Simon Wyss

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.

There we are in full discussion. I'd support a wide film section.

Look, additive colo(u)r printing has to be understood in connection with the films, i. e. Red-Green-Blue are distinct fields within the spectrum. With subtractive printing you employ Cyan-Magenta-Yellow filters for which must be said: Cyan lies between blue and green. Yellow is quite a narrow band between green and red. But Magenta does not exist as a light colour. You won't find it in sunlight. It is half red, half blue - two colours that are way apart from each other. A transparent magenta filter lets simply pass red and blue. Our eye-brain complex understands this as a colour. Balancing is therefore much more intractable and has always been. Manufacturers would have designed their -color materials for red, green and blue since 1950. You can't develop quarter points out of -color stocks. The corridor given by Eastman Kodak which one can keep up embraces about two points like between 24 and 26. So the customer sees his precision sunk in the suppleness of the combination film-chemistry. We more or less beat around the bush while still maintaining varying batches within one printer point. Chemistry changes? The most important factor is time, then comes agitation, next temperature and last composition. The film does more to the process than the baths do. You understand that it is a simple task to control time. Agitation remains constant in a given machine. Temperatures tend to change at slow paces. We now know that the printer light output is pretty constant. There is nothing else we can do than have test strips processed and measured. Densitometer readings are "calculated" back: It's collected data to show the degree of change necessary to parameters. One method to clear out chemistry faults is to replace the developer as a whole, I mean dump one after the other like with one-shot preparations. We must not confuse different things. I find it hard to accept the approach of perfection when we're at dailies and first answer and soon after negligence when a picture goes into series. What the paying public is served can be sort of different from what the director saw. No trick specialist runs out of a batch of duplicating stock during a given production. Such a man is a beginner, although it's been reported that funny things have been sold to producers. He who manages to persuade a cinematographer into his mistake is a genius and I am looking for that man. Hoping everything is totally unclear now, I'm going to bed.

Don't you, Karl, think I'm a metric guy. I've been raised on foot and inch and line. Glen, it was crystal clear to me from the beginning that the films run in perpendicular fashion. What stirred me up to some slight extent is your request for 5-perf 65mm print. Projectionists will refuse 65mm prints. VistaVision furthermore has the picture image aspect ratio of 1:1.85 whereas Todd-A. O. 70 mm is standardised to 1:2.2(5). But it is a pleasure to dream of a brand new printer that is going to occupy another room for a single order of 4000'.

Now, let's see - $ 200,000 to build the machine everything included divided by 4000 equals $ 50 the foot. Serious, you can't find anybody who did that job, can you ?

How many miles are we talking of ?