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Frank Wylie

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Everything posted by Frank Wylie

  1. From what I understand, the software is locked to the CPU by an algorithm that computes a unique identifier based on some fixed value in the CPU. Even if you manage to somehow copy the software, it will only run on the original CPU upon which it was installed. I was told by one owner that If your CPU dies, then their usual solution is to install a completely new computer rather than just swap out components. Take it for what it's worth; hearsay...
  2. Flutter testing was important to in-camera optical sound recording as well as sound playback projection. Flutter was induced by the difference between the intermittent motion of the film in the camera/projector gate and the continuous motion of optical sound readers/recorders. The test films were designed to measure the amplitude of fluctuations present in the optical pickup after the camera/projector gate and allow engineers/technicians to fine-tune the transport to minimize this audio problem.
  3. All original Super 8mm and Regular 8mm test materials (negatives, interpositives, etc.) for Super 8mm and Regular 8mm were donated to the Library of Congress Motion Picture Lab in Dayton, Ohio when I was Lab Supervisor in about 2003/2004. I had called to inquire about getting new RP40 optical printing alignment targets for our production, when I was informed that SMPTE had discontinued producing those materials and were only selling what remaining stock on-hand. (We wound up duplicating our own RP40 masters from a small roll I found buried in a back storage room) Somehow the conversation got around to S8/R8 when they informed me they were about to discard those elements. I suggested they donate them to the LOC and they did. They now reside somewhere in the collections in Mount Pony at the National Audio Visual Conservation Center in Culpeper, Virginia. I have since retired and don't know their status. Hopefully, they have been ingested and are in archival storage. I do not recall if there were 9.5mm elements, but I don't think so...
  4. https://www.sprocketschool.org/w/images/3/38/Smpte-test-materials-catalog.pdf
  5. Sorry, I couldn't resist. Not mine, can't vouch for it or the seller, thought someone on here might have an interest in this #2 serial number camera. Better have a machine shop, three assistants and an incredible tripod when you take this camera for a spin... https://www.ebay.com/itm/326013146829?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=yTc_-1ywTF-&sssrc=2047675&ssuid=gZKdZ7m3Rw-&widget_ver=artemis&media=COPY
  6. Nikon F3 body with DE-2 Standard Viewfinder in extremely clean, but used condition. I am reluctantly parting with this camera body because I have an F3 in lesser condition that works just fine; no need for duplication, no matter the shape!. As per title, I will sell this body for $325 + $20 to be shipped and insured within the Continental US. All other buyers outside the CONUS, inquire for shipping rate. Comes with body cap and nice nylon strap. Batteries will be removed prior to shipping. Other than a few dust specs in the viewfinder (and those can be removed with some careful cleaning), I can find no fault with the camera. Look carefully at the photos, as this camera has a brand new set of light seals from Jon Goodman; all seals in the back and in the viewfinder have been replaced. You may return this camera within 5 days if you are not 100% satisfied; camera must be in identical shape and return shipping/insurance will be at your cost, as with most typical online sales. PM with questions, if any. Due to file size limits on this site, PM me for more photos. Camera will be advertised on other sites.
  7. Now that I have retired, it is time to rationalize my camera holdings. I can no longer justify just sitting on a good camera as a display piece when others can be shooting with it and having fun. I am selling my Bolex H8 Reflex for what I have invested in it and will be plowing those proceeds back into a series of large format still cameras; something I can reasonably do in my old age! Here are the particulars: 1965 Bolex H8 Reflex #212222 (see http://www.bolexcollector.com/articles/07_05_11.html) Camera is in good physical condition with few obvious cosmetic defects; a tiny bit of flaking on the viewfinder tube and the Bolex logo is missing on the camera door. Original, numbered 100 foot take-up spool included and in good shape. (numbered 1 and 2 for when you flip the film over to shoot the other side). Yes, this camera can shoot 100 feet of Double Regular 8mm film in addition to the typical 25 foot loads. The camera will run smoothly about 47 seconds on a full wind (empty) at 18 fps. The viewfinder diopter is very stiff, but adjustable. Reflex viewing is clear; very little dust (if any). Adjustable shutter works well and can totally fade-out the image as you run. Rubber eye cup is like new. Has the flat, square base built-in, but does not have the threaded holes for a matte box. That can be modified with the required parts (not included). Kern Palliard H8 RX 5.5mm f1.6 prime lens with original lens cap. Glass is generally clean and clear. There is a tiny bit of black paint flaking on an interior baffle that should not affect shooting and does not show up as floating particles, but I did want to point that out. The focus ring is somewhat stiff, but should loosen up once being used regularly. Preset f-stop levers work properly. Kern Palliard H8 RX 12.5mm f1.3 prime lens with original lens cap and lens hood. Glass is generally clean and clear. No evidence of internal paint flaking. Preset f-stop levers work properly. 1 (one) lens turret cap (non-locking) This camera can take optional (not included) Rex-O-Faders, electric motors and other Rex related accessories. Please investigate on the Bolex Collector website for more information. Remember, this camera requires the use of H8 RX lenses which are increasingly rare and expensive. The pair on this camera could sell for 2X the selling price of the entire outfit, but I don't want to be that guy or sit on the camera for months waiting for the right person to come along. I would rather the camera actually be used and enjoyed by a budding filmmaker. Shipping will be actual cost with insurance to protect you and me. The camera may be advertised on other sites, so be aware of this. If you have any further questions, please PM me. I can show additional photos if needed. Please be patient if I do not respond immediately; I will answer inquiries in the order received. NOTE: the camera has not be professional serviced since I have owned it, but it does run smoothly. Thank you.
  8. From what I remember: 1. Any dust or fibers on the lens will substantially impact the image, as it is closer to the film plane. 2. Filter thickness may impact focus at infinity. 3. Spectral highlights may act differently. 4. Easy to forget it's on the lens.
  9. Skyler and Gregg, Ah, I see. Sorry to have muddied the waters! Good luck finding a solution...
  10. Cinema began as an Artisanal, hand-crafted process. As corporations began to scale-up production for the sake of pure profit did the bulk of processes begin the gradual but incessant march away from Artisanal to mechanized production. Pathe, Lumiere and Griffith gave way to the industrialized Ince, Paramount and Fox; hand processed silent films gave way to machine processed sound film and so on. I find it humorous that those who can purchase the required equipment to make a 8/12K feature film for less than the price of a car, feel threatened by someone processing their film by hand in coffee enough to call them a "hipster"!
  11. See this from Verne and Sylvia Carlson's "Professional Cameraman's Handbook" (get a copy, they are cheap): This book makes no distinction between the 200 and 400 foot magazines, and it's been a LONG time since I handled an ACL, so there may be variations on the types of magazines of which I am unaware. However, I would think this general area of the magazine would remain pretty much unchanged, but...
  12. http://www.bolexcollector.com/cameras/h16rex3.html The Rex 3, unless it was modified to take a 400' motorized magazine, takes 100' daylight spools. There were factory and after market mods that would install the 400' magazine, but unless it has the saddle installed, you are limited to 100" loads. This is just my opinion, but take the crazy amount of money used to convert a camera to Super 16mm and have a simple viewfinder mask at the same aspect ratio installed. Then take the bundle of money left over and buy enough film to shoot a good sized project. When you have it scanned, you can hard matte the image anywhere in the full 16mm frame. This obsession with Super 16mm is baffling to me. Sure, back in the early 1980's when the format came out, it was a good alternative to shooting 35mm because the infrastructure and resources to do blow-ups at a relatively reasonable cost was in place. Not there anymore! With the quality of modern 16mm color negative stocks PLUS the virtual inability to obtain a S16 to 35mm blowup (both in lab availability AND in staggering cost) makes the cost of conversion and use highly questionable. Yes, you do get a very small increase in image quality, but at what cost? You can wind up with a super 16mm camera that is beautiful and no money to shoot. If you absolutely MUST have a Super 16mm camera, buy one already converted and proven to work properly. The money you save in buying a proven camera will be substantial compared to possibly having a botched conversion and no camera. Having never been independently wealthy, I never had the luxury to debate the issue.
  13. Jack Very nice. I have some Auricon literature and many photos of the many Auricon cameras I have owned over the years, so I hope to post some material on the users group in the future. Frank
  14. Personally, I tend to use VERY SPARINGLY a 50/50 mix of clear sewing machine oil and Marvel Mystery Oil on totally mechanical cameras. Take great care to wipe away any residual oils in the film chamber with a solvent. You don't want to get it on your film or film path. That ruins the roll and the lab will hang you from the nearest lamp post.
  15. Andrew, A light weight mineral oil is generally acceptable, but don't over do it. See this operator's manual in D.D. Teoli Jr.'s archive: https://archive.org/details/filmo-70-manual-d.-d.-teoli-jr.-a.-c./page/n13/mode/2up Here's another general use manual: http://vintagecameras.fr/images/MonSite/BELL-HOWELL/Filmo_70DR/_doc/prod_manual-filmo.pdf Charles beat me to the punch on the lenses, only be aware that SOME very early TV c-mount lenses have a different back focus and may not focus to infinity. In general, I try to avoid any lens marked "TV" for that reason...
  16. John Bailey was a great cinematographer and a great human being. I had the great privilege of meeting and speaking with him on a visit he paid to the LOC NAVCC in 2017. It was a shock to hear of his passing. Godspeed John.
  17. Cannot say he was the first, but here is an early example by Edwin S. Porter in 1901 of the Pan-American Exposition for Thomas Edison. https://www.loc.gov/item/00694344/
  18. With such sparse information, I can only take a stab in the dark. Perhaps the Morgana Process? https://filmcolors.org/timeline-entry/1259/#/infobox/37170
  19. Your choices are really limited, but in addition to the above person, you should at least speak to Photomec in the UK. http://www.photomec.co.uk/ As far as I know, they are the sole producer of modern film processors from S8 to 35mm. I toured their facility in 2000 and was very impressed with their dedication and build quality. They were miles ahead of other (then operational) major film processing equipment companies in implementing new technology and offering new designs.
  20. Search for a seller named "Kinemaman" on Ebay and inquire if they have any leads on an original Mitchell unit. From what I know, they have one of the largest stockpiles of original Mitchell camera gear in the World.
  21. Others will perhaps chime in with better responses, but I suggest if you want to keep the black background, move the subject forward and apply a back light on the two items. There is nothing to separate the subjects from the background. Moving the subjects forward allows you to shine a light source on the rear of the items without illuminating the background. This should bring out the shape and volume of the items and give you the separation needed to fully comprehend the shape of the items. Be sure to use barn doors or flags to keep the light from spilling into the taking lens and onto the background.
  22. I have a 16mm Technicolor Salesman Reel somewhere around here. It promoted their process for that brief period portable projectors were the rage with traveling salesmen and product point of sale booths. Imagine, you could have had a IB Tech reel for selling your windows and vinyl siding! ' I have to think they would have had to have done 35-32 dual rank prints and then slit them down to 16mm rather than fabricate an entirely separate printing facility. We programmed a fair number of Cinemascope 16mm prints at the University I attended as part of the English Literature series for Freshmen. (couldn't get them to read, but they would watch movies) I specifically remember screening the full restoration (at that time) of Abel Gance's "Napoleon" (1927) that was a grueling 330 minutes and the final reel of triptych scenes were on a separate reel in anamorphic. The film was great but, I think the cheering of the audience when the curtain closed was no small measure of relief that it was ending, as much as respect for the artistry the film. I still have an Elmoscope Anamorphic projection lens on my shelf to remind me of those days...
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