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Frank Wylie

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Frank Wylie last won the day on January 3 2019

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About Frank Wylie

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  • 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. https://store.ascmag.com/product-p/leicamp10.htm "With the M10-P “ASC 100 Edition,” Leica has created a fitting tribute to the world of cinema on the occasion of the 100th anniversary of the founding of the American Society of Cinematographers. The Leica M10-P “ASC 100 Edition” enables cinematographers to get a first impression of a planned scene by reproducing two different cine looks and displaying these frames as still pictures. For the first time, the cinematographer will have a useful preview of their intended image, allowing them to choose a more classical or more contemporary cine look. The “ASC 100 Edition” set comprises a Leica M10-P camera and a Leica Summicron-M 35 f/2 ASPH lens and — with its two specially tailored cine look modes — is an exquisite tool for aiding cinematographers and filmmakers in their search for the truly exceptional visual experience. The two unique looks were developed by Leica imaging quality specialists in collaboration with some of the world’s most influential cinematographers and members of the ASC. While the ASC Cine Classic mode is inspired by the analog 35mm motion-picture film look, the ASC Cine Contemporary mode supports the current digital look of contemporary movies. To make the M10-P “ASC 100 Edition” a tool for professional cinematographers, it will enable users to select from different frame lines used in cinematography. Once activated, the corresponding frame lines are displayed as a bright-line frame. The ”ASC 100 Edition” set also includes a Visoflex electronic accessory and a Leica M-PL-Mount. Together with the Cine Looks, and the selectable frame lines, this enables the use of the combination as a digital director’s viewfinder. The Leica M-PL Mount enables the use of almost all PL mount cine lenses available on the market. The Leica M10-P “ASC 100 Edition” thus provides cinematographers and filmmakers with the ability to view and test scenes with any desired lens before shooting begins. Location scouting can also be made much easier with the aid of the Leica FOTOS App, as the combination of the camera and the App offers the ability to share and discuss results immediately with all parties involved in the filming project. The modern interpretation of Oskar Barnack’s vision is expressed not only in the unique range of functions offered by Leica M10-P “ASC 100 Edition”, but also in the camera’s design. Radically reduced to just the essentials, the engravings on its black chrome surfaces are also completely in black. The technical-functional look is carried forward in the leathering, which is similar to that also found on the Leica SL. The final touch to the look of the Leica M10-P “ASC 100 Edition” is the classic ASC logo on the top plate that seems to disappear in certain lighting conditions. "
  2. Hand cranked film projected in the Silent Era looked.. normal. What modern audiences associate with hand-cranked footage is largely based upon a number of artifacts subsequent to their initial exhibition. It also depends on the Era of which you speak; 40 some-odd years encompasses a LOT of technological change, aesthetics and production methods. Hand cranking wasn't so primitive. Sven Nyquist used a hand-cranked 2709 shooting color negative for Bergman's "Fanny and Alexander" (1982) that was intercut with Arri 35BL footage and no one noticed. (I have been searching for this article from American Cinematographer for reference, but have been unable to locate it yet. Hope my memory hasn't failed...) Image "pulsing", often attributed to irregular hand-cranking, is 99.9% incorrect; it was the rack and tank processing of release prints that introduced this artifact into the prints. No cinematographer worth their salt allowed density pulsing in their camera original! From about 1895 to around 1912 (depending on a lot of factors), the cinematographer not only loaded their own magazines, they perforated the film just prior to shooting! They did clip tests on set to determine exposure, cranked the camera and worked the geared head with the other free hand. After shooting was done, they were responsible for processing their own footage on racks, most with their own modification. This mostly consisted of a sliding top bar that allowed the film to slip on the rack and vary where the highest velocity of developer played upon the film, minimizing any density variations. Unfortunately, very little care was taken with the high volume processing of the release prints and static racks were used and introduced these density pulses. I have timed over 600 features for the Library of Congress and many of them are classic silent era masterpiece camera original negatives and can tell you emphatically that very, very few of them suffer from this defect. Speed issues, flicker, poor registration, deterioration, bad speed conversion duplication and just poor duplication are, in general, artifacts of lazy lab work and poor storage.
  3. http://www.jkcamera.com/index.htm They might fix it for you...
  4. A very tricky way to make a diffusion filter is to lightly mist Acetone on an optical acrylic flat. It's hard to get the mist just right and even; you only get one chance! Very tricky, but with this method, you avoid the potential to get a "starburst" pattern on specular highlights that the weave pattern of hosiery can produce.
  5. Not directly helpful, but you could try contacting JK Camera and see if they can either rebuild it or offer an alternative controller. http://www.jkcamera.com/index.htm Home of the famous JK Optical Printer...
  6. (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...
  7. "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...
  8. No worries; your suggestion to contact the person who made the file is good one and I will follow up on that! Thanks again!
  9. 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
  10. 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...
  11. 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...
  12. 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.
  13. 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!
  14. 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!
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