Simon Wyss

Dominic, I am getting out of the way. You are so right. Yet the initial question is not answered, and it is not an easy one to satisfy, IMO. “Firstly, how do i determine d-min for a given stock.” What does Benjamin actually want?

Certainly

Hi Roy This is what Bolex used to have, their lens and accessory support:

Obviously the film is temporarily not transported in the gate, so the claw seems to not reach it. I'd suggest you check the claw's action without film, the gate swung open (if possible with your projector), and the inching knob turned by hand. Gently push a little on the claw. Generally it should penetrate the film by at least 1/32th inch or a half to 0,75 mm. Maybe the claw's teeth are bent, maybe the control cam of the claw shuttle unit has become worn. Consequently the claw step doesn't fit the film anymore. On the other hand it can be the film, shrunk to such an extent that it doesn't fit the machine. Is the pressure plate bent? Also, the side guide rails should be able to act freely on the film. Has one of them sprung off the spring? Is the gate dirty? Clean with a tooth brush, if greasy with some isopropyl alcohol on it. Good luck!

We have the factor 3.3 between .1 and .5 log D, one and two third stops. Editing is out of order. :angry:

Ben, what exactly do you mean with a stock has a d-min of 0.50? Is it not rather a definite value you are talking of? Do you know that these are logarithmic values, so D = 0.50 means 68.4 % opacity and 31.6 % transparency. D = 0.10 corresponds to 20.6 % opacity and 79.4 % transparency. We have the factor 3.3 between .1 and .5 log D, three and a third stops.

Check with the labs. In the negative case, send an E-Mail to Filmotec, Wolfen, Germany. They have the beautiful Orwo N 74, an ISO 400 stock, and will be glad to sell you the desired footage, perhaps you'll be their first customer from down under. www.filmotec.de PS. There is no such thing as Super-16 film stock, one usually refers to “perforated (along) one edge”.

Should have stayed away from a color discussion. I stick with black-white alone now, promised.

Let's not get etchy. I'd simply have appreciated that you wrote film manufacturers. There is not only EKC on this planet but also Fuji Photo Films, Oriental, Agfa-Gevaert, Foma Bohemia, Filmotec, Bergger, Tasma, Lucky, Efke. That is all.

Yes and No. What is it that makes fresh developing baths inconsistent? It's the state of dissolution of the different chemicals. There are some variables that influence solution of a salt or an organic compound like the water alone or the order in which the components are added. It may take hours, days, weeks until some ingredients become totally dissolved on molecular level. At the same time we encounter decay, oxidation. How to keep the oxigen away from the bath? Throw in some sulphite. Well, it ain't that simple. Still some oxigen will penetrate my preparation. There we are at the base for this discussion. Yes, the lab really matters when you understand laboratory, labour as the very core of it. It is work to clean a processing machine, to clean an equipment like what I use. The attitude of so many people today, you know: I press the button, the device will do the rest, is so decadent (and that's not a toothpaste). We'll get nowhere with this attitude. So to the initial asker: Yes, and it matters in every streak of life!

Thank you so much for this statement, Bruce Almighty :) ! You forgot the Technicolor camera of 1934 with blimp. Still working on my AONDA which isn't the smallest of a 35-mm. motion picture film camera I am most curious about a camera's accepted weight. Since I cannot do away with so many things I try to keep its balance point as low as possible, though. Motor, sunshade brackets, etc.

Why only Kodak?

Bash, I've always believed they were about women. You got that point.

Dave, it's all alright. I'm over the hill, anyway, and if you don't understand what I mean by that have an ear into . We are planning to come back in 2012 with fresh equipment for absolutely best processing, precision printing, and cheap but robust variable intensity sound tracks like in the good old times.

I'm not so fond of this. There is a difference. You don't consume like at a restaurant. On the contrary, it is about work, about co-operation with the lab. One party exposes stock, the other is engaged to again work on it, totally specialised work in the dark. Chemistry, physics, a craft known since 1826 when Niépce produced the first héliogravures.

Gigabitfilm, ISO 40, in 16mm, perforated along one edge .3000" has 0,068 mm or .0027" dry thickness. You can have nominal portions of 100, 200, 400, and 800 feet on 2" core, emulsion in, winding A or B. The additional length is always 8 feet. Everything else by PM

Commonplace with labs: The impossible is done right away, miracles may take a little longer. A good laboratory always makes offers while others simply shrug.

CD-3 3-Methy1-4-Amino-N-Ethyl-N-(2-methanesulfonamido ehtyl)Aniline Sesquisulfate(monohydrate). Molecular Weight: 436.52 Use: It's used for developing oil-soluble color Positive at high temperature and quick speed, as well as developing color film. Melting Range: 126—131ºC CD-4 3-Methy1-4-Amino-N-Ethyl-N-(2-Hydroxyethyl)Aniline Sulfate(Monohydrate) Molecular Weight: 292.34 Use: It's used for developing oil-soluble color Positive film at high temperature and quick speed, as well as developing color film. Melting Range: 152—257 ºC Could it be that they employed CD-3 instead of CD-4 ? Check.

It's not so much processing that makes the difference but the printing. A good lab offers you precision copy at the price of continuously exposed dailies of the other one.

Hello, Sascha I wonder if there are more people here for a gathering. Stephen, you, me, ?

220' of Gigabitfilm, thin variant

Here's what I've found there: Specifications Negative Width: 70 mm Print Width: 70 mm Perforation Size: 0.130" x 0.080" (3,302 X 2,032 mm) Perforation Pitch: 0.234" (5,9436 mm) Negative Pulldown: 4 perforations or 0.936" (23,7744 mm) Camera Aperture: 1.890" x 0.9125" (48,006 X 23,1775 mm) Projector Aperture: 1.768" x 0.885" (44,9072 X 22,479 mm) Aspect Ratio: 2:1 Soundtrack Width: 0.240" [Movietone variable density] (6,096 mm) Sound Reproducing Aperture Width: 0.220" (5,588 mm) Sound and Picture Offset: 11.5 frames or 10.764" (273,4056 mm) Film speed: 90 ft/min Frame Rate: 20 frames per second [changed to 24 fps in mid 1930] Developed by: E. I. Sponable for the Fox Film Corporation Grandeur Cameras Produced by: Mitchell Camera Corporation, of Glendale, California & Wm. P. Stein & Company of New York 70mm Super-Simplex Projectors by: International Projectors Corporation, New York

That depends 1 on the model in use, i. e. whether it's a pre-1954 Bolex with the 192 degrees shutter or a later with the 170 degrees shutter or a reflex one with the variable 144 degrees shutter, 2 on the speed set with the governor knob (which should be on 48 or more), 3 on the shape in which the camera is (lubrication, ambient temperature), and 4 on how you move the mechanism (and film), either by the built-in spring or by an electric motor. Each time the mechanism is released the governor is sped up to almost full torque but not fully. It's barely possible that a spring driven movie film camera reaches full speed within one cycle, so the first frame actually is always a little overexposed. This in turn does not harm frame-by-frame work since all single frames will be exposed with the same error. The governot set at 48 fps or more you'll have around 1/40th second with a 170 degrees shutter of an average camera. Some springs, though, may have become a little lame . . .

Hello, Tommi You are touching an almost secret and at the same time neglected subject. To help you further let me establish some common knowledge about the first film manufacturers. There was Hannibal Goodwin in 1887. There were the Celluloïd Co. of New York, John Carbutt, Blair and Eastman. Victor Planchon startet regular film manufacture at Lyons end 1895-beginning 1896. Eastman achieved endless base manufacture by the heated drum method in 1899. The emulsions were of different qualities already from these pioneers on. The Lumière sold miles and miles of their “étiquette bleue” emulsioned stock during the MPPC banning, and it was very much appreciated. So development was in bits and pieces among the concurring enterprises. Change came when Eastman hired the Englishman Charles Edwin Kenneth Mees as head of a research laboratory in Rochester. Agfa of Wolfen also did a lot of investigative work. They had the first specially designed sound stock in 1929. The next big thing was colours. You know: Gasparcolor, TC, Kodachrome, Kodacolor, Agfacolor, and others. Eastmancolor came only in 1950 as direct successor (with improvements) to Agfacolor after the forced publication of the German patents. The last major step can be seen in conjunction with aerial photography, high resolution black and white films for reconnaissance in the 1960es. New ways of sensitisation were found. Everything we have today has actually been prepared around 1960-61. From 1925 to 1965 almost no improvement to black-white cinematography Let's not forget Fuji Photo Films. A completely different approach to industrial engineering allowed them to arrive at a level of colour balancing unknown to the occidental competitors in the 1980es.

http://www.cinematography.com/index.php?sh...59&hl=AONDA