Simon Wyss

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

Need not necessarily be so, if you observe how they went into the kissing, let's say, with GWTW, 4:3 surrounds the couple very well. A CU can be arranged flat or in depth. 4:3 calls for a deeper awareness, not a broader horizon.

There is thinner film on the market, Gigabitfilm, 0.068 mm thickness. It's black and white but you put the double length into any conventional magazine, like 2000 feet in a 1000-footer. Employing half-standard step, two-perf, you'll have 64,000 frames or 44 minutes in 35, 2400 feet in a 1200-foot mag for 96,000 frames or 66 minutes and 40 seconds in 16.

All the best, John! Yes, Wilhelm Conrad Röntgen (pronounced Röntgen) discovered the X-rays in 1895, so we could have candled you with some overdose but positively. Reminds me of my natural adhesion L5-sacrum Edit malfunction

All the best, John! Yes, Wilhelm Conrad Röntgen (pronounced Röntgen) discovered the X-rays in 1895, so we could have transluced you with some overdose but positively. Reminds me of my natural adhesion L5-sacrum

Hi, Mohan Would you care to give a tiny bit of information about your experience with cameras or any other experience such as in the field of mechanics?

EKC should know. Eastman Kodak Company, Rochester NY

I ought to feel ashamed, you're right, David. We've lost our ground. The market is almost empty, void of value. No more black-and-white production. We drove the last negatives back to the producer last september. He himself run out of money. But worst: the archival world is not interested in any further development of the chemical film and mechanics. That has put me out of business. Half-finished apparatus, running projects, all wrapped up, one processing machine went into the shredder.

Please, don't say film when it is a video. I shouldn't have dropped in had you written 90mins one shot video. Forgive me everybody for I'm a chemical film man.

Cuckoo! Released in March 1958 Marcel Beaulieu's answer to the Paillard-Bolex H 16 Reflex and the Eumig C 16 (not a reflex camera) Is there anybody who owns one and would tell us his experience with the spring-drive chipper ? Kind regards

That's the Biograph camera of Lauste and Casler, 1895. It punches a neat perforation out of 35-mm. strips, has a suction pump that assures flatness in the aperture and is not very noisy.

The Bell & Howell Eyemo was released in the spring of 1925. It is based on the 1923 Filmo which again goes back to a split film World War camera.

Ponder The EDIT function is not operative.

In my eyes a camera lubrication job should be rather cheap for a well-maintained camera needs lubrication more often than one thinks. A serious enterprise offers you a service standing order that includes winterizing, degreasing, oil and grease lube, the whole range. A Filmo is something different from a Bolex. While the Bell & Howell needs a few droplets of oil from the outside, the Paillard is made from much softer and more requiring materials. For instance, its governor has leather pads that rub on brass, they need a little oil. The axles are simple steel in plain bronze bearings, they must not run dry. And more Anyway, a trained mechanic opens, lubes and closes a Bolex within two hours (sans lenses). Pond yourself what you allow the man to charge.

Black and white exclusively at one of three commercial swiss labs http://www.filmkunst.ch

Not so complicated, though. The difference from ISO 64 (Tungsten) to ISO 100 (undefined = Daylight) is 100 %. I put a third loss for the artificial light - daylight difference. So you can compare for instance f 5.6 to f 8 situations.

Like I said, you switch to and fro between exterior and interior shots which I don't seem to understand why. Perhaps it would have been rounder to have everything composed indoors. Don't take it personally, I'm giving my opinion, that's all. It is your movie and I like it still.

Films are only so and so long because there is a limit to how far one can stretch an idea. Most movies are too long and repetitive. Remember those wonderful days when the flicks came up and so many different little plots were brought to the screen, just like that? What a great movie: Explosion of a Motor Car by Cecil Hepworth, 1897! Run time one minute

I am liking it although it appears to me a little undecided with regard to int-ext.

Let me support this. In my mother tongue: Der Mensch ist, was er isst. (Man is what he/she eats.)

Having worked with different labs I must say that this is nothing compared to what the gals had to take there but it is about twenty years ago. No, certainly the atmosphere must not become poisoned. To me as a rather blitzy guy those people were impressive who stayed calm all the time. In the end they delivered better work, far better than the angry or frantic or etchy or very funny ones. I believe it's got to do with home.

The point about the right pitch in a camera is noise. You would want a quiet run with a self-blimped camera. For the rest don't worry. All cameras eat long and short pitch perforated stock. The mathematical difference is .0006" (0,01524 mm).