John Salim
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Posts posted by John Salim
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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The last M/P stock called 'Mark V' was manufactured for many years and he believes was withdrawn around 2003.If I can get a reel back from the archive, I'll photograph a few frames.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 ?
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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
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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
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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
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I remember seeing this post recently ( click on the link's picture to see more photos ) .......
John S ?
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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
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Thanks Dirk,
Just sent an email.
Best wishes,
John S
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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:
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We had a server failure. Will put a new website on a new server in a few days; email and telephone work normally. We have backups but they need to be transposed;
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
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Ah triffic ..... thanks Mark !
John S
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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
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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:
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If you're starting to get out-of-phase pictures, I reckon something's getting loose in the camera's mech.
John S
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Hi all,
I recently had four super 8mm Ektachromes in for processing ( one new 100D 7294 and three 7285 ) with very tight film stuck, unable to run properly ..... and always coming to a halt when trying.
The problem it seems is too much pressure from the pressure plate spring.
If you push the plate down, you can easily pull film out of the gate - as soon as you release it, it's very tight ( so doesn't seem to be the feed roll ).
I've occasionally had this before and wonder if anyone else has experienced this ?
I'm also wondering if Kodak's had a bad batch of springs !
John S :(
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Super 8mm cartridges are wound emulsion in ( both feed and take up sides ).
John S
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From distant memory doesn't the SR2 take up side of the mag have a mechanical take up thing.. you slip a bit of film in and then lock it.. so you dont need a core for the take up side.. and actually a mass a load of them from the empty feed side..?.
Yes, Arri made a 'collapsible' two inch core ( bottom of picture ) for take-up, and one inch core adaptors ( top of picture ) for take-off - film on cores ( and take-up using cores ).
You have to make sure you remove ( and preferably replace ) the collapsible core before the film went off to the lab otherwise you'd never see it again !
Image taken from Arri SR3 manual
John S B)
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Contact your nearest lab Tim !
If they expect to receive your films for processing, they'll usually supply cores and cans for free.
16mm 2" cores are used for 400ft camera rolls, whereas 3" and 4" are used for editing and processed rolls and prints.
100ft lengths are normally supplied on 'daylight loading' spools.
John S -_-
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The three minute-plus opening ( single take ) of 'A Touch of Evil' is an excellent example !
John S :rolleyes:
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"Singin' in the Rain" contains an interesting camera move, not long, but what's interesting is that during the dance, there is a pull-back from close and rise-up on a crane that then descends back but at a wider position, and then a cut back in close that repeats the same move once more.
Start watching around 2:16:
A great scene ( and a great movie of course ) ....famously with that duff-cut at 3:05
John S
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DS8 available from ON8MIL ( UK ) .... https://www.on8mil.com/product-category/8mm-film-packages/ds8_films/
John S :rolleyes:
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Ektachrome 160 Type G is process EM-26 and is not compatible with process E-6.
If memory serves, it'll come out clear if run through E-6.
1, Film Rescue International is your best bet - they're real experts.
2, Avoid Rocky Mountain Film Lab ..... they have a terrible reputation ( just google it ! )
John S :rolleyes:
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Yes there is a big difference between 3 bath and 7 bath E-6.
Basically the 3 chemical version ( obviously convenient ) is designed for the occasional user and hobbyist where 'total' process control ( density, contrast and colour balance ) is not possible, unlike the 7 chemical 'full term' process which can be.
7 bath can also run replenished ( ie... for labs with good throughput ).
Re: Lomo tanks.
Although the majority of Lomo tanks are 50ft, I believe there are 100ft versions out there.John S :rolleyes:
Krasnogorsk-3 not loading properly
in 16mm
Posted
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 ?