Simon Wyss

Let me now suggest you read the following tutorial paper. Pin Registration by A. C. Robertson in JSMPTE, vol. 72, Feb. 1963, pp. 75 through 81

The pins are tapered and a snug fit is adjusted in a camera’s assembly. Theory is nice but practice is heiss.

Mr. Borowski is so right. Film is judged in direct projection. Why do you young folks not have contacts made? You want film, so work with film, especially with Double-X negative in a cow’s stomach.

Tell us about the processing of your footage. Which temperature was the film bathed at?

Wouldn’t say optical printer because they almost invariably employ fixed pin movements. The solid cast pieces seem to be likely of, like you presume, eastern provenance. Feed and take up rollers integrated into the movement could be the key component to find the counterpart. Maybe a czech construction ?

If I may adjust a little: The focal length of a lens is by definition the distance between it and the image plane when said lens is set to form the sharpest possible image for an object at infinity. The very base of all lens geometry considerations is the idea of an infinitely small hole or aperture in the CAMERA OBSCURA. Light from all objects would fall through the aperture onto the camera’s image surface, infinitely sharp but infinitely weak. From idea to life we make the hole of finite size. That is the pinhole camera. Adding optical elements of higher refractive power than air is the beginning of solid optics. Things become already complicated with a single lens. In the case of a symmetric lens the so-called optical plane lies in its centre. As soon as we depart from symmetric forms the optical plane will move. The focal length will no more be identical to the actual distance lens-image. As a matter of fact, the shift is very small. It is simpler to produce small lenses and precision more easily attained for such but resolving power bigger with larger aperture lenses. Each and every optical lens is the product of compromises. Focal length is perhaps the cheapest ingredient: longer focal length generally helps in the design of an optical system. On the other hand, the wider we make the aperture the more difficulty shall we have with the light coming to the lens toward its rim. At f/0.5 these light beams just graze the glass surface under a horrible angle. This in turn decreases the size of the usable image surface. The focal length should be short for this reason.

Film – buy Video – rent my opinion, if not onion

James, NOTHING has changed since 1974, since 1889 if you want, with regard to photographic gelatin on a flexible base. Freezing something means expansion of the water contained by some 9 % (nine percent). The other point is the freeze-drying effect. You can let it thaw up as slow as you want, there is always a change in the layers. I’m not so well trained in chemistry like a Charles Edwin Kenneth Mees but he’d probably have told us what the relations are. He, Stuber, and Reichenbach were the ones who saved Eastman totally. Bark, old stories, but not forgotten. Keep film at 4 degrees Celsius, at its water content’s maximum density point. Keep a dry white Cabernet at 8 degrees.

Sidney F. Ray: The Photographic Lens. Focal Press, 1979-1992-? ISBN 0 2405 1329 0

Well, Dominic, in all our friendship, when I first got involved with film processing in 1987 there was this Photomec colour positive developing machine in which a pair of circular brushes was under water. Somehow Cinegram, the lab’s name, managed to make the backing flake off successfully. Sure, things change, and the jets today are not under water. Bryce, you will successfully expose 35-mm. still stock with the following cameras, regardless which perf type: Prestwich models from 1896 on Williamson, 1897 Schneider, 1898 Moy & Bastie, 1900 Ernemann from 1903 on Pathé from 1896 on Prévost, 1905 Gillon, 1905 Walturdaw, 1907 Debrie models from 1908 to 1920-21 Lubin, 1908 Chronik, 1909 Bell & Howell Eyemo models Defranne & Gennert, 1910 Akeley, 1911 ICA models since 1912 Universal Burke & James, 1914 Ensign Houghton, 1914 Barker Educator, 1917 Campbell Cello, 1918 Zollinger, 1918 FACT, 1919 Askania models from 1920 on Amigo, 1920 Ertel models since 1920 Arndt, 1921 Hahn-Goerz, 1921 Cinex, 1922 Stachow, 1922 Cinégraphe Bol, 1923 Kinarri, 1924 DeVry, 1926 Hodres, 1934 Zeiss-Ikon, 1934 Morigraf, 1935 Šlechta, 1938 Eclair Caméflex/Camerette, 1946 Maurer & Wäscher, ? Russel, ? Schimpf, ? An ARRIFLEX or an ARRIFLEX II is not suited for type P perforation.

Brian, what will the documentary be about, if I’m allowed to ask?

Do you mean type 71112 FG 80D/64T in 35 and 72161 RP in 16 mm ? These films were manufactured by Oriental like all Fuji black-and-white stocks including Fujipan R 50 and Fujipan SSS R 200 on polyester in Single-8.

Oh, yes, Tasma, not Svema. Fomapan R was available in 35 until at least 2004 in rolls to 1000', and still is in 100' length, P perf. or unperforated. Filmotec perforate 35-mm. and 16-mm. stock on request, acetate and polyester. Ilford, malfunctioning Engländer, could flood the market with Pan F, FP 4, HP 5 in ciné gauges if they wanted. Dummie cartons in shop windows, ads, flags, cans in fridges in Italy, in Mississippi, in Brisbane. Many an amateur or pro might pick his camera back en voyage, the Eumig C 16, the GSMO, the Revere, a Paillard-Bolex, an Eyemo. Lucky will sell unperforated 35. Fuji has microfilms that can be perforated. Efke KB 25, 50, 100 run in the Frankenkonvas, run in the Camerette. Bergger, I was in contact with Monsieur Gérard, needs only enough demand. From Adox am I awaiting a reply to the proposal of an 800 ISO stock. I’m not sure whether Manhattan was a true black and white. But Woody Allen could not resist an allusion of explosivity for that one. See the first three minutes.

Evan, negative-positive processes are professional because the possibilities with a negative original correspond with professional demands. A negative’s latitude is bigger than a reversal film’s one. The printing step alone allows so many tricks to be installed. The knack is actually that bringing together of two quite different stocks. The original is usually made of a panchromatic medium to high speed grey-base film, the copy in general of a non sensitized low speed colourless-base film. Each one suits its conditions of exposure at a reasonable price. Black-and-white cinematography can be very dull, can be most brilliant. One or the other of the so-called black and white movies of past years could have been real silver film. But they were not. Too many producers still cling to streamlined ideas. Yet, there have never been more different black-and-white films on the market than today. China Lucky, Bergger, Efke, Foma, Ilford, Gigabitfilm, Shostka (Polypan), Eastman-Kodak, Agfa-Gevaert, Orwo, Fuji (yes), Adox; sound recording film, duplicating film, printing film, traffic surveillance film, general surveillance film, general-purpose negative and reversal film, microfilm, microfilm duplicating film, X-ray film, infrared film, nostalgic film. One can have 0.004 ISO to 4000 ISO, no grain to very coarse grain. Go and try out.

It takes a little force to surmount the turret’s clicks. If you know so far, is there a fixing cap (red lacquer ring) screwed in the turret? Have you loosened the turret clamp? Do you have a lens screwed on that protrudes into the lower turret plate?

Thomas Give the film three to five minutes in the bleach bath, a short intermediate water rinse, then five minutes in the clearing bath with enough agitation, and two minutes in water, agitated. Then only switch on the light, incandescent light. Continue to agitate in water until five minutes completed. If you still have too dense a positive the first development was under. Nine to eleven minutes will be appropriate at 20 degree Celsius. First and second developer can be identical. Make sure you develop without fog. To check this develop simple positive film wich you can purchase at a lab. Expose the positive stock in your camera reading the meter for 10 ISO.

What is the mains tension in your place now? We have 233 Volt here. They constantly increase the tension in order to be able to do further investments and to help the supply industries sell their stuff, you know, new sort of bulbs, and the like. The lamp in your Mark 8 projector is a 100 Watt one. The motor draws 80 Watt. Seems that your adaptor is way too weak for the total of 180 Watt.

Isaac, would you give us a picture of the film chamber showing the mechanism plate to housing edge? We can tell from that whether the camera has ever been opened. If so, the T-I switch lever might have been screwed on back incorrectly causing the difficulty. The switch mechanism must be accurately held in place.

Interesting Thank you

I asked first

Who would want to buy Gigabitfilm 40 in DS-8 ?

Open it, check the following: Voltage setting (do you know the exact mains tension in your place?) belts, bearings, leakage at motor gear. Clean the beast thoroughly, give each idle roller a little sewing machine oil, and have at first run leader film only. Lace it up with white leader in all gangs. Listen to the noise(s) it makes. Procure yourself a dust cover for the table. Waxed cloth is best. The rest is wonderful trial and error.

Martin, you Norwegian are funny people. Take it with a smile. Sebastian was not honest to himself. The spot is about a clothing line for degenerated urban people. It should have been set in the somewhere of global suburban everyday life. The clothes are so absolutely wrong in place like what Japanese tourists often wear at the feet of Matter Horn. In a way your work is far better than Sebastian's. For instance, the two figures have absolutely no communication. Everything happens like planned. Do they apply the logo in many places? The brush carries already paint when taken out of the bag. I think that's what makes it so bitter to me. In spite of a liberty allure these youngsters behave like contractors of Cheap Monday. I'd never buy a button of Cheap Monday or any other brand after such a screw. It is a plain lie. Brian has the tact to not go that far. Who wrote the thing? What regards cinematography: If at all, I'd have taken longer shots, close together mediums, from tripod. Eye level. Perhaps only one point of view with the figures moving round me. I'd have tried to enwrap the spectator by the action. Two things must come out, the red brush and her red lips. No shaking.

Dan, the base lies within the concept of the Bell & Howell Standard Cinematograph Camera’s movement. All later attempts followed the idea of the tapered pins on which the film will be literally wedged, block dead. Leonard, Mitchell, Wall, Kästner, everybody else starts from the film running in a lineal fashion contrary to the forth-and-back flying film with the BH shuttle gate. So they employ movable register pins with tapered tips. The full fitting pin is the one on the right side when you assume position behind the camera and view towards lens and scene. The other pin fits the perforation hole only vertically and leaves clearance for any film width variation due to shrinkage, warmth and or humidity expansion, and so on. All cameras since Mitchell movement B (original Leonard movement “A” had fixed pilot pins) belong to the same class # 2. Class # 3 is reserved for film movements with rigid pins: Bell & Howell Standard, Leonard, Newman & Sinclair, Jones (rolling-loop device). Simple claw movements without additional means to steady the film are class # 1.

Why not start by visiting a cinema — alone, with friends — discuss what you’ve seen. Read a book like The Animation Book by Kit Laybourne (can you hear labour?). ISBN 0-517-88602-2 Purchase a little Double-Eight camera and two rolls of film, make a movie about your feet. Move! Start learning to project with a projectionist. Start to write, to light, whatever that has to do with the kind of joy you want to have. Enjoy every hour of work you can spend in this fantastic field. Become a collector (not a transistor, haha) of the bits and bites (not bytes) of filmmaking. Some get harassed by the shutter bug, I got stuck as a glowworm in the darkroom. Rubber gloves, you know.