Simon Wyss

Thank you for the idea

Were the distributors less silly had we 16-mm polyester prints in the cinemas. The exhibitors in their turn break a fly on the wheel by using 35-mm equipment opposite twelve foot high screens. That's the realm of small gauge. Let there be reduction printing !

My H 16 S with magazine housing: Kern-Switar 25-1.4, brass, coated Kern-Switar 50-1.4, alum, coated Benoist-Berthiot 10-1.9, alum, coated (iris free from backlash) Kern-Stereo-Yvar 12.5-2.8 Also three H 8 Reflex, Kern lenses from 5.5 to 150 mm, 8—36 hand iris and EE

Yes, we can: Magazine Bolex have anodized aluminium plates.

Why not strut over to the Ford Museum and start browsing the movies catalog. Ask politely, try to come in contact with the IMAX theatre manager, who knows if you won't find a treasure in some can. Talks are so important!

Noah, better don't sink the ship. The forum never sucks, only some members do. Your subject, as it appears to me, might perhaps, under circumstances and maybe not be of absolute prime interest to most of the users here. Stating you are a camera operator you should be able to read a light meter and transport the value to the iris ring. Also you should be in the position to measure distances between camera (film plane) and object. The disk scale on the camera back is no more than an aid in finding correct iris values for a given film speed and frame rate. What is truly unknown at the moment is the opening angle in the rotary shutter. I should start with the presumption of 170 degrees. One day you'll know exactly. The photographic layer of motion-picture film consists of gelatine (and more). Taking the film's end between your lips you will notice that one side is rather sticky — that is the photographic side which must face the aperture plate and lens. It all starts with patience . . .

U. S. Patent 2,284,757 to Alton W. Morton, Salt Lake City, June 2, 1942; filed October 18, 1939: Parallax-free view finder with auxiliary lens turret Mounted on Bell & Howell Filmo Sportster, ball lock at center

Aluminium-magnesium alloys, sometimes plain (hard) alum.

Yes, tape simply spalls. PARATAX contains 48 % acetic acid. Mr. Hammann tried it and found it workable although too slow for his taste. It is irritant to the nose but not toxic. It's good to air the place in intervals (and walk two steps anyway) when you do assembly. We sell it in portions of 10 ml and 250 ml. No intent of misuse of the forum !

Shooter comes from the WW II front. Like O. K. for Zero Killed But both explanations are wrong. One could as well point out that shooting pictures of wildlife goes parallel with shooting deer. O. K. were the initials of a German collaborator with the Ford works, an Otto Kaiser, who did the final check and signed for each car that passed. It's a very male world, anyway, so we shoot. Women perceive everything differently. When they have their way you never hear shooter. It's a mad, mad, mad, mad world.

Since thousands of filmmakers have been loading their Bolex with hundred-footers I'd say you can do the same and humbly file out your dexterity with film and camera. There is nothing more ascertaining than to know that everything is properly done. In this respect a Bolex is already almost too automatic. Simply don't forget that you have the right on 4000 frames with one hundred feet. Stop shooting when the counter says 4000, close the camera and let run out.

Hey, Pāl, welcome. Where do you live? Your personal profile could tell more.

♪ Acetate originals to be printed with cement, we have our own (slow binding) product of an organic film cement free from CFC and dioxane. ♫ Everything temporary under pressure sensitive tape with the aid of Rivas: ♪♫ Polyester film welded with Metric Ultrasonic equipment (fresh register plates since the ones delivered with the apparatus seem to come from a backyard workshop somewhere in Japan whose employees have a weakness for Sake).

Double-Eight will offer most possibilities with reversal stock (Fomapan R 100), negative stocks (PX, TX, UN 54), positive stock (PF 2, 7302), and everything somebody puts on a perforator. Since it's 16 mm wide you'll not have any processing problems. Camerawise you'll be almost too well off with all the makes around plus sometimes amazing quality lenses.

I begin to gain the impression that there is virtually nobody of the telecine world who'd know anything about mechanical subjects. A Shadow functions on the continuous film transport principle like a Spirit, so when there is one which produces steady images the others appear to be out of trim. I am now believing that the films are okay and some telecine rollers revolve like the cock on the fire.

Now after some time have I found the source again of my information. I am citing from the manual for the Bell & Howell Standard Cinematograph Camera: “The camera frame consists integrally of but four parts,―main frame, door, turret plate mounting and turret plate. It forms the complete housing of the entire camera mechanism. The main frame is cast in one piece from special alumimum alloy No. 12.” (Page Four) It's good to reread the old things. A mistery arises. There stands black on white: “The Bell & Howell Standard Cinematograph Camera is not an experiment. The first Bell & Howell Cameras, built in 1907, are in use today by the side of later models.” (Foreword) 1907 ? The company was established in early 1907. Where did a camera come from almost instantly only after Howell, Bell and Mrs. Bell had signed with the County commercial record office? Until today I was believing that a first camera was completed in 1909, the wooden box model. Everything goes so fast. Bell and Howell met in 1905.

Karl: Katherine hasn't mentioned color with any word, and if she did I'd have noticed. I might be a fool but I'm not plain stupid. Jim: There is this by comparison little business of Filmotec, Germany. They offer perforation of alien stock. We have had 2468 unperforated and went about with absolutely satisfying results. In fact, the more modern film develops over two, three minutes while -360 takes around a quarter hour for enough contrast. Anybody can purchase Kodak 2468, send it to Wolfen and use it as replacement for Eastman 7360. In fact, they are similar products but EKC wouldn't bother to even think of new uses of their output. What the film is going on in the U. S. ? http://www.filmotec.de/Dienstleistungen/Ko...tionierung.html

After the discontinuation of Eastman 7360 we chose Kodak 2468, a microfilm direct reversal duplicating stock. For best results we offered internegatives on Gigabitfilm 40. Still another possibility is the use of Orwo LF 2 with a reversal treatment. You see, in the black-and-white field chances are real if not reel.

Do you have anything against the standard 3/4 format?

Don't know about 65-mm KM either but 35 surely was used. Anybody could have had it in 65 from $ 20 k on. IMAX perhaps ?

Too few pictures have been shot on 65-mm Kodachrome . . .

Hello, Ashley Grab a lab: start by scratching some sgraffito into a 35-mm color photo film (5 feet long), take that to a lab (where do you live btw), and ask the manager to print it. There is no better way to find out about people and film. Like Silvester Stallone alias Terminator says: Trhrhusst me, Baby. http://www.youtube.com/watch?v=j6UJZtCz1-c

Don't mean to disappoint you but x231 and x222 have not been altered or improved upon since about 1957. There are more modern black-and-white stocks available: Orwo UN 54, ISO 100, Orwo N 74, ISO 400. Ilford Pan F plus, FP 4 plus, HP 5 plus from a certain quantity on in 35 and 16. Fujifilm 71112, ISO 80, up to 1000 ft. All these perforated BH.1866 (35) and .2994/.3000 (16). If not in need of type N perf you can try all the stills photography stocks: Luckypan SHD 100 new, 1000', Luckypan SHD 400 new, 1000'. Efke 25/50/100. Fomapan 100, 200, 400, Fomapan R(eversal). Fuji Neopan 100/400/1600. Russian Polypan F. Gigabitfilm 40 BH.1866, Gigabitfilm 32 HDR KS.1870. Gigabitfilm 40 in 16, perforated along one edge (2.7 mils thickness)

Mechanically, one of the best 16-mm film projectors is one of the Bolex-Paillard S series (S 211/221, S 311/321). They have a straight-pull claw movement with double plain bearing, felt oiling, diagonally acting side guide rails, perfectly accessible gate, and felt oilers for the rest of the moving parts. Another fine machine was the 1938 oil lubricated Diksi Tfp. with 8-tooth feed rollers, straight-pull claw, vertical adjustment by claw up-and-down, quickest removable gate assembly and micrometer focus. Its successor of the 1940ies has still 8-tooth rollers but a different gate assembly. Then comes the 1951 German Siemens & Halske model 2000 with solid mechanics, felt oiling, straight-pull claw of very moderate film acceleration, and not too bad a gate. Only the motor was cheeply sold. Older Bell & Howell projectors offer 8-tooth feed rollers, short gate but the claw too close to the aperture. By some strange reason the 16-mm projectors of B. & H. were built off-standard unlike their 8-mm ones which position the film over the same distance as the cameras (should) do. Cinelabor, the Italian straight puller, has too long a gate. The rest is crap. Believe me, I have made big pictures with substandard film, the difference is when it comes to cleaning gate and aperture of a hot run projector.

After your description it appears to me that you'd encounter the very rare possibility of sabrage, as the technical term is. It is film strips having edges of a snake form due to not perfectly straight running circular knives. It cannot be the perforation because hole irregularities almost always provoke fast movement such as jitter. A figure-8 movement leads me to imagine that the camera's film side guide was overstrained by wavy cut stock, all the more apparent since the image is offset. You can instantly verify that with a projector that positions in conformity with ISO 5768 on which you run some feet of the suspected negative. You observe the film directly how it behaves in the gate. There are camera, printer, and projector constructions which undergo the concept of reference edge and spring-loaded lateral pressure on the opposite edge like the Aaton Penelope ( ! ). In the 16-mm field geometric issues are even more critical.