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Frank Wylie

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Frank Wylie last won the day on January 3

Frank Wylie had the most liked content!

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About Frank Wylie

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  • Occupation
    Other
  • Location
    Culpeper, VA
  • Specialties
    Film and digital photography, film history, cinematography (both kinds) and anything to do with photography. I have owned and operated many kinds of 16mm and 35mm cameras, flatbeds, contact printers, optical printers, Hazeltines, film processors and so on.

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  1. (old man rant - not directed at anyone in particular) I don't understand people who go to film school without some basic understanding of the process and who wait to be taught the fundamentals. Film School should be for making contacts, honing how you interact with others, refining advanced techniques and cementing your choice of career paths, not learning fundamental concepts. In this day and age, I am bewildered by anyone who asks for information that is easily obtained with a few clicks of a mouse or a brief visit to a library. In my books, you have almost already lost the race if you enter with this little initiative and expect an institution to hand you all the knowledge required to be successful. (old man rant off) I need coffee...
  2. "Sticky Shed Syndrome" is a real problem with some audio (and to a lesser extent, video) tape, but it can be partially overcome with the "baking" technique. Just don't wait too long to try to recover those tapes; they might turn into hockey pucks...
  3. No worries; your suggestion to contact the person who made the file is good one and I will follow up on that! Thanks again!
  4. Some audio tape can be "baked" and that will allow you to make one playback pass in an attempt to transfer the content, but it doesn't always work. There is a lot of info on this process online... https://www.google.com/search?client=firefox-b-1-d&q=baking+old+audio+tapes
  5. That's a "House Reel", not a shipping reel. House reels are just that; owned by the "house" or theatre and the print was removed from the crappy, banged-up shipping reels and mounted on house reels to insure smooth projection and then wound back onto the shipping reel and thrown in a Goldberg Case for transport to the next show. If you accidently shipped a house reel, you paid for it out of your pocket or got fired or both...
  6. I would also vote for checking the takedown claws to see if they are "hooked" or worn to the point it chips the perforations as it retracts...
  7. Thanks Jeremy, but as Phil indicates, those are the holders not the actual squeegee material itself. We have been experimenting with all manner of rubber and neoprene squeegee blades from just about anything you can think of, but so far haven't had much luck. You would think this a simple matter, but it's not. The hardest part of keeping a photochemical film lab going is beginning to be sourcing expendables and spares. Edit: I added photos of the machine, the vacuum knife, materials we have tried and the mounted knife.
  8. Does anyone have or know of a NOS cache of these squeegees? We need a good supply of these for our Triese Film processor vacuum knives and have been unable to find them anywhere, or even a good substitute. Any leads appreciated! THANK YOU!
  9. Be careful Webster! That movement and gear train sounds terribly dry! The Walls I have heard running are no where near that loud. Remember, they were designed as newsreel cameras, so being quiet was of paramount importance (pun not intended)! Lift up the sheet metal cover on the back of the camera and you should see a number of spring loaded, capped oil ports much like you see on an old B&H 16mm projector. I used to use a 50/50 mixture of watchmaker's oil and Marvel Mystery Oil on my 2709 and it worked great. Do not over oil! You might want to give Steve Krams of MTE a call to get some advice on how to lubricate the camera. He sells on Ebay and has tons of Wall camera parts and refurbishes the cameras. These are fine cameras. Don't rush it and score a bearing or lock the movement!
  10. Once you reach a certain size threshold on crew/cast size, the capture medium cost difference is academic and a fraction of the total budget. "More expensive" is not a simple thing to define unless you relate it to the project budget at hand.
  11. It would help to know what camera you are using; a lot depends on the weight and size of the camera when you don't have a big budget... (edit) OK, I just looked up a zhiyun crane 2 and see you must be using a DSLR or similar size camera. Two step ladders, a long 2x4 board, a drill, a coupe of clamps and a 1/4 20 bolt with a washer will allow you to shoot straight down. Just bolt the camera to the middle of the board, place it across the top of the step ladders, clamp it down and shoot. Of course, you'll have to remote trigger the camera to start and stop, or just let it roll. I don't recommend you try this with a Mitchell BNCR...
  12. There is a lot to be said for reciprocity characteristics in gradients of exposure that yet can't quite be matched by digital. The logarithmic fall-off of densities (local contrast) is automatic in film but must be artificially created in digital.
  13. Well, they tended to stretch them over frames and put them in the mattebox rather than behind the lens. Of course, the "secret" of how this was done was closely guarded and only referenced obliquely in interviews. Trade secrets!
  14. Photokinestatis far predates Ken Burns and was typically performed on a rostrum camera. NFB title "City of Gold" is a good example of a film that pre-dates Burn's popular Civil War series. I am not implying Burns takes credit for this type of animation; I think he actually states that he did not invent the process in a few interviews, but his name has become associated with this type of filmmaking.
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