Simon Wyss

Have you tried to shoot in clear scale? That may lead to very interesting looks as well. I appreciate any youngster's revolt against normal procedure, that's what I was on 30 years ago. Look, you are confronting yourself with practitioners who are likely to tell you: Shoot the right way first before experimenting wild. The right way is an experience already. That Wikipedia article is a fart in the wind, my humble opinion.

One is certain: no stern loader. You'll have trouble checking and cleaning a stern loading camera. I dismantled a Bolex 155 Macrozoom yesterday. That's a bull of a camera, you could hammer in nails with it but not film seriously. Since the handgrip is not detachable as an integral part housing motor and diaphragm control it will always swing a little on the tripod. Same with Beaulieu 4008 or so, that stupid handgrip is in the way. Please consider that point. A movie camera must be so built that it perfectly rests on a stand. Swivel it about you can always.

Well then we must be speaking of individual affairs. I refer to the Photomec and Arri machines which have brushes. I may be a bit out of touch with the latest techniques in mechanical processing.

Please excuse me for interfering. It is the other way round, rem(oving) jet (back layer) is soot gelatine that is softened in an alkaline prebath, taken off the film base in this very prebath by roller brushes and suction pipes directly adjacent to the brushes. I think there has occurred a small error with the water fans elsewhere in the machines.

The two of us in accord: forget Super-8. Supposed they had named it Mustard-8, would you fall on ? That's what it is, a sausage of a technology with mustard and ketchup over it, ugly and weird, refer to the film's path in a throw-away plastic cartridge, said to have been tested by astronauts with gloves on their hands. Welcome to the land before time and fairy tales sans end. There have been 30 years of 8 mm before Super-Eight, and in the millions. Double/Regular-Eight is miles better, and cheaper

Hey, Chris It's a camera for Super-8 film which comes in 50-foot cartridges. There's a variety of Super-8 raw stock on the market from black-and-white universal over color reversal to color negative films. The pill cell feeds the automatic iris (diaphragm) control that actually needs a 1.35 Volt cell but these original mercury cells are outlawed since 1998. If you insert an alcaline cell of 1.5 V or an other kind of 1.55 V you'll get underexposed pictures. What you can do is 1) have the meter inside the camera adjusted to the higher voltage 2) have an adapter made or bought somewhere (I don't know exactly) to be able to insert 1.4 V cells 3) discard the camera and film with a better and more flexible one Please don't feel offended or take it personally, this Bell & Howell 309 is an absolute mass consumer product. There are cameras which work on 1.5 V cells alone, which have less or no plastic parts, which allow you to change lenses, and more.

Yes, Saul, I think we're close to the thing. I'd have imagined the operator set the speed wrongly after some work. Might have come anywhere in the roll. Good luck, Daniel!

Well, with that combination of shutter angle, frame rate and light pulse there should be no fluctuations, constant speed provided. It would have to be the motor running wild. Now as you say daylight the camera issue falls away. Left only light pulsation with the scanner. Good scanners employ DC fed light sources such as LEDs on accumulators to exclude all interferences. Check on that point, insist that they explain. Sometimes also the scanner's speed is set incorrectly which will provoke that dark-light-dark-light.

It appears to be interference between frame rate and lighting frequency. With a 172.8 degrees shutter opening 24 times a second you get exactly two intersections with 50 cycle mains. That would explain but you had 60 Hertz mains for the shoot, hadn't you?

You shot at 24 fps I presume. At what pace are the fluctuations, I mean timewise?

Memochrome*. 32,000 frames freely programmable, Excel management, 50 steps per color (RGB), instant repeat. I am not yet happy with the Schwarzschild corrections but that will come. It's a light control over time in conjunction with step printers. At value 1 the exposure is shortest, at 50 longest. Terrific precision

Rubbish! Your H camera eats triple thickness. You may load thinner film on the other hand.

No.

That's what this MKBK looks like.

I beg your pardon. Everything is fine. Have been a bit too sensitive. Like pressure sensitive tape. Never mind :mellow:

Don't we all enjoy Gilmore Girls in 3:4?

Gavin, congratulations! Lucky man, worship the standard image aspect ratio of three to four, cognize its dymanics, the waltz rhythm, how you can slip into diagonals. Here is one who praises 3:4 and tells you. Full stop.

Then it seems to me that I am used to keep order in the dark while the crew produces a mess in the light. Why in the world can an exposed portion not be brought back to its can? Don't you keep empty and unlabeled cans in a place for short ends? I always wonder at how archaic procedures are with million dollar budget film productions (or less) right on the level of film.

It's a fine thing for us lab people to receive exposed stock in cans with white tape around with black felt marker identification on saying exposure rate footage. It is a very sad fact that many camera people, from 2nd to DoP, cannot leave the original sticker on the can as it is, they scribble and paint and paste over it so that for instance the batch numbers are illegible. Please, simply write on the tape around the rim if you feel you must write besides the camera report. The tape we shall be looking at because, you know why.

Why not dive with an Arriflex II C. Only to fix this little issue of engineering interest: Arriflex II has no register pin. The movement is known to have a hole-fitting claw or pin but this is still moving.

H 16, Nr. 31228, was sold on November 11th, 1946, for 975 Francs with Switar 25-1.4 AR, Nr. 31031. The Yvar 75-2.8 AR, Nr. 34774, cost 252 Francs that day. Plus 4 % Umsatzsteuer, sales tax, but no luxury tax. By the way, the first H model: Note winding key on spring core Soon it was changed like this: Note point 20 on screw cap where the wind key still could be inserted, and the square dog of the wind crank Greetings

Clunky

If you want to learn from a title graphics specialist make contact with Carlo Piaget. He lives in Bienne, Switzerland, has made a couple of cartoon movies and produced a short feature with one of his 2709, starring Eugène Chaplin. Carlo is a friend of mine and truly a title artist. carpia@bluewin.ch

The 100-foot so-called daylight camera spools have closed blackened flanges and a closed hub. There is always an additional length of film given like 110 foot. You use that length for lacing and as light protection for the inner windings, about 6 foot at the beginning and about 4 foot at the end. Only prevent the outer windings from unrolling by holding the pack together in one hand while you feed the first two foot or a little less with the other hand. Depends on the camera you have. You load and unload the camera in the shadow, when in full sunlight then turn yourself around to cast shadow. Best is to sit somewhere and have the camera on your legs, lens pointing away from you. The workers with the laboratories have the right to cut off the fogged (additional) lengths and you have the right to get back 100 feet, net (4000 frames). They may splice leader to your original. Help them by producing a first and a last frame, i. e. after threading up you run the film forward through the closed camera (lens hood, variable shutter, reflex viewfinder) until the counter reads Zero. At this point you zero the single frame counter, too. Expose 4000 frames and not more. After that you let the film run out (audible) in the again closed camera. Niet vergeten All the best for your work!

Dominic, and I don't want to pick on anybody at all but this case is lost. <_< :)