Simon Wyss

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

http://www.filmvorfuehrer.de/topic/14799-darf-ich-vorstellen-cine-kodak-special/ Text translated from German Cuckoo! Pickles cool better than ice cream and reduce sweating. The old knew some. To satisfy your thirst for knowledge let me tell you what I’ve found on my most recent conquest, No. 2249, Magazine 100-12418. I wish good edification. The well-known basic idea of the “Kodakˮ is a box. Whoever the designer was, the Kodak film cameras were all cuboids, for 16-mm film, for Double-8 film, for Super-8 film. Longer than high. Why a box? You Press the Button, We Do the Rest. Sales. Most other cine cameras were higher than long, see the Filmo of Bell & Howell, the later models from Alexander Victor, the Agfa, the Nizo, the Paillard. Yet the Cine-Kodak Special had a tremendous influence on the design of film movie cameras. (picture) It was the first 16-mm camera that brought the separation between camera and magazine but a step further than with the 35-mm camera. One has to speak of active magazines. The entire film transport is disposed in the magazine, the camera ends with the provision of a controlled torque. By preloading magazines fast changes are possible that don’t take longer than with cassettes. It was the anticipation of the Bell & Howell Autoload by a year with a minute difference: The Kodak cassettes contained 50 foot of film, the Cine-Kodak Special has 100- and 200-foot magazines. The overall development of the cine camera is very dense in the 1930s. When I look back into history I have the impression that an unleashing of male productivity occurred 82 years ago. The general social background must not be ignored because commerce, armament, the political changes and a number of technical innovations were exaggeratedly male. The women at that time had hardly more than Kirche-Küche-Kinder. A few made their careers, only if you have a closer look, in breeches parts. Marlene Dietrich, Leni Riefenstahl, Amelia Earhart weren’t very feminine women. Fashion made genderless moderns out of women. In 1930 everybody got gripped by something towards integration and division, the principle of the new Uranian age. Subdivision happens with the Ciné-Kodak Special into camera and magazine, integration within these two components. In contrast to the ten years older Filmo one cannot tell anymore where the drive spring is. The 100-foot magazine has no body curves behind which one would assume the spools. The circular lens turret is gone, too. (picture) The Cine-Kodak Special comes with a unique, almost square quick change plate for two lenses. This has not been patented. Protected by law, however, were the alternate locking of magazine and camera mechanism, the drive coupling between camera and magazine, controls, governor, fade-out brake, reflex viewfinder, variable shutter, disengageable cranks and lens mount. The names of the patentees remind us of a time when well-paid technicians from Europe lived in Rochester: Julien Tessier, Otto Wittel and Joseph Stoiber besides Edwin Fritts and Paul Stephenson. The block-shaped camera appeared in April 1933. How is the mechanism of the Ciné-Kodak Special designed? (picture) Classical. Between two plates connected by a half dozen supports, as found in watchmaking since the 16th Century, we find spring, gears, controls and switchgear. But there are absolute Kodak-unlike openings in housing and plate through which one can lubricate the shafts of the governor and other fast moving elements. (picture) The arrangement of the mechanism is determined by the space which is occupied by the shutter gearing. Thus, the one-one shaft has moved downwards parallel with the set-up of the film spools. I’m not writing barrel as it is called in watchmaking but just spring, and it does stand free. It’s attached to a bracket with its outer end, wound up from the core, and it pulls 1600 frames, one minute and six seconds at 24 f. p. s. There’s the traditional planetary wheel as its stop. Upon rewinding film one also winds the drive spring, so there is that limit to it. We are in the heart of the apparatus: The shutter opening angle is 165 degrees. I measure 4.5 mm distance between the shutter and the film, probably the smallest value with all motion-picture cameras. The claw clears the film in the standardized +3 position. The pressure plate can be removed. Everything can be kept clean except the cover slide in the aperture plate. Another fact that I’m facing is the absence of a lateral film guide. The aperture plate is indeed chromed on the film side but it is not as nicely finished as with other cameras. I measure a gate width of 16.03 mm at the top, in the center and at the bottom. (picture) Did I miss something? What is the secret? The film channel is milled square. There are six pins pressed in with ground and polished heads, one at each corner of the aperture plus two at the bottom. In order to fully comprehend I had to drive out a cover sheet from a dovetail guide on the other side of the aperture plate. Shortly, fresh film will float or run with a little interference on the edges when swollen. In that case no play. Did the engineers think of the tropics where film is likely to swell a bit? (picture) I put a snippet in the channel, measured to 16.00 mm, the pressure plate on it. Puzzling, no play. But I cotton on the engineers. I see that the film is guided by the chamfered pin heads that rise half a tenth millimeter, to be exact, on the inner hole edges. This is a centering guide, which works even when the film has undersize. The camera will positively position film perforated on both edges. Film with one hole row is no option. (picture) This film guide has to do with Kodacolor. Kodak launched that additive color system in 1928 in the 16-mm format. Kodacolor is based on a black-and-white stock with very thin longitudinal grooves rolled into the base in conjunction with color filters in the optics. Highest precision in lateral film guidance is essential to the process, because deviations result in false colors. Single-edge perforated film has long been the exception, despite the Berndt-Bach sound cameras and all later ones like the Arriflex 16 BL. Actually a change came only in 1969-70 with the beginning of Super-16 and then still not entirely. With the most recent format Ultra-16, which is still wider than Super-16, both hole rows are allowed. Back to the mechanics. There is a well-made governor with two flyweights, the spring between them being a speciality because it bears a ground relief which allows to expand the scale of the lower frame rates. Therefore, the 8-16-24 marks are farther apart than they would under the ordinary spring form. Next, the governor has two brake pads, so that the bearings are charged more floatingly than distinctly in one direction. The governor shaft is made of steel and the holes are in steel plates. It takes very little oil to lubricate this crucial element. By its style, this camera was far ahead of most competitors. But it is prone to rust. My model does have rust, luckily only on unimportant surfaces. It has been serviced at least once. There’s a color pencil entry 11/14/52 in the housing providing the information, also a Kodak Service sticker in the magazine dated 11-18-52. The switching mechanism deserves a comment as well. I refer to the means by which continuous and single frame shooting are connected, the locking and unlocking of camera and magazine, and also the release of the rewind crank. It is so that the camera only runs when the magazine cover slide is open. Conversely, one cannot remove the magazine when the slide is open. One does not lose a single frame at magazine changes. But the 40 frames counter can display a frame too frequent if the coupling parts of the camera and the magazine are out of line against each other. In such case the camera will turn empty until the spring-loaded clutch pins engage. In addition, the Cine-Kodak Special has a freely adjustable 100 foot counter. Each magazine has its own feel-lever footage indicator. Now for the optical part. The Kodak Service offered to retrofit a revolver that takes C-mount lenses, way back in the 30s. Otherwise one has to deal with the range of Kodak optics that came with focal lengths from 15 to 152mm. These were good lenses. Insert tubes could be used for macro photography. There were close-up lenses and Wratten filters in mounts. The viewfinder mirror is pivoted in from below and locks. When releasing the camera it jumps out of way. You look straight down on the ground glass and may slide in a magnifying lens. A prism device comes with the 200-foot magazine that allows horizontal insight. It’s a true reflex viewfinder for prior-to-shoot focusing, outdated to one or useful for the other. Accessories A fader was available for uniform moves of the variable shutter’s lever. The fader of Paillard-Bolex, initiated by Tullio Pellegrini of San Francisco looks very similar. One can attach an electric motor. For this the screws next to the one-one shaft are removed. There are reports of the use of the CKS with synch motors for sound film recording. The Bodine Electric Company, Chicago, was the manufacturer. Here is a CKS with regulated motor and tachometer, the obliquely angled thing on the left in the picture. (picture) There was no cable release attachment. A set of masks was made for effects such as double or multiple exposure, vignettes, etc. There is a pocket on the underside of the turret plate, only 0.76 mm deep. Looks strange to me. Summary I believe the Ciné-Kodak Special still is a useful 16-mm film camera, provided one gets along with its character. I mean the rather tiny knobs and levers which are difficult to hold in the cold with gloves, the chrome handle of the winding crank, locking lever, magazine latch, viewfinder and lens mount. The Ciné-Kodak Special compares well to other cameras in respect of steadiness. Only the Pathé WEBO exposes 1600 frames on a wind, too. That was a copy of the Ciné-Kodak E. The large housing, unfortunately with only one thread, ensures good tripod mount. Lacing is not difficult, one finds the right loop sizes soon. With coated lenses, adapted, one can shoot to professional demands. The claw was later moved further down. Slightly less good steadiness must be expected with such magazines. Here are some views of a model with a four-lens turret. (picture) Source Note http://airandspace.s...id=A20020304000

Yes, very good, this must be it. I am not familiar with the Morse apparel but there’s the rub.

Well, now, it looks like something is wrong with the bleach step. What acid do you have in there?

Make sure you have enough agitation in the clearing bath. That is as important a step with reversing as are all others but often neglected. A little additional alkali might help in the desired direction. No harm from a short water bath after the bleach. Next, second exposure must be thorough and with incandescent light only. Give the whole film two minutes under a frosted 60 W bulb at 18 inches distance, no less, in motion, under water (the film, not the bulb).

That’s simple. The cord running under the cover on the right side (as seen from behind camera) is placed over the front spindle in order to wind up film when running camera backwards. Actually a joke for fools to mention since all such Arriflex mags can be reversed this way.

Intermittent, step by step, contrary to continuous printing

Lots of light when you want to have more depth of field by closing the iris

The book did not dissappear. Check this out: I will have my lab back one day, just you wait, ‘enry ‘iggins, just you wait! Old steam engines are being put back to work. I locate a heavy defect with film archivists, especially in Europe. I think ours is the worst. You are promised something by the director but that is never kept. There are quite some stories to be told.

Now, that sounds interesting, but where are these people? I am not able to find out, most probably due to my advanced age and coming from BC (before computers).

No doubt, it isn’t a mechanical problem but one of chemical-economical nature.

Paul, you might be running into trouble to find a lab where one accepts snippets of that film in 5-ft. length now and then. Not to process it properly is like bathing a C-41 still film in the wrong soups. You wish to have nice colours, don’t you? Stick with stills film for stills. Movie labs take 100-ft. portions as the shortest length, and that’s what you will have to pay for even with shorter pieces.

Oh, now I see what you mean with magazine. It’s rather cassette or cartridge. In my understanding a magazine is a self-contained unit that can be opened, closed, and loaded with film on cores or spools without tools. A 50-ft. cassette is not designed to be opened and charged by the user. Nevertheless, go on with your compilation.

In case you encounter a rough going shoot better chose film. A professional film movie camera never lets the film go, or in other words, the pellicle is at all times guided either by the transport claw(s) or the register pin(s). You can shake the mill while running, it won’t lose the process. In the cold you’re at ease with a mechanical camera. No worries about electricity Wanting something like a picture in theatres you’d pick a 65mm camera . . . Single-frame work: film Underwater: video

James, it’s Polish but total rubbish. I translated to German. Like Dom says, you got spammed. Delete, erase, kill, set to Zero, wipe off, destroy, cut, bleach, hack, mill over it. Entfernen = to remove

Bauer Super-8 cameras have Bell & Howell interiors like Carena and others, so the shutter opening angle is 160 degrees. Please don’t press me to display the coming of those things, it would mean to explain the Gordian relations within a now gone industry. I want to concentrate my energy on finding out about pioneers. By the way, here’s looking at them. http://theimpossiblecameras.weebly.com/index.html

No! No, don’t do that. An original’s perforation must not become damaged which it will on a editing machine, no matter what make. Flatbed editors with prism and large sprocket are especially proper to warp the hole edges. Negatives for assembly are wound through synchronizers only, sprocket wheels that make the least resistance and which teeth fit best for the purpose. You may want a three or four-gang synch roller according to the make-up of the negative, i. e. whether you mount straight or in two or more bands for doing away with visible splices, superimpressions or more complicated dissolves. It takes two gangs minimum to match the original with the finished work print (cut print in my country).

You seem to be stuck with an absolute thinking. Who’d define what 100 % light is? Please read all posts. It’s been said that f and T numbers are mathematical relations between two values. F 1.0 says that the effective aperture diameter is equal to the lens’ focal length such as 40 mm vs. 40 mm. The diameter of the iris diaphragm inside the lens measures 40 mm full open. From there you can stop down to higher ratios according to an internationally accepted series of values. The increments are the square root of 1, sq. r. of 2, sq. r. of 4, sq. r. of 8, and so on. Below 1 you have the inversion of these: sq. r. of ½, sq. r. of ¼, sq. r. of ⅛, and so forth. Why is this so? Because when you alter the iris opening in linear fashion, the surface of the opening changes in the square function. Remember surface calculation?

http://theimpossiblecameras.weebly.com/leprince.html

Find a wooden legs ciné tripod with a good fluid head, like a Universal (Sydney), a Miller, an Arri, whatever. See that you have a spirit level with it.