Simon Wyss

In the beginning (1923) all 16-mm raw stock was sold with a perforated two-colour paper head leader, black on the outside and red on the inside. This was discontinued in the 1930s. Since then you have an additional length for threading and as protection against light at the end. Verne and Sylvia Carlson have published collected data on these lengths. They state: "Agfa-Gevaert 16mm daylight spools contain approximately 108 ft. Darkroom loads contain approximately 10 ft. additional footage for threadup." "Eastman-Kodak 16mm spools contain approximately 109 ft. Darkroom loads contain approximately 10 ft. additional film for threadup." "Fuji 16mm daylight spools contain approximately 112 ft. Darkroom loads contain approximately 13 ft. additional footage for threadup." "Ilford 16mm daylight spools contain approximately 115 ft. Darkroom loads contain approximately 15 ft. additional film for threadup." (Professional Cameraman's Handbook, Amphoto, New York NY, 1970) I have measured Fomapan R 100, 16mm darkroom loads: 406 1/2 ft.

Efke IR 820. Ef-ke stands for Fotokemika, Dionicko Drustvo za Proizvodnju i Promet Fotomaterijala i Opreme, Hondlova 2, Post Office Box 02-55, 10001 Zagreb, Hrvatska; Mrs. Neda Vidovic, export, telephone 003851-336-7789 and -7793; FAX -2961. Founded in 1947. Try to get 100-foot portions. All the best !

Thank you, Rob I know the things about picture in packages and the sound interwoven and the transmission lacing. That is engineers and their toys. What I'm aiming at is the human beast, the lazy, the coward, the opportunist behind a desk. I think we both agree on that. You as sound man (a sound man) and I as glove man know the movie producer who doesn't have the slightest hunch of how to organize synchronism. What bothers me is a younger generation, I mean the now 20 to 30 years old who don't react. Is there one out of hundred who does not swallow the imposture ?

Hello, only want to clarify this little detail: As raw film gets older or is poorly stored, base fog density can increase, measurable after processing.

No one can drive me crazy. I am not a purist. What bothers me is that so many participants jump onto something in the forum without reading the whole topic. I know he is a student. He is right now learning that this forum is a forum with opinions. When he's up to collecting information, valuable bits and pieces from many directions, all the better, but he knows already that infrared stock is not on the dealers' shelves. That's why he wanted to imitate the infrared look. He is not after the infrared film picture, only its look. I tried to help. To come into practice is alone his job.

My friend, who came up with the question ? People like this, of course you mean me, are bored by people who want to know everything about nothing. I am pretty sure the original poster smells high costs with IR stock, so he's beatin' around the bush. If he knew some black and white he'd not fuss about theory.

Don't we sometimes feel like Mel in Deconstructing Harry (Woody Allen, 1997) or even look so, although he didn't feel bad in the first place ? He was talked into softness. Let's renew ourselves on the oldest path, ourselves. I do go and start drawing. Pictorial people should be able to draw a little, my opinion, or should have this will to express what is on inside. One might turn into a gifted writer or a title designer. Titles are mostly ugly anyway nowadays. My opinion, come on everybody, who produces such thrilling titles like those of The Pink Panther (1963) or only the first part of the Irma la douce trailer ? If not paper and pencil what about streaking ? No ? Might end as Singin' in the Rain. Better singing in the tub. Yes. Simple, essential things one can do: coffee mill with crank, grind the beans by hand. Away with the motors ! Hand crank a movie camera. Hey. Why not make film myself ? What do I need, let me see . . . cellulose linters, acids, an old roneo copier, amyl acetate as solvent . . . Well, I built my career on that. I am absolutely convinced that the past will become most important already in near future. We shall be lost without tradition, without a memory. They'll sell us everything, the'll sell us. What else could I do ? Nothing else. I can develop a strip of film. I know how they did it in 1888. I have combined latest micrographic film with an 1879 developer recipe. My profession.

Would Monsieur, Madame or Mademoiselle mi mo have the courtesy of declaring her or his name in full here. It is a rule to everybody, no Animal Farm and the like, alright ?

To process a classic soft camera negative film in a classic projection positive bath is rape. The emulsions of print film and recording film are very different. My experience is also that grain explodes, contrast pulls up and fog, too. One can dilute the positive developer and adapt time. Better don't do it. One exception: high contrast camera stock for titles, subtitles, mattes or special effects such as the vision of a perturbed character and the like

Alright, you demand it. Eastman 5222 Double-X panchromatic negative is a ISO 250 stock that will suit your production when it's about action, news gathering, sports. Cinematography like you're naming it is not only the raw stock in the camera. My goodness, what do you have to show or to tell, is the base. An infrared film image is something artificial, nobody sees in such translation, I mean light leaves, dark sky. So why employ infrared sensitised stock ? Is anyone of the story's characters under drugs, has something strange happened to somebody, will be the question. Apart from the sun, how would you light scenes for IR film ? Have you once made the calculation on lights and everything to expose lower speed stock ? Ilford Pan F plus is ISO 50. Gigabitfilm is ISO 40. Eastman 5234, a material intended for internegatives, is around ISO 25. Where do you want to be with the iris ? Middle values, 8-5.6-4 or open, 2.8-2-1.4 ? These questions might help to find a visual stile and stile is whether you separate fore- from background in sharpness, eventually supported by longer focal length lenses, or not. Stile is defined whether the picture has more inner structure and less cuts with the danger of overload or is less charged but element of the narrative syntax. You can evoke something with the spectator but know how. Nobody on earth can give you the experience. You alone - and you will always be alone in that - are there up on stage. We sit opposite of you and watch. I wish I could show you that you begin at the surface but better start with the backbone. Infrared stock is sold by Eastman-Kodak Company of Rochester NY. They have telephone and internet homesite. Sorry, but it annoys me to tell an adult where to turn to and how and that it could be wise to call them during business hours and to be precise on what you want.

You are 30 years wrong. Seventies

Would anybody within the lighting community like to share her or his view of that photograph ? I should wish to collect professionals' opinions on why for example the ground is darker towards the horizon or whether there is/are fill-in light/s to the man. His body shadow is jet black. His front is not. Where would the fill-in come from. Did they have flashlight with them ? Buzz Aldrin Photo

You can change your name any time, it's never too late for a fresh image. Oooh, that is the humour of darkroom people. My Guinness !

You'd need a phase shift gear, that is an electronic control unit which allows you to bring the camera shutter to coincide with the projector. In the worst case the camera exposes while the screen is black (or grey). Arri have it, Panavision has it, specialists offer it.

O. K. (Otto Kaiser, final checker with Ford Automobiles), kannst du dir vorstellen, can you imagine that someone like Henri de Toulouse-Lautrec or Vincent van Gogh or Sonja Delaunay has had an idea of how society should be or could be. Joseph Stalin for sure had an idea about life, hadn't he ? Where are you, that is the question. Uhm, republican, democrat, socialist, communist, opportunist, philatelist, anarchist, anti-anti-reformist, uhm, Marksist . . . I feel that you literally fall into people. You don't have your own ground to stand upon, yet. That's no shame, millions behave like this. I am pushing you back and am doing this with a helping hand. Teaming, yes, teasing, no. That's where I am today.

Ha, that hit.

Steve, do accept my apologies. Thank you for the info.

Oh, I fear it's already much too late, you are 20 years old.

It's the age-old need and love of people sitting together in the evening to tell each other what everyone has ecountered during the day. Some are better in capturing their listeners. There is the art of storytelling. You have nothing, only your speech, your mimic, your gesture, the timing. To avoid static filmmaking you adapt the whole cinematic machinery to your personal way of telling something. Start with a joke. Try to observe yourself while telling it to someone. That is cinema.

Why do you want to imitate the rendering of infrared-sensitised stock with a panchromatic film ? That is not possible. Would you want to make an apple pie with pears ?

James, would you state where this lab is going to be ?

Call Technicolor, Inc.

Hollywood is much worse. You cannot escape their message from the first frame on.

Boy, 35-mm film and binary numeric (digital) "film" are not two formats but different technology for the production of movies. Take the lightest 35-mm motion-picture film camera, let's say the Arriflex 235 for a moment, it weighs around eight pound, and compare it to a state-of-the-art digital movie camera, you cannot say: winner-loser. Compare the Mitchell BNC to the RED or even the beamsplitting Technicolor camera within blimp to Arri D-21: it's entirely different boats. You are raising the subject of film realism. Just think of having either a brush in your hand with which you're going to apply wet paint or having an air-brush pistol out of which comes a spray. Realism ? The art form is given by your personal standpoint or view towards the world. Why make a movie ? To fulfill a style program ?

Yeah, the public don't care, pity enough, I know. Maybe only when pellicle cinema has become one museum corner some people might feel an embarrassment with it. Until then the embarrassment is mine.