Simon Wyss

Can it be that you bought an old print, say from the early 1930s? According to the old standard, dismissed in 1932, the single perforation row is on the left hand side seen from behind the projector towards screen. What you can do in this case is to run the film according to your projectorʼs geometry and over a mirror. Advantage: You have the projector aslant in front of you and are able to peer over the mirror without having to turn your head.

__His New Job__ The company I am working with is specialised in deep boring, you must know, as one of two such enterprises in this country. Two inches diameter for example six feet deep at more or less no deviation and a surface average roughness of a tenth of a mil. I am the turner at two CNC lathes, two conventional lathes, a milling machine, a honing machine, two drills, and some grinding apparel. Iron and nickel steels At the moment I am dissecting a Beaulieu Reflex 16, drawing for the Cargo prototypes which will be made in January, and looking forward to a class reunion 30 years after. When our government changed direction in the energy I was surprised and not at the same time. After long years totally in favor of nuclear power itʼs the new age now. With capitals, New Age. Aquarius. Sun in connection with Uranus. Finally! George Eastman couldnʼt take it in the early 1930s. But Eastman-Kodak of today is well under way. It is the best colour film manufacturer. A thousand-foot roll of ECN is sold for around thousand Dollar. Costs are about hundred Dollar in production. I still love coffee. Not that tea-like pint-wise swill some Swedish brought to Northern America but an italian creamy vapor-pressed-through lusciousness!

Oh, yes, quite. One will have to wire it, lace film into it, put a lens on it, set diaphragm and focus, frame, and press the release button. I mean, that is a challenge to an aspiring cinematographer. Basically, film cameras are made for shooting men to the moon but some models are rather destined for deep-sea mining. Film is a four-letter word. FILM!

Iʼd like to say something about the plot. First, as a spectator I have no clue as to what could be the girlʼs motive to approach the young man. You hardly show that she sees him, so from 0:22 on everything is guesswork. Does she recognise him or what is going on with her? Then I must say that Iʼve never seen a guy that cack-handed. How on earth can you put a plot on the point that a youngster isnʼt able to hold two cracker bags with one hand for instance. I dislike the attitude behind the scene, that of an unhandy man. The woman will have to rescue him, what an off-putting narcissistic rag! Thirdly, which girl would not have gotten his trial to smell at her hair? Sorry, the lighting might be nice, the shop a good choice but the basic idea reminds me of the Victorian age. Can it be that todayʼs young are so caught within themselves? For me as a Central-European your video is just handicapped. Sorry!

Must have come into use mid-Fifties with the color negative stocks, SMPTE Journal 1955, 1956.

Discard the manufacturer original tape, thatʼs the most important thing. Tape on magazine, sorry, ruthless for me. Fresh white textile tape round the cans, the label must be left as is with all its information to be legible for the lab technicians. On the white tape you write with a black felt marker: “EXPOSED ISO 100” or whatever exposure index, and nothing else. Less is more. At the times of photographic sound records those cans would have been taped red. Picture strands are sometimes blue, yet most of the times black. Black gaffer tape will also do but then find a white marker. Perhaps better than the other way!

Why not? Eastman 5285 Internegative (Sound Negative) Prints And put the camera on a tripod, please.

Now for a time I am at the limits of my English. Would you please explain a bit further?

Super-8, the biggest single business of Eastman Kodak ever. They made billions with it. Double-8 is the steadier long runner, it is still viable. No astronaut-gloves-cartridge-ado but evolved technique. Straight Eight was a Bell & Howell child, supported by Agfa. That was in 1935-36. In 1938 they issued the instant-load cassette which perhaps some will remember being tissue-taped around the edge. In 1962 Eastman Kodak announced the Duex loader, another Double-8 boost attempt. Sort of failure Double-Super-8 in 1966, interestingly introduced with Comecon industries. The Paillard-Bolex SEPMAG Synchronizer is a product which doesnʼt work. It torpedos image steadiness. The older COMMAG Sonorizer, clumsier, was better. 8mm Sound-on-Film was very much arranged around projectors, not cameras. There was acceptance of the travelogue, a tradition from the 19th century. Film with magnetic stripes commenced with CinemaScope in 1952-53. 16mm followed suit, bringing the possibility to re-record different languages on prints. TV producers embraced COMMAG news gathering. That field was covered by Berndt-Bach Auricon, CP-16, Arriflex 16 BL, Beaulieu News 16, Bolex 16 Pro. It made no difference to Kodak whether a laminating machine was loaded with 16mm- or Double-8 stock. Kodak Ektasound cartridges were the forerunner of the video cassette in 1973-74. That was a blow to creativity since editing implied cutting the sound record 18 frames off of the picture. While professionals would transfer the edge-stripe sound to magnetic film most amateurs just had to capitulate before this problem. On the other hand typical Ektasound users simply had the money for synch sound souvenir snapping. Their 50-footers almost never got edited. A month ago I began to work at two CNC lathes, one from 1985, the other from 1990. The controls are so old-fashioned, the turret isnʼt even advanced in two axis at the same time. Some of you might laugh about that because you have used punched paper strips. That is prehistoric but it works all the same!

Orwo films are as good as the former Agfa-Gevaert, Eastman-Kodak, and others if not better. Fine grained, mechanically first class, reliable. Only single teardrop is that FilmoTec is not furnishing any additional length but cutting off at the nominal lengths like 400 foot instead of 410 foot or so. I have developed, printed, cut, assembled, projected Orwo films in 35mm and in 16mm many times. I like them.

Chuff, I read How Important is Bitrate like Nitrate!

Erkan, you are my hero! Those ch . . . simply sell the old Paillard-Bolex winding handle from 1936, have most probably nothing else than H camera mechanisms in that housing, and give it out as a GOIF product. I am laughing off my rear!

The conversion craze reminds me of an article that I once read in Film- und TV-Kameramann a couple of years ago, a German magazine. Its title was Vom Kratzen, it is about how we hear and listen. A wonderful text As many of us will agree upon, binary-numeric imagery is free from dirt and wiggling. Itʼs an illusion of the abstract or ideal impression or, more exactly, the idealised interpretation of actions. Since life is not ideal, Shylock tells us, there will never be a real threat to anything from them. Digital is the completely wrong word, because the Latin word digitus means finger. Whatʼs called digital should be called mental. First thought, then electrified. May cinema go down the drain, film will remain alive, all the handicraft around it, all its uncalculable, explosive, risky, hazardous, dangerous, inflammable, intoxicating, subversive soul of imponderabilities. From there, cinema may be reborn again and again. Everything binary is so dead boring or will be just so boring in, say, 412 years. Donʼt you worry.

Place camera in an ice box like they did in the Roaring Twenties. That is fun!

All of the big manufacturers have pilot equipment which allows them to produce on a smaller scale. Iʼd say there are two leagues with Eastman Kodak, Fujifilm, Agfa, and Harman Industries one; FilmoTec, Foma, Efke, Ferrania, and the two Chinese works the other. Looking at Foma, they could sell ten times as much of Fomapan R 100 for instance as theyʼre doing with more aggressive and better marketing measures. My opinion Adox has film made by Harman. Maco, Bergger, Ilford, Gigabitfilm similar Todayʼs film subbing machines produce usable stock after less than a foot of run. Itʼs high tech, yet very rewarding. Couple of miles of web split and perforated gives so many rolls. You only need a market. An example for poor marketing is the 200-ft. split spool story of Eastman for the Aaton Minima. Not a word about their availability with Kodakʼs web site (except its mentioning in the catalog) Yes, even color film can be manufactured on small basis. It takes cleanliness, constant lengths of portions, different perforation types available, informed dealers. My opinion I havenʼt seen cinema slide ads for film products in years.

Thank us for what?

Salut, Pierre Jʼai déjà fait ça avec un Kinamo et du Fomapan R 100. Jʼai tourné sur le plateau dʼun cinéma, quelque 25 mètres, conduit à mon propre labo que jʼavais à ce temps, développé la pellicule dans les bains bien préparés, séché, puis retourné en voiture, enfilé au projecteur et présenté au public qui pouvait ainsi voir soi-même environs deux heures plus tard. Lʼeffet était la surprise parfaite sauf que les images étaient un peu sombres car il y avait que peu de lumière sur les spectateurs. Bienvenue parmis les gens qui développent du film à la main! Sache que le procédé dʼinversion marche bien avec nʼimporte quel film noir et blanc. Une chose à noter est que les matériaux négatifs ont un support coloré dans la masse, cʼest-à-dire la grey base. De là, perte dʼenvirons 40 pourcent de lumière à la projection. Fomapan R(eversal) est muni de triacétate incolore comme les film positifs ordinaires. Cʼest lʼunique vrai film à inversion avec une couche anti-halo. Cette couche, pur argent micrométallique, sera blanchie et dissoute lors le procédé complet dʼinversion. Le tirage des positifs se présente assez simple. On met en contact le negatif avec du film vierge, couche image sur couche, et expose sous une lampe. Les Lumière, au début, posaient leur appareil devant un mur blanc dans le soleil, lʼobjectif retiré. Après quelques essais on connaît les conditions dʼexposition pour un matériel donné et peut copier. Ce principe se trouve auprès toutes les tireuses depuis 1889.

All the Bolex H cameras have a distinct stop in the wind and in the unwind direction. It looks like you got one which somebody removed the spring star from. That stop starwheel sits on the spring housing. An H runs for about 27 seconds at speed 24.

Indeed, x369 was a real high-tech product. I should have loved to use it with my 4"×5". The successor 2369 is available only in 35.

You may try printing on Eastman High Contrast Panchromatic Film 3369, around ISO 32, grey polyester base. I believe overall contrast can be tamed. Same goes for Kodak Panchromatic Sound Recording Film 2374, around ISO 20, grey polyester base If a lab holds 7369 you have colourless acetate base. http://www.cinematography.com/index.php?showtopic=33389#ixzz1bvFRjU5T

Film lover? How about black and white? Black-and-white film will be available for many years still.

John, would you want to process in spiral reel?

Switzerland was always the counter-market to Belgium where they go to see almost everything. I think the problem is that we’ve never had a court. Theatre and film grow best in surroundings of chieftains or moguls. It takes a decided Yes and the necessary cash to make it happen. Here it’s rather bodies. We do have a good reputation for documentary work. Maybe it has a come of age a bit. But of stronger influence is really the overflow here, idle people free from needs. Frozen stiff inside Second last film lab closed ten days ago, there’s now only one left with ECN-ECP lines. Worst of all is that even colleges of higher education dropped film entirely. Not one foot of film exposed any more in Basel, Zürich or Genève. The cowards.

The choice is yours. Three to four since the first international congress on motion-picture technology of Paris, 1907 35mm, 9.5, 16mm, 8mm, IMAX Five to thirteen, CINERAMA, 1952; three times 35mm, 6 perf. step 1:2.55, CinemaScope COMMAG, 1953; 35mm 1:2.35, CinemaScope, COMOPT; 35mm 1:1.85 VistaVision, 1954; 35mm horizontal, later vertical; Garutso Plastorama One to two, Superscope, 1954; 35mm 1:2.2, Todd-AO 70mm, 1955 Three to five, beginning unknown, close to golden section 1:1.77 or Nine to sixteen

One reason is that ordinary motion-picture film is proner to static charge than hard-gelatin microfilm. Ordinary movie film has less hardened gelatine layers, especially multilayer colour film, in order to allow chemicals diffund in and out in relatively short time. Single-layer microfilms have rather thin layers, say in the order of 8 micrometer (.315 mils), which are soaked in a jiffy.