Simon Wyss

It works, yet I see actors. If you tried to bring more out the inner thing, the tension between the two, that could improve. Give each one word and reply for an intenser play.

Glen, in all respect: I believe we can drop that obsolete thinking of Where Is it Cheapest ? Economy works only when all participants have their just share. It is true that many products are sold at too high prices but not services. To me there is a world of difference between a vacuum cleaner (product) and a hair cut (service). Now at a movie film lab the two come mixed. The customer gets a product, footage, and at the same time inherent services from timing (if any) or special original processing over synch work to projection. Let's try to approach it from the other side. What Do I Get for My Money ? We have always gone further that way, and it's been my offer since we started regular business on November 1st, 1999. Fixed price and a variety of possibilities. You could have your stock treated after any desired formula. As an example, Eastman Kodak D-76 or D-96 need not be panacea. There are almost forgotten recipes like the iron oxalate of 1877 by Mathew Carey Lea, simplified by Joseph Maria Eder in 1879. I have tried it with different black-and-white stocks, even on the modern Gigabitfilm, with astonishing results.

The original lenses for Olympus Pen F cameras are not bad. They are designed to cover an 18 X 24 mm aperture, thus smaller than those for 24 X 36 mm pictures, and have some resolving power that might surprise you.

Of course, there is a core adaptor on each of the two magazine spindles. Also you need two film guides that are placed on the camera's spool spindles. A magazine Bolex has a lever that can be pushed in the direction of the lens to retain the loop formers when you load your camera. For spare parts try http://www.bolex.ch/NEW/index.php

It is a Bolex-Paillard H 16 M, year of manufacture is 1959. Shutter opening angle 170 degrees. You've got something like a Japanese telephoto lens on (3"/75 mm ?). Since the lens mount is the standardised "C" mount (one inch diameter thread) you can put on a wide variety of objectives. Have it checked and lubricated by a specialist before you run it too much. This will prevent from worn bearings in the mechanism. Would you care to show a picture of the interior as it is ?

If I may recommend two pictures to look at: http://www.imdb.com/title/tt0032143/ http://www.imdb.com/title/tt0072684/

Times are different today. Imagine a coloured man would have been elected US president in 1945. No, classics happen to come to earth during certain times. There was no television until the end of the Fourties. Cinemas were frequented like never again. And Hollywood was still open to cheap tricks. Today it's a bank place. What can we expect from bankers and secret organizations behind them ?

Man, you're eating me up with your questions. He is a hobby astronomer and sole hand worker, has no instruments, trial and error until he reaches the result. On the JML flash intro I read High Speed Manufacturing. There you are: either a solitaire which takes time or a company eager to set up series. I cannot cope with your interest in entering manufacture details. Seems to me that you have to know the adventure for yourself. Most certainly you can find an optical specialist in your country. If you'd insist I should politely ask you for the dimensions before we discuss surface roughness. So long

I'd have to ask him. How much time will you give me ?

Never despair! There is Mr. Kouchatchki a few kilometers from where I live who has ground and polished his own concave mirror from pure aluminium. He says it is better than glass. Now he observes the stars with the best reflector on earth. In case of interest I can provide you with the address.

If I ever come to Hollywood with our new old lab you all will find us processing U-16 originals with a kiss on the hand.

Oh, now I'm feeling sorry for you. $ 500 for such a Bolex, not more! If the opticals are not mint, don't touch such a camera. A second thing is the mechanism. Most Bolex cameras are dry, i. e. they were not well enough administered. The steel axles can wear out their bronze bearings, especially the one most important claw joint. Believe me, I know some about movie apparatus. He who sells a camera has never owned it. You let go your well maintained camera only reluctantly and then for a solid price. Correct, a cine camera can be taken as a thing like a bike but also as an instrument. An instrument may not be tuned. Only, when the frame is cracked you cannot tune your piano any longer.

As my grandfather used to say: The dot on the i of a woman's beauty is her nose. http://25frames.org/php_personen/show_person.php?p_id=597

We have a Debrie Matipo 35 from the early 1920s with the WRR light control incorporated. We don't have a step printer with 8-perf pull and VV aperture. But again, our facility is closed. I am planning to move to America to start a new old lab there.

Frankly, my dear, I don't give a damn. Let the eyes be our eyes and lenses be technical imitations, Imitation of Life. http://www.imdb.com/title/tt0052918/

The theoretical limit is f 0.5, in practice one ends at f 0.53 where the light is just grazing the front element. F 0.7 is already very tricky to compute. An alternative is the mirror lens.

In 2004 I've been asked to set up an endless 16-mm film projection for Kunstmuseum Basel. The print went 106 seconds at 24 fps. Upon inspection of a worn acetate print I found out that the action lasted only five seconds. It was repeatedly printed from looped negative. They had a Japanese projector, a quick shifter, which hacks into the perforation. So I offered a better construction, a Siemens & Halske 2000. A looping device on top of the projector conceived by a Frenchman was left there and the film threaded straight through it. Nobody would see that there was only a three-foot length laced up. This time I had access to a polyester-base positive. I joined the ends with pressure-sensitive transparent tape, lubricated the film and had it run at 24 fps for seven weeks, six days the week, from 10 a. m. to 5 p. m. The splice broke exactly three times (its purpose as protecting measure for the whole). No wear whatsoever on that sniplet after 211,680 (two-hundred-eleven-thousand-six-hundred-and-eighty) runs. Of course, a longer copy will not last that much because of more dust collecting on it due to static charge. Scratches must be expected.

I'd better keep my mouth shut because my knowledge of video is from the days when one referred to the thing as video. What I know is this: NTSC and PAL television have a line duration of 64 μs, read-out duration of 12 μs, so the horizontal image duration is 52 μs. You have a vertical ratio of 92 % to 8 % between picture and dark gray non-picture which can be understood as what a physical shutter would cover.

Hoping I understood you well: Optical copying bears the crux of increasing contrast (Callier effect) but today this poses no more problems. Eastman 5272/7272 produces pretty soft internegatives. In Black and white we can go as low as gamma 0.3 today in order to counterbalance contrast build-up. The rest is same as with contact work, dry or wet.

We have a high power L. E. D. that emits Red, Green, and Blue nearly from one point. This is helpful inasmuch it can also be placed rather close to the aperture. A long throw is optically more convenient but not feasible with all printer makes.

The prism block consists of two glass elements cemented together with Canada balm. Do not try to open. How much did you pay for the camera ?

Hello, Monica Welcome here !

That relieves us of trouble. <_< No, honest, I don't hope you had blank negatives.

What concerns me: I'm not jealous. It's rather anxiety that I have to discuss matters with people who are not in touch with the past. But I'm not in the digital realm and know only very little about data compression and things like that. I have perforated chemical film in my hands.

Hey, great! In case the Jap doesn't want to serve you any longer switch to your cell phone or MP3 player which should allow HiFi recording. I'm not too good in these things. I guess you saw this with Alphacine: Q. Sound Transfers 1/4" or DAT to 16mm fullcoat or 35mm edit stripe is available at $45/hr. There is a half hour minimum and sound stock is not included in the hourly rate. Have fun.