Simon Wyss

What's in the asking? Your lines cannot hide that you're longing for a Mitchell. Of course a Mitchell, be a respected man. Sooner or later you will discover that you belong to an international community of owners of classic equipment and that they all do something to preserve such. Me for instance, I have old printing machines, an Anniversary Folmer-Graflex 4" x 5", a 1931 Eyemo, to say nothing of those Steenbeck or Moviola.

Would have liked to see some High Key work

Today's films hold for months. Imagine you'd do a time-lapse job over half a year or so, how else could one work if the amount of fog out of the latent image was excessive? No, don't worry about that point, there is more general fog generated by the reducing agents of the usual developers than what would grow in your layers. I mean experiencewise.

Chemical film, polyester base motion-picture film, perforated, in cameras on tripods, at any rate from one frame a day or so to 500 per second or more if possible. Forward and backwards, under water and in the ice. 35 mm and 65 mm. Sometimes 9.5 mm. Black-and-white film at the standard four perforation step, full frame. Colour film of ISO 50 or 64 for the big screen. Lit. Worked out. Suffered. Budgeted. Cinema. Even for three minutes final length

vijayveluvolu, look: Had the camera obscura an infinitely small hole, the picture were infinitely sharp. No circle of confusion but an infinite number of points. Unfortunately, the picture were also infinitely dark since no light can enter an infinitely small opening. We are forced to have a hole of finite diameter, so geometrically we must deal with fascicles of light which end as little circles, not points. Now come the lenses. At the price of light losses, colour and distance aberrations of higher grades, we are able to correct for making the hole wider. There's a relative opening, the effective lens diameter calculated against the focal length of the lens. There's gain in going beyond 1:1, it's called resolving power. There's loss in such wide openings, such as depth of (sharp) field. Things become very complicated when you take closer looks. What remains is the circle of confusion. You cannot have everything in focus.

“En route, I stopped in Rochester to visit the Eastman Kodak Company and had an interview with Mr. George Eastman. He agreed to cut film, both negative and positive, in a 60-mm width for me. He also gave me some ideas of how he thought I might build a printer.” That was in 1897. Oscar B. Depue: My First Fifty Years in Motion Pictures. JSMPE, Vol. 49, No. 6, December 1947, pages 481 through 493

I don't think that there is anything on Mars at all. No television, no moon landing. No computer, no space pictures.

Got used to the old form which had a darker background which could have been even darker Will get used to new form. What counts is contents.

Excuse me for my blunt idiocy but what is a digital dark room?

Shaky cam? A courageous editor cuts it all off, and fertig. Enters the director, outraged: You can't do that! Editor: As everybody sees I can do that very well. Cinematographer: Are you kidding or what? Editor: Alright, you two, let's trade places. You do my work this afternoon, I'll be watching tomorrow right here in this screening. Silence for three long seconds Producer: He's right, I don't like all the shaking either. You're all a bunch of fools. And I'm not gonna spend one more cent for any footage like that. It's gotta be outstanding. This looks like everything else from Calcutta to Calgary. To be continued

To do away with mechanical backlash always turn the iris ring in the same direction to the intended point. Most operators close the diaphragm from full open. An iris free from backlash existed with the Benoist-Berthiot Cinor. Vive la France !

It's not that hard to open a Bolex. First, unscrew all levers and knobs on the right side of the camera. The next step is the worst, to loosen the screws that retain the works within the housing. You count them around the main blank from the top clockwise: five. Don't loosen the two adjacent ones. Those hold the governor. You have browned slotted countersunk head steel screws which may have corrosion due to the fact that different metals are in touch. Avoid cracking a head by the use of a big enough and snugly fitting screwdriver blade. After that loosen the four screws in front that fix the revolver plate. Now pull on the spool spindles and the blank itself if you've been able to pull the front plate in the direction parallel to the film plane towards you. That depends on the model. When you have the mechanism out of the housing it is well worth go give it an overall lube attack: grease on the steel spindles, oil on the governor's upper and lower bearing (two droplets with a syringe and needle). Avoid oiling the spring box but grease its gears. Before you replace the mech you pull out the front release knob and fix it with the aid of a clothes-peg. The T-I switch can make you sweat when it slips back in with the operation, so hold a threaded pin at hand long enough to catch this group. Once the mech is screwed in back you may release the front release.

Have Orwo N 74 pushed to ISO 640 or 800

From the physical point of view you can fill the hundred foot spool until about 1/16" under flange edge. Go as long as you can lace up the camera in darkness. From the nominal standpoint you have the right to exactly 4000 frames in a row to be cleanly developed uncut. A lab is allowed to splice leader to that. Of course, most labs won't do so but deliver a length of around 108 ft. Some manufacturers supply 110 or 115 ft of raw material. One manufacturer has too short lengths like 104.5 ft. I dare not mentioning the company's name.

ISO 69 reads: measure A (strip width) 0.628 ± 0.0010 in/15,95 ± 0,025 mm ( . . . ) safety raw stock film as described in ISO/R 543, immediately after cutting and perforating. ( . . . ) Experience shows that it is common for film to expand when exposed to high relative humidity. Allowance should be made for this factor in equipment design and in no case should equipment fail to accomodate a film width of 16,00 mm (0.630 in).

Cameras are built to handle raw stock of between 16,00 and 15,85 millimeters. Check whether your camera's lateral guidance makes that much movement. It should. Matters become complicated with printing. Most continuous printers guide the films by meshing teeth in the perforation, so a film's actual width falls out of the subject. Step printers will have a lateral spring-loaded guide rail and lengthwise acting mechanism in most cases. Some precision intermittent printers guide via the perf only (two fitting pins one or the other way). Projectors and scanners should eat film like cameras plus the heat complication.

C'me on, you only wanted to boost Kodak's selling figure for 7231. Poor Rochester, what can we help? Woody: They call me the brain. A.: That was sarcastic.

Perfectly correct. Fomapan R(eversal) 100 has a thin but plain silver undercoat layer as protection against halo on a colourless triacetate base. It's got to be truly reversed. For the rest I can recommend Orwo stocks. These are modern black-and-white films manufactured by Agfa-Gevaert and at Wolfen, where Agfa started its motion-picture film business in 1909. Orwo UN 54 can be seen even finer grained than Eastman PXN was. I have developed almost every black-white make, including Svema, Shostka, Agfa Scala, Efke, Neopan, Polypan. How says Arnie repeatedly? Trhrusst me, baby!

Bergger, Fuji, Ilford might be thinking things over now. With Ilford they'd have nothing else to do than lace the stocks in the appropriate perforators. Orwo stocks are available in 35 and 16. Gigabitfilm 40 and 32 HDR still wait for becoming explored more widely. http://www.bergger.com http://www.fujifilmusa.com/products/profes...hite/index.html http://www.ilfordphoto.com/pressroom/latest.asp http://www.gigabitfilm.com/html/english/im...p?Layout=normal

I always liked Leitz lenses.

Richard, I think you can rely on two basic rules. First one says that everything may be sharp, second one says: the older the star the longer the focal length.

Jet Graphics, please fill in your civil name like anyone else. I dislike unsteadiness, too. I hate mince meat editing. The expression montage is ridiculous to me. Not that titles and action should be long ond boring but I want to be treated as an attentive and sensitive visitor. That demands a narrative will behind or within the expressive means, not in front of them. You can judge a video or a film by this: Am I explained anything firmly, am I told a story, am I told a joke finely? Seems that make-believe comes from television. I seem to have to believe all the incredibly inconsistent rubber foam.

One The film is not coated with remjet but with a backing layer that becomes removed in a processor by underwater remjets. I may appear pedantic. Two Still photography stock perforated BH is not made. Exception to the rule: Gigabitfilm 40