John Salim

A friend of mine occasionally shoots 100ft rolls of FP4 with his ( non register pin ) Vinten and Newman Sinclair cameras which handle KS perfs perfectly fine ( ... they're larger than BH perfs ). I prep all of his film by rewinding rolls onto camera reels ( films are supplied on 1" cores ), and arrange processing and scanning by DeJonghe Film Postproduction in Belgium. John S 😎

I think that's as simple as it gets really. Trying to do this mechanically would be more complicated - and a lot more expensive ! John S 😉

On simple designs, the moving feed arm is connected to a potentiometer controlling a variable speed DC motor. John S

You're correct Ethan, if you watch this YouTube video you'll see there's a variable speed control unit in the centre of the feed platter constantly adjusting the feed out speed ( at 1':35" ) You can guess what'll happen if the controller goes wrong ! John S 😎

This picture of Natalie Wood being pied always makes me smile. Taken behind the scenes of 'The Great Race' ( that's director Blake Edwards throwing the pie ! ) John S ☺️

Here's another good example of a mis-timed shutter ( shot on Panavision ). It's a dream sequence for the track 'The Name of the Game' from the film 'ABBA The Movie'. There's a lot of use of filters too. Original ratio 2.35:1 ( anamorphic ). John S 😎

I wouldn't have thought so Miguel, because the film has to physically start moving before the shutter fully caps the frame. There might be a software solution ???? John S 😎

Really appreciate Dirk taking the time to do proper densitometric measurements through FedEx's shipping system. Good man ! John S 😎

Here's a picture of the yellow subtitles... John S 😉

Hi Rob, The film must be slipping on the feed side ( top side ) of the sprocket. Check if the pad rollers are clamping the film perforations into the teeth correctly. Film is being taken up from the gate ok ( bottom side of the sprocket ), but if the top side of the sprocket doesn't feed the same amount of film to the gate, the loops will get absorbed ( lost ). John S 😉

Apologies Simon.... yes I misunderstood you, of course the text would be black on clear. My friend assures me Ilford never bought any of their print stocks from anyone else - they produced all of their own. The last M/P stock called 'Mark V' was manufactured for many years and he believes was withdrawn around 2003. If I can get a reel back from the archive, I'll photograph a few frames. John S 😉

Many thanks for your reply Simon, but I can confirm Ilford did indeed manufacture a huge amount of 16mm and 35mm B&W print stock. A friend of mine worked for Ilford's back then and he's also very interested to know how the subtitles were 'coloured in'. ( I'll check to find out when the stocks were made ). The letters do look laser cut to me, and they seem to have the random 'round points' as you mention. The text is incredibly sharp ( and rock steady compared to the images behind them ). They're also noticably 'cut' into the emulsion side, so no, I don't think they're produced photographically. John S

Hi all, After checking a 35mm B&W print of 'Swing Time' ( 1936 ), I noticed it has French subtitles ( with original English soundtrack ). According to the can's label, this print looks as if it came from a French distributor ( includes a print report from 1986 ). The unusual thing is, it's a B&W print ( Ilford Safety Film ) with yellow subtitles. I've never seen this before on B&W stock, but on projection the text looks like it was etched by laser. So how was the yellow colour added ..... a type of dye bath or transfer possibly ??? Has anyone seen this before or know how it was produced ?...... I'd love to know ! Many thanks, John S 😳

where from ...... any links please John ? John S

Hi Sarah, Welcome to the forum ! What flavour would you like ? Try contacting ON8MIL in London..... https://www.on8mil.com/product-category/8mm-film-packages/standard-8/ Best wishes, John S 😁

Without stating the obvious, you haven't got a light yellow filter on your lens have you ? There won't be any filters in the viewfinder, but bear in mind this is a cheapo camera so I'd imagine the viewfinder optics may not be coated. I had a K3 many years ago and remember the viewfinder image looked on the warm side compared with a Bolex. John S

I remember seeing this post recently ( click on the link's picture to see more photos ) ....... John S 😊

Hi Martin, Many thanks for the information and suggestions. As it happens, I did run a clip test recently and results were light blue and flat contrast - though exposures looked almost 'normal'. I agree, pulling maybe half a stop would improve things but don't want to get into adjusting 1st & col devs just for the odd roll going through on it's own. I did leave the room for a minute, and you'll be happy to hear, didn't get any magenta cast ! .... haa haa haa. After talking to the client, I processed the rest of his roll ( all was ok like the clip test ) which he'll have scanned, so should be able to 'fix up' images to some extent in post. My main worry was, would VNF-1 films change control of my E-6 line...... it's good to hear it won't from the occasional roll. All the best wishes and thanks again, John S

Thanks Dirk, Just sent an email. Best wishes, John S

Hi All, I get the occasional request to process old Ektachromes ( VNF-1 ) which I've always declined. I know results can be poor, so does anyone know if processing a 'minimal' amount of VNF-1 film through an E-6 line will have a sensitometric effect ? Many thanks, John S :wacko:

Hi Dirk, I'm trying to contact you but sending an email bounces back 'undeliverable'. Can you contact me please or give an alternative email address. Many thanks, John S

Ah triffic ..... thanks Mark ! John S

I've noticed Dirk's website DeJonghe Film Postproduction has been down for the last few days. Anyone know if there's a problem ? John S

I wouldn't have thought it will be too long now Philip ..... a few months perhaps ? I heard 120 ( medium format stills film ) is due out in April. John S :rolleyes:

If you're starting to get out-of-phase pictures, I reckon something's getting loose in the camera's mech. John S