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Frank Wylie

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  1. "https://cool.culturalheritage.org/byform/mailing-lists/cdl/1991/0156.html Wet printing (which has been turned into the generic "wet gate" term) was developed by Technicolor to extend the lives of their printing matrices during production of 3 color Technicolor prints.
  2. I have to agree with Dom. It looks like the film is being pushed through the gate by means of the loop formers, rather than being advanced by the take-down claw. The Krasnogorsk has a terrible auto loading feature and the loop formers tend to be more of a drawback than a help. We had two at Ohio State University and I wound up removing the loop formers entirely and having the students manually thread the cameras. This helped somewhat, but the gate and take down claw are not well made and it could still lose the loop when the pressure plate spring became fatigued. If nothing else, find a way to fix the loop formers at maximum distance from the gate and manually thread the camera with a dummy roll to see if this solves the problem. It also helps to NOT let the camera spring tension totally run out during a take, as the film can slip in the gate while winding the camera and cause the film to lose a frame when the spring re-tensions and the claw cycles partially until the trigger stop engages. This small bit of movement, against an area of the film that has no perforation, will cause the loops to become uneven. Eventually, with enough takes, you will lose the upper loop due to this frame skipping and the problem will manifest itself.
  3. Aaron, I went through what I can access at the moment and didn't see anything related to Moviola flatbeds, sorry! Will keep an eye out for anything I can find, but it's not looking good. I have moved many times since then and it might have fallen victim to a purge, but I will still keep you in mind as I unearth new boxes. Frank
  4. Aaron, I might have some literature on this flatbed; I will have to search and see if it has survived many moves. I worked with and maintained several of these flatbeds at Ohio State University in the early 1990's. The main issue I had with these flatbeds was the tendency for the platter motor drive cards to malfunction and go into extremely fast shuttle mode without warning. These, of course, were flatbeds that had heavy, sustained use that contributed to their break-downs, so a unit that is treated less drastically may not encounter these problems often. Routine maintenance should include examination of these controller boards/cards and careful cleaning of any edge connectors to avoid corrosion of the contact points, which can cause higher resistance and eventual failure. In any event, I will attempt to dig through my "archive" and see what I can find. Frank
  5. Oh, I agree with you there, but I think some are not talking the difference between Caviar and Lobster, but between steak and potted meat... 😅
  6. Not avoiding your question, Dom, just trying to dig the source of this information out of my rusty mind. I may be totally off base here, but I seem to recall it being conveyed to me by a Dr. Robert Wagner of the Ohio State University Department of Photography and Cinema back in the early 1990's. As I vaguely recall, he indicated that Barnack had experimented with cine frame sized camera frames and was dissatisfied with the results, therefore he formulated the new 36 x 24 frame format in response. Barnack then proceeded to design lenses to cover the added width and developed the famous lenses everyone knows so well. That's totally anecdotal, I understand, but that's probably where that came from...
  7. When Vistavision was introduced, it was in part a measure to try to bring back cinema audiences to motion picture theaters due to the encroachment of Television on their revenue streams. Being that 35mm 4 perf had been a standard for about 60 years, the amount of physical infrastructure in place around the World made it economically unreasonable to adopt a totally new standard that would require total retooling of the entire process from inception to projection. There were many other large format systems before and after the establishment of 35mm, 4 perforation as the standard; American Biograph shot and projected in 68mm in the late 1890's and there were several larger format systems developed in Europe about the same time, but Edison's format won-out for some non-obvious reasons. Edison failed to secure patents for his system in Europe, thinking it was a toy/fad that would soon pass and that it simply wasn't worth the effort and expense to establish these "foreign" patents. This left the field open in Europe for entrepreneurs who wanted to enter the moving image business to dodge the royalties and costs of universally adopting any other format which would have encumbered them with said payments. So, it was legal and profitable to copy the machinery and format of Edison as a standard to open both kinescope and theatrical parlors, as well as devise new projection and cameras systems based on that format.
  8. I think you can safely say that if an inexpensive, super high quality scanner could be built for mass production, it already would be on the market and selling like hotcakes.
  9. Historically you are looking at this backward. As David Mullen points out, the standards for 35mm framing were established by cinema, not by still photography. Leica and other 35mm cameras were developed to use cinema film well after the 35mm Silent Aperture was established and eventually went on to formalize the 36 x 24mm frame size for still photography. Even this was subject to some variations, as both Leica and Japanese still camera manufacturers initially used 4:3 aspect ratio frames, but quickly thereafter adopted the 3:2 aspect ratio for 36 x 24 (nominal). Silent Aperture cinema, the image 4 perforations high with an aspect ratio of 4:3 or 1.33:1, IS the historically accurate, original "Full Frame" specification. Don't confuse Cinematic "Full Frame" with Still Photography "Full Frame"; the latter being co opted by marketing types to hawk DSLRs with sensors more closely sized to typical 35mm still camera frames .
  10. Determine hyperfocal distance on the lens and fix it with a pin to that fixed focus point. Make some waterhouse stops to vary the aperture.
  11. I would try Robert Shanebrook @ http://www.makingkodakfilm.com/. He might have an idea, as Kodak was intimately involved in many NASA projects...
  12. Amber, That's a lot to cram into a reply, so I am going to suggest you obtain a copy of this book; https://www.amazon.com/Bare-Bones-Camera-Course-Video/dp/0960371818 It's inexpensive and will answer a lot, but probably not all, of your questions. Shooting color for black and white can be done a number of ways. The easiest is to shoot it normally in color and then de-saturate (remove) the color in Premiere. Beyond that, I wouldn't worry too much about technique at the moment; get a shoot under your belt and start looking at the footage. You will see what you like and don't like; take it from there. Don't try to get too complex at first, it only tends to discourage. Finish something and be ready to learn from your mistakes. Remember; if you got it perfect the first time, you should retire. Good luck
  13. Have you checked your viewfinder for a possible light path to "kick back" through to the aperture? I haven't personally shot with an ACL, but have had mysterious flicker issues with other cameras that were traced back to a reflex viewfinder eye cup not sealing against my face correctly. Is your eye cup in good shape? Does it fit your face properly?
  14. So I haven't tried them? Glad you can ascertain that from a great distance. I'll not impede your quest further.
  15. These probably served dual purpose; as both for feature film presentations on 16mm and for Newsfilm segments for daily news presentations. The film usually was shown MOS with the reporter talking over the images, but there was the option for optical or magnetic location sound playback. In fact, if you look at the left-most projector, you will see an impromptu "cue tab" on the film of this projector. This let the operator know which segment was ready to go and allowed them to thread up the 2nd projector with the next news segment footage (if there was one). Most stations shot VNF reversal on a 16mm camera (CP16, Canon Scoopic, B&H DR70, Frezollini, Auricon, etc.) well into the 1990's.
  16. It also tends to very slightly degrade resolution due to the refraction of the liquid. Unless your element is damaged, I would not suggest the added expense. You lose sharpness and gain no real advantage with wet gate printing unless you have base abrasions.
  17. Can no one use Google anymore? Must everyone be spoon-fed information? Add that to your blog post; the incredible entitled attitude of those who refuse to search for information themselves. http://www.graphicsmagick.org/ https://imagemagick.org/index.php https://www.imaging.org/site/PDFS/Papers/2001/PICS-0-251/4635.pdf For one thing, JPEG 2000 does not require side-cart audio in the file of a scanned film, can retain Rec. 2020 color space and frame rates... enough. Do some research.
  18. 1 and 7 -- Film chain projectors with changeovers. They are the Bell & Howell models that were originally developed for WWII troop projection, but the design was so good, they continued to produced them well beyond the end of the War. The specification was developed by the US Government and models were made by B&H, DeVry and others. Most you find are either OD Green or Tan colored. They were made in both Telecine and standard projection configuration. 4,5 and 6 are racks full of audio and video monitors and patch panels 2 and 3 are 2" (Quad) video tape recorders/players. 2 looks like an RCA and 3 looks like an Ampex.
  19. Personally, I would just remove as much as possible and use a hand-held meter. The electronics are corroded from a leaking battery; you can see the effects on both the battery socket and the wire traces on the backside of the board. It's a pretty clever device and might have even worked reasonably well, but without the knowledge of the builder as to how it operates and measures light, you'll probably ruin a lot of film trying to get it to work. My 2 cents...
  20. Pin registered 4K scans @ 1fps? Seems perfectly reasonable if you want pin-registered scans. It's a specialized scanner; not a bulk library or transfer machine; it was designed for DI work intended to go back out to film and was prior to really robust electronic stabilization option to be had now. It makes me laugh to hear all the complaining about the speed. Just like our Oxberry Oxscan, they love to derisively point out how slow it is and they refuse to use it. It really upsets them when I point out that, if you don't load it and push the "go" button, it effectively scans at 0 fps and they wasted $100K for nothing. Frick: "The food is really bad here" Frack: " Yes and the portions are so small!"
  21. It "might" be a contact print. The camera was a single glass plate camera, probably no larger than 2 x 3 or in that vicinity. The camera is now in the Smithsonian, as I recall. We restored a film based on the "ankle-camera" incident called, "The Picture Snatcher" with James Cagney about 10 years ago from the original camera negative. https://www.imdb.com/title/tt0024450/ Looked pretty good if I don't say so myself...
  22. People are shooting Kodak 2383 as still film at ISO 3 to 6 and getting an image not too far removed from 2 Color Technicolor when scanned and tweaked. Of course, that's a flatbed scanner for still film, but I can't image you wouldn't be able to do more in a full blown DI suite or Davinci Resolve...
  23. Yes, despite my best efforts, the films had to be thrown out. Even with molecular sieves and frequent cleaning, the base just exuded into fine white crystals and began to curl-up into brittle pencil-shaped ropes. The film was carelessly printed and processed; as cheap as possible by the Scopiotone people, so it was fatally flawed from the beginning. Mendelson's used to also have thousands of those R8 and S8 endless loop projectors; technicolor and a second brand I can't remember. Walls were lined with them and every art student in Ohio would go down and buy a dozen or so and make these projection exhibitions with repeating loops. You're a little too late; Mendelson's closed in 2020 when a group of Chinese investors bought his warehouses full of parts and then they sold out the remainders in the main store. I went by shortly before they closed for old times sake and it was pure trash left over with sky-high prices. End of an era...
  24. Yeah. Mendelson's Surplus in Dayton, Ohio used to have all the spare parts and chassis left over from when the Scopiotone assembly line shut down. I remember going through there and seeing at least a dozen chassis and bins of parts. Of course, that was 30 years ago and it's all long gone. I also had several 1200 foot reels of built-up Scopiotone subjects, but they eventually went vinegar despite my best efforts. They were irritating to project, as they were "flipped" left to right in printing to make the projection path within the jukebox much more compact. Not a particularly robust or long lived format/display media, but a unique novelty.
  25. Or request an inter library load for free. Your local library can help you get the book on loan; totally for free. I paid the $115 and learned a lot, that's why I recommend reading the book.
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