Peter Humble

I've already tried that. The reason is I'm working with an an old contact printer. It prints 1.33 great. But the image from the Super 16, even when framed 1.33, has a light bleed on the right hand edge. It's obviously not meant to take Super 16. I don't own any other cameras at the moment so I got wondering. As you say, probably cheaper to get another one.

I have a Super 16 converted Kinor. Is it possible to convert it back to regular 16mm? I'm guessing not but just thought it worth double checking.

Hi Richard, Thanks a lot for the detailed response. Hope your tour is going well. I'm keen to come to Melbourne next time you do one of your printing or chromaflex workshops so keep me posted! Best, Peter

Many thanks for the reply. Peter

Hi, I received some Kodak ECN2 Replenisher solution (Part A & Part B) from a lab that shut down and I'm just getting around to trying it out now. I was wondering if this replenisher can be mixed as the primary fresh solution for development (and if so do would the A:B ratio be different) or do I need a different ECN2 mix for the fresh developing solution? Thanks. Peter

Hi, I've just got my hands on this light meter for the first time and can't for the life of me work out how to put it in Cine mode so I can set fps. The Sekonic is not doing what I expect after reading the manual. I've been through every mode (by holding the mode button down and turning the set/change dial) and none provide a fps display as shown in the manual on page 16? Can anyone help? I guess it's something too obvious for me! Thanks

This debate won't go away soon. I have a slightly different perspective that I don't think has been mentioned. My take is that it really depends on your approach to the "idea" of motion pictures. If your idea of motion pictures is primarily about story telling then it stands to reason that the medium of capture is ultimately not hugely important. What is important is that the filmmakers communicate the story as best they can. We are now inundated with successful examples of digital film making (story telling) to render arguments of digital versus film mute. It's not to say people won't have a preference for a look (and hopefully the choice of film remains) however as long as story telling is the main "idea" then I don't think shooting medium is particularly critical. If however your "idea" of motion pictures points to possibilities other than strict story telling then the choice of medium is likely to be far more critical. An example of what I'm suggesting might be a filmmaker who is compelled to make the medium itself the subject matter of their work. (Think Stan Brakage/Tacita Dean) Digital capture is not an option if this is your "idea" of motion pictures. The other compelling "idea" which has atready been alluded to is "the fact" of the photochemical image. The are plenty of pratitioners who are only interested in moving image as an object. That is as a photochemical object. This "idea" of moving image I think is more about the primacy of the image over story telling and is aligned with traditional ideas of the photographic ahead of ideas of story telling. For those in this camp digital capture is also not an option. I partly agree with Bill when he says "film and digital should be able to co-exist. Oil painting didn't disappear when photography became popular. Neither should film" Exactly. However Bill, it's definitely not all about the money. If you need to work on film you will find a way.

Hi Paul, Where's your ECN lab?

Hi, I'm about to try my hand at tank developing some B&W Orwo (UN54 & N74) The only info I have about times comes from the Massive Development Chart on the net which lists times for 35mm. Can I use those times for 16mm film or do I need to alter those times at all? Thanks

Thanks a lot for the responses. Info much appreciated.

Hi, I know this is not how you're supposed to do things...but without going into lengthy description I'm just wondering: 1. Is it possible to edit Neg on a Steenbeck? I'm just getting conflicting reports as to whether the Neg is strong enough. 2. Is there such a thing as a 16mm dedicated neg editor? What do you call this machine? Thanks, Peter

Hi, Is anyone else having problems ordering film from ORWONA? I've had so many emails just asking for a postage quote for sending 2x100 ft reels to Sydney (I want to do some tests) Each time they say they're going to get back to me, and then nothing. It's driving me crazy. Just wondering what other people's experience is?