John Salim

For those of you who use these home developing tanks, I'd like to know how you dry your films without getting drying marks or spots. Do you dry them on the spirals or remove them onto some drying device ? John S :blink:

Hello all, Is there anybody out there who knows where I can find the exposure compensations / filter factors for my Tiffen filters ? ( these include a range of 85's ) Tiffen's website or any literature I find makes no mention at all ...surely this info is there somewhere ??? Many thanks for any help you can provide. :rolleyes: John S

Nick, There's a six plate ( ST1900 ) machine on eBay at the moment. http://cgi.ebay.co.uk/Steenbeck-16mm-professional-editing-machine-ST1900-/330433595097?cmd=ViewItem&pt=UK_Photography_Film_Cameras_ET&hash=item4cef6086d9 John S B)

No Olex, E-6 ( colour dev ) doesn't work like that. To produce colour dyes, chemicals react together with the film's colour couplers. It's not a case of adding colours in the process which is what I think you're saying. John S :rolleyes:

Definitely not Chris. This film is E-6 colour reversal and cannot be processed through ANY B&W chemicals. If it's put through a B&W process you'll get nothing on the film as it requires a bleach step ( at high temperature ). The only other thing you could do with '7285' is to 'cross process it' ( as a special effect negative ) through process C-41 ( colour negative ) but that's if you can find a lab that runs C-41 16mm for cine - you won't find an 8mm C-41 processor though. I don't know if anybody here on the forum has any experience of processing this emulsion through ECN-2 - maybe they can enlighten us ? Hope that helps, John S :rolleyes:

Bill, I do believe some of 'Schindler's List' was shot on Plus-X negative. To me this movie is one of the best examples of B&W cinematography ....and would have looked even better if release prints were on B&W print stock ( which of course for obvious reasons it couldn't be ). John S :rolleyes:

For those who've never seen one, here's a couple of pictures of the elusive 'Elaine' .....no idea who the crew are though ! John S :rolleyes:

There isn't any difference with longevity, it's only colour timing ( grading ) of the same print stock. John S :rolleyes:

Just slightly going off topic here, but it's not true with the base density being lighter with polyester stock. Yes it's thinner, but you'll not see the difference. If you want to test if film is acetate or polyestar ( without trying to tear it ), place two polarizing filters on top of each other, then spin one round till the light through it is blocked out. Now simply place the film in between the filters and you'll see the acetate will show no difference, but the polyester stock will 'interfere' with the polarized lightwaves and appear clear ! :rolleyes: John S

Zack, Here's a link to see some Nikon bulk magazines..... http://www.mir.com.my/rb/photography/hardw...back/index1.htm John S :rolleyes:

Hi Ed ! ....I thought I recognised your name :P Yes I'm keeping my fingers crossed John doesn't get scammed by this 'great sounding deal'. I've been scammed in the past and know how easy it is to want to believe in a good deal - it's easy to get sucked in - and very embarrassing to admit it afterwards. :angry: Looking forward to see how this turns out ! John S

Hi John, When I saw 'craiglists' .......alarm bells started ringing ! This is almost certainly a scam, and the resaon I say that is, I'm on a 16mm film collectors forum ( 16mmfilmtalk.com ) and a similar thing has happened there. Craigslist advertised a room full of 16mm prints of very collectable titles - all can be grabbed by using Western Union money orders and using U Haul to carry them away. The advert is below..... My Grandfather Died Last Week. We are throwing out all of his things, he stored them in his house which has been "Willed". He has a room full of about 3500 16" 16mm Films. Also there are projectors and a screen. Time is important so to make this work, the first person to come pick this up before December 27th gets it, otherwise it goes in the trash. I will not hold it for you, first come first serve. You will need a Uhaul truck about 22' long to get everything. The film titles that I can see are "GONE WITH THE WIND TECH" "STAR WARS LPP" "RAIDERS OF THE LOST ARK LPP" "SONG OF THE SOUTH" "FANTASIA" "DRACULA ORIG." WOLFMAN ORIG." "CITIZEN KANE" "THIS ISLAND EARTH TECH" and then he has about 300 films which say "CHARLIE CHAS - " and then various titles after the -. I think TECH means the film is a technical film, LPP might mean Long Print Process because he used to tell us about how long it took to print films at the lab where he worked. He used to work for FOTOKEM but they don't want this stuff. The projector is something called a FUMEO and it is large, it will take 2 people to move it. The other projector is an EIKI 5500. There is a table which has levers and cranks and some sort of ultrasonic splicer. There is a machine called a URSA RANK but it's disconnected. Hurry up and come get this, you have to move it if you want it. You have to take it all. If you know anything about movies, you'll know this is all B***S**T ! Please beware. John S :(

Is it April the 1st already ??? :P John S

Can I just correct the grammer for 120 'stills' film. 120 film is actually 64mm wide, and for some reason even some labs call it 120mm format. :rolleyes: John S

Hi Mike, All H-16 models introduced after 1964 have a 1:1 drive shaft and motors will be easier to find. Older models have a 8:1 drive shaft - and both types are not interchangable. John S :rolleyes:

All sorted now ! :P John S

Hello all, I've just got myself a Bolex EM motor ( to drive my SBM ) and want to make up a couple of leads for it. The onboard sockets are 4 pin for power and 3 pin for remote. Does anyone know exactly what the connector types are called and where I can get them here in the UK ? I need a 4 pin ( female ) plug and a 3 pin ( female ) plug. Many thanks for any help given ! :rolleyes: John S

Hi John, Yes they are suppose to be loose fitting to allow as much air ( and not dust ) to enter and circulate in the can. I use these cans ( 1600ft & 2000ft ) for most of my feature film prints. :rolleyes: John S

John, These sound like the 'archival' cans Larry sells. Apart from loose fitting they should have vents on the top and ridges on the insides. This is to allow air to circulate and the film to breathe - which is very useful for films that are venting 'vinegar smells' If they are the type I'm thinking of, they are made by Tuscan / USA. John S :rolleyes:

All film, be it stills or MP is cut and perforated to an extremely tight tolerance. Processing does change the physical dimensions by a few microns but nothing would cause that amount of movement in projection. My gut feeling is, to get cyclic horizontal and vertical movement, it has to be shot like that - in the gate ( especially if it repeats over and over ). I'd suggest a short test with the same film batch through a different camera. John S :(

Hi Gavin, click here.... http://www.apecity.com/manuals/pdf/bolex_h...tric_manual.pdf It's a fairly big pdf file ( more than 39Mb ) and is a scanned copy of a standard 16mm EBM ( paper manual ). :( Hope that helps, John S

It was even mentioned on BBC Radio 2's Jeremy Vine show......his opening words....Kodak has gone ! .......gone are the days of boring slide shows and all those films with the holes down the sides. So the general public now think Kodak and film is dead ! ....great journalism Jeremy ! John S :angry:

Does the projector lose loop when a splice goes through ? ..if so, it could be a badly set splicer ( and bad splices ). John S

...What ? You do realise any B&W film processed through ECN-2, C-41 or RA-4 will have it's emulsion stripped off in the developer ( and cause damage to it and other films ). Also RA-4 is a colour negative paper process...why would you even want to use those chemicals ? John S

I'm glad your K-14's are good Andy, I have to say I wasn't impressed with what I saw. There needs to be the highest quality processing for Kodachromes otherwise what's the point eh ? John S