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robbie Land

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  1. Thanks all for your assistance. This weekend I’m running dummy film through to alienate the issue. I more than appreciate your comments and experience to assist and resolve this concerning Matter in order to get this fab camera back in motion Hoping to shoot a project in next couple months, but this sprocket tearing derailed my plans. thanks for all your help. -robbie. .
  2. Recently noticed last two rolls 400’ mags yesterday and today taking mag off there is a collection of film chips bottom of gate area. This is a first for me with this camera. Two different magazines “loaded properly “ . Anyone with guess or idea what’s happening here. Thanks for any help. -robbie
  3. Can anyone recommend an oil for lubricating the Cameflex CM3? I know the manual suggest Esso oil 8119, which I'm unable to find. Will something like Liberty clock oil work? Thanks for any knowledge on this matter.
  4. Hello, i am in the process of having two 16mm answer prints transferred to digital form. From my understanding, my best bet with achieving quality digital form for various exhibition purposes such as venue projection to large monitor is having a 2k raw transfer. This is a properly timed color print, so, im asking if this is my best bet and or should consider anything more. Also, do i have them saved as ProRes4444 or other form. Sorry, i usually screen with the answer or release print and so im new to this side of the exhibiting film work. Ive spoke with ColorLab and Video & Film Solutions today with quotes for 700' around $350 for the above configurations. Thanks in advance for any assistance anyone can provide
  5. good Lord, what a gift, to say the least. the 1014xl-s provides fabulous image when shooting auto exposure or even better when using light meter. youll have no problem and good results with the tri-x stock. although, care outdoors in harsh sunlight with tri-x. watch exposure either hand held or incamera. if you have any questions regarding the camera settings, dont hesitate to email.
  6. can anyone with experience using both stocks (Vision3 500T and 200T) in various situations provide which produces higher contrast and color saturation with richer blacks. i've used the 500T 7219 quite a bit with nice results, but now i/m in process of budgeting an order purchase for a project and missing the results that the EXR stocks provided. therefore, any thoughts on if the newer 200T may be higher in contrast and color saturation? thanks, robbie land
  7. i've had no problem processing color film with the G3. success with color neg, reversal and b/w 8mm and 16mm. no links off top of head..perhaps google helen hill's Recipes for disaster or http://www.ralphdickinson.com/process_site/contents.html. Glad to hear the 100D availabilty via Kodak!
  8. you can do it. although, if you;ve never experienced cutting film, much less neg. well..practice first. you'll need fresh cement, cement splicer, yeah, clean room/space and i suppose youll have the rest materials in editing room. it will be frustrating as it is for me always when i try to save a buck doing myself. but you can do it. but start with your workprint. then, if that provides confidence, move on to neg. i'm supporting this idea because it is quite possible to achieve proper professional results and the DIY method is always a good start. in a month i will make the decision to conform a current project. i'm hoping i will be cool and relaxed to do it myself as ive done several times before.
  9. after discussing the matter with FujiFilm we have determined the results of my test were due to poor printing. a Fuji Vivid neg. looks different than a kodak neg. and at the time of the test the vivid 160 was new to the timer at lab and therefore misprinted. therefore, i will continue to work with this stock to achieve the stated saturation and desirable dense deep blacks.
  10. well, i suppose it's another telecine stock. i have 400' remaining in fridge, which is useless to me as telecine. like i stated, i was quite displeased with the print results. yeah, milk and weak.
  11. i shot the vivid in various situation and have not been happy. i wanted what the stock calls for, vivid color saturation, higher contrast, but it doesnt look good to me. i miss the Kodak EXR stocks and thought Vivid was my replacement. my final attempt i had the lab push one stop, but didnt achieve desire. so, i'm pleased with Kodak's V3 500T, which provides dense black and a saturation almost..like EXR. now perhaps if i can havee it printed onto 3393 may up my saturation.
  12. Try Movielab in Rockville, MD. good people, good lab. no extra charge for skip bleach or cross-processing.
  13. Yale film Lab will process 7240. they do a good job and quick turnaround. just had three rolls processed. two super8 carts and 100' regular8.
  14. i'm interested in any ideas with this as well. im familiar with 3383 and 3393, but would like to know if a fuji or another color stock can provide a more dense black and richer colors?
  15. ive been very unhappy with this vivid160T stock. initially i was very excited since Kodak did away with the saturated EXR stocks such as 7248. on several shoots i just get muddy blacks and medium color range. ive tried normal exposure, over by one stop, by two stops and push processing and still very unsatisfied. ive called lab several times regarding the stock and processing, but still same mud compared to a dense black and color saturation of EXR stocks. maybe Vision3 will please..?
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