You’re most probably using those plastic spools, aren’t you? They are not made for kinematograph cameras but for microfilm applications. With spools according to ISO 1019 you won’t have jams anymore.

Clipper oil is too thin. A common sewing machine oil is higher viscous. You can also pick a little bottle of bicycle oil somewhere. It should read free from acids and resins.

Tyler is perfectly right and I should like to add that the main difference between film and video lies in the labour. It takes a human being to project a film positive before several hundred spectators. It goes deeper than esthetics, films are tangible objects. Video, mind you, I imply analogue electronic imaging, doesn’t have a body with pictures on it. It’s a radical abstraction, just magnetic information.

Probably an example that never got a service, the counter return coil spring sticky with dried grease Have had an H-8 lately with serious wear on gears because the poor camera was used in its original state since first sale 60 years ago.

The post I have linked to is from Nov 1, 2022.

https://www.photrio.com/forum/threads/kodak-on-twitter-were-hiring-to-keep-up-with-demand-for-35mm-film.194674/post-2605206 Kodak.