Simon Wyss

Memochrome is my printer light control device. I developed it with the aid of Albert Riedlin V. and Rainer Rombach in 2007, hence its initial name WRR. You have free choice of 32,000 times 50 light steps each for R-G-B in an Excel file or similar software. If one could convert video color grading data to comma separated sets like 34,36,41 it would be a nice affair. Memochrome is available to the industry. PM please for further details

Wild filming and recording is feasible for short takes. I am experienced in synching wild shots as an editor, taking advantage of the possibilities of inserting and cutting back. In fact, you can keep an interview lip-synch for minutes if you can interrupt the picture now and then and or shift the sound once and again. It’s about half a frame’s or a frame’s length each time, removed or inserted in an imperceptible way. There’s a number of raffinated tricks.

Austin, number 88806 would have been made in 1953.

Il m’était un plaisir.

Check with Bolex about a replacement spring or buy another B 8 (from me). I also have two H 8 Reflex for sale, one with the Vario-Switar EE.

Dom has it perfectly right. One little thing to remember is that Paillard springs are mounted pre-tensioned. One should not be able to wind up completely which would risk to tear the spring from its attachment to the barrel, and also should the spring not unwind fully in order to take constant torque to the mechanism. Therefore one needs a spring winder and a torque spanner. Of course, you can remove the spring stop. You’ll be able to go further winding and have longer takes. If the mechanism is well maintained. An important detail of such pimping is removal of the spring (CAUTION !), fine-grinding its edges, and polishing it entirely, unless its convolutions might not slip well. Once replaced in the barrel, free of burrs, particles, and grease, you lubricate it with graphite. But since one can wind the spring while shooting (tripod) one better restores the original state.

The reason they changed the claw mechanism was that troubles were encountered upon rewinding the entire film load, the Paillard-Bolex-H’s big difference to all other cameras. Instead of pushing the film upwards by the original arrangement a second claw was added by which there is more practical pull. At the same time it was found that the movement could be made with less joints, advantageous for steadiness and speed. That was in 1954 from number 100401 on. On the other hand these trailing claws are not rigidly controlled but simply flung onto the film. Nylon pads inserted into the aperture plate, a bit recessed, give a stop to the claw tips in the direction parallel to the optical axis. The movement is simple and effective but noisy with shrunk film.

By ISO 5768 the image produced by the camera aperture is given as follows: Height 7,42 mm +0,15 -0 or .292" +.006 -0 Width, referential 12,52 mm or .493" Image center line to reference film edge distance 9,15 mm or .36" Image border opposite perforation to reference edge distance minimum 15,37 mm or .605"

16mm was introduced in 1923. The first camera available was the Victor. At the end of the year came the Bell & Howell Filmo. Ciné-Kodak in 1924. The first European 16mm camera was the Ciné-Nizo by Niezoldi & Krämer, München, 1925. Bolex Auto 1927 http://www.lib.uiowa.edu/spec-coll/msc/tomsc200/msc153/smpte.htm

Omit the prebath. Useless

The videots trashed the film, so the filmers destroy the remnants. It’s very old behaviour, before language.

Man, the way you videograph it is no wonder something can go wrong! Put that camera on a tripod, give the thing some light, focus correctly, and then show. I hate to watch such shaky, unsharp, and dark videos. To be more constructive: Did you compare how they power the motor and how you do it?

There was a Bolex 350 under the Christmas tree when I was 16.

José, one thing I can image very well is you’d start a mechanic camera rental business. Your expertise can be a gold mine. Your hands would go before young eyes. Offer inexperienced filmers what they need for an economic shoot. I mean, there are Mitchell, Arriflex, and whatnot on sale today, it isn’t so hard to equip oneself with tripod, camera, and lenses. Once you have gear rented out you will be free to go lighting. A 50-year old is most probably taken for serious when he declares he has changed his direction for light after many years of camera. I’m 51 and a mechanical engineer and machinist now after many years of cinema and laboratory. ¿Dónde está mi estuche?

My all time favourite http://www.youtube.com/watch?v=wb8Le1nXy80

Verne and Sylvia Carlson in their Professional Cameraman’s Handbook, 1981: “Agfa-Gevaert 35mm daylight spools contain approximately 34 meters (112 ft); 16mm daylight spools contain approximately 32 meters (108 ft). 35mm and 16mm darkroom loads contain approximately 3 meters (10 ft) additional footage for threadup. “Eastman 35mm daylight spools contain approximately 33 meters (109 ft); 16mm spools contain approximately 33 meters (109 ft). Eastman 35mm and 16mm darkroom loads contain approximately 3 meters (10 ft) additional film for threadup. “Fuji 35mm and 16mm daylight spools contain approximately 34 meters (112 ft). Fuji 35mm and 16mm darkroom loads contain approximately 4 meters (13 ft) additional footage for threadup. “Ilford 35mm and 16mm daylight spools contain approximately 35 meters (115 ft) of film. Ilford 35mm and 16mm darkroom loads contain approximately 4.5 meters (15 ft) additional film for threadup.” I have measured 406½ ft on a darkroom load of Fomapan R 100. I have an E-Mail statement from FilmoTec that their 400-ft. loads are exactly 400 feet long. Kodak 16mm. film was initially (1923) furnished with black and red paper leader cemented to both ends, black on the outside, red inside, and perforated. Soon it became evident that it is better practice to give away more film in one piece instead of the labour-intensive makeup. I know that Gevaert used to have the same paper leader practice—long ago—but that’s really a thing of the past. I’d like to learn about the pioneers, how they dealt with portions. One of the most important technical subjects of the trade, raw stock lengths from 1887 to 1907, is almost unknown. When I buy a roll of film I want to have a certain length. I mean, certain. Who wouldn’t?

Gleißende Schatten Kamerapioniere der zwanziger Jahre Cinema Quadrat, Mannheim Henschel-Verlag, Berlin, 1994, 156 pages ISBN 3-89487-216-0 Perfect reading for the subject with a lot of illustrations A few historical and editorial errors but nevertheless a book I am glad to have

Tobias, I experience that not for the first time, to be read as rude. While never my intention I think that it’s got to do with a deep cultural and verbal difference between the Anglo-Saxon and the German worlds. I might be a tick dryer in writing than someone else in German but I am not understood as rude or harsh so far. I admit that I can be the teacher. In fact, I do work as a teacher, even for English in this country with problems like students unable to say little, bottle, single. The german tongue brings out littel, bottel, singel. Must I not remove anything from a citation? O, help, time of right or wrong!

It’s the video issue. The very narrow Green reception band, if bandwidth at all, of the sensors are not favorably counterbalanced by Red and Blue. I presume that you know about Red and Blue fifty-fifty forming Magenta as opposite colour to Green. You can screw out with Red and Blue as much as you want, that stubborn Green channel will not give in. It’s either in or not. Our much wider ocular colour reception is rather forgiving for Green content, especially on shiny surfaces. So golden reflections can look pretty fine to you while the video camera has its Green tap just bursting. Film is closer to ocular reception based on the sensitivity of chemical compounds, not metal oxide field effect transistors.

What? Redundant? Is the use of ink redundant? You leave me with a very big question mark. Intellectual!

Perhaps bold to pick this up so late but that Friday night it must have been late for you. The first flexible film was made and patented by Rev. Hannibal Goodwin in 1887. Eastman stole the invention from him 1889. There has been a trial, a judgement and a fine. PETP or PET Polyester was first produced by Emerette F. Izard under Wallace Hume Carothers with DuPont in 1940. DuPont began offering Cronar base films in 1950, and the EKC bought licence to manufacture it in 1955, called Estar. Color negative films have been invented by Agfa chemists. Eastmancolor was developed from the published Agfa patents. The Technicolor stocks were nothing special, only the panchromatic camera film had to be covered with a red-dyed filter gelatine. Special Order by Mr. Kalmus 16mm and Super-8 were developed by Bell & Howell Co. “Moon landing” films were nothing special, too. Ektachrome on Estar EXR, extended range sensitivity film, was bought from Edgerton, Germeshausen, and Grier, Inc. The EKC has bought itself into most business. What they weren’t able to afford any longer was the silver. Its price got seven times the 1992 value in 2012. Three days ago this press release: http://www.agfa.com/...ontract_EPM.jsp

No, it isn’t. 16-mm. stock has a thinner base than 35-mm. The difference is only about a mil but 16 cameras don’t like the 35 thickness. Slitters, as a second point for consideration, are never set up mixed. You have always either all 35 or all 16 across the width of the jumbo rolls. Or 32, but those years are gone when double-16 was printed or quad-8. The after 32 slitters stand around in labs. Thirdly, there are almost no perforators on the market that allow to punch 35 and 16. You have individual perforating machines.

Absolutely no waste. The dry and hard documentary school, once famous from America, is the best base for an observing eye and patience in your soul. I believe these are things that might contribute to your standing out of the mass. From the technical standpoint, too: having experienced night shoots, behavior of gear in the cold or sizzling under the sun plus problems arising from simple misunderstandings or so will drop-forge you to a filmmaker. Not to forget editing. It is a whole different task to cut 45 astonishing minutes out of rolls of non-repeatable images compared to the assembly of takes after script and production scheme. Fear of being a coward? You are in that college, so pull it! No one will be able to steal it from you afterwards.

Isn’t it this forum?

Hi, Giorgio, just a quick answer: you can use these lenses on the Beaulieu Reflex 16 with(out) problems. Haha!! RX Kern are corrected for the Paillard-Bolex prism between lens and film that introduces a longitudinal focal error. On a camera with only air between lens and film the lenses will not focus where their scale indicates, but since you have a mirror reflex viewfinder with the Beaulieu you will have on film what you see on the ground glass. Only possible problem is that the Beaulieu lens turret will not allow for more than 4 millimetres physical depth beyond collar. Some lens threads are longer, with Kern, with Wollensak, with Schneider.