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John Salim

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Everything posted by John Salim

  1. I wish Fuji would slit and package some Provia and/or Velvia reversal stock. Since pulling out of 16mm cine, they have machines sitting idle ( ....or more likely decommissioned ). Wittnerchrome 200D is average at best compared to E100D. John S :(
  2. Hello all, Both of my ( standard SR II ) magazines footage counters have never worked .... the 'actual' counter on the side, not the take off 'remaining' counter. I recently shot a short film having to use 100ft spools...... it was difficult to gauge the roll's end. :( Has anyone ever fixed one ..... is it easy to do without risk of damage ? ( i'm fairly competent technically ). Many thanks, John S
  3. Hi Patrick, Good to hear you've got a film recorder to play with. Will you use it for cine ? I bought an Imapro QCR-45 a few years ago off eBay ( as a dead machine 'for parts' ) basically as a project to see if we could get it working. Between me and my ex-boss, friend Gary, we eventually got it going. The machine was made in 1997 and originally ran from DOS. There were so many things wrong with it, it took almost a year to get going. Now it's used as part of my photographic services. The two main problems were, the software ( ....how did you guess ? ) and focus. The original software was corrupt and proved impossible to find. This was 'fixed' by installing Windows 95 and Photoshop 4. LUT's ( actually 'corrected' image files ) were created by print and process / trial and error. Filmouts on average take 7 minutes per image to open and print....... very slow !!! The focus issue was fixed by adjusting the CRT's HT power supply ( marked 'f' ) until the line being drawn on the tube's face was sharp using a loupe. It will record to 35mm, 120 and 5"x4" sheet film..... stills only. The lab I worked for in the early 1990's had a Solitaire recorder but not sure which model. I do remember the resolution wasn't the best though.... maybe 2k ? Good luck with yours :rolleyes: John S
  4. One thing to bear in mind with the Nalcom camera is, it has a standard lens built in and the 'interchangeable' lenses for it are simply converters. John S :mellow:
  5. Thanks both for that. All I had was 'page not found' for a while. Fine now ! John S
  6. Does anybody know what happened to Roger Deakins website ? It's been off for a couple of weeks now. John S :( ​
  7. The EMI 2001's were the main studio cameras used at the BBC ( television centre ) thoughout the 70's and 80's. BBC cameraman John Henshall demonstrates this camera in a two part video on YouTube. links here.... John S :rolleyes:
  8. 8mm & 16mm '7285' doesn't have a 'process before' date on its packaging, but the film itself does have date coding on it. link here...... http://motion.kodak.com/motion/uploadedFiles/Guide_to_Identifying_Year_of_Manufacture.pdf John S :rolleyes:
  9. I've never known any Super 8 ( welded ) cartridge to be anything less than completely light tight. Unless one of the welds comes apart - or it wasn't welded properly when packaged, you shouldn't have any problems. ..... they can creak a bit when stressed and pulled about, but you shouldn't do that anyway ! No idea how safe re-loadable carts are though. John S :rolleyes:
  10. Surely in a film restoration, the aim is to restore the original negative to how it was originally ( prior to positive release ). Modern printing and scanning will reveal more information seen many decades ago, so the projected film is bound to look a little different. It may even be argued that modern DCPs and prints should be graded to emulate carbon arc illumination when using modern day xenon lamps. To change the image itself ( ie.. clone out wires etc... ) is to re-make the image. Where does that work end ?... do you repair the optical work flaws as well ? The director ( if still alive ) may have a right to remake his movie, but restoration technicians should just restore it. John S :rolleyes:
  11. I did a job a few months ago for an artist and she sent the 16mm colour negs for printing to Niagra Custom Lab in Canada .... http://niagaracustomlab.com/ Even had an optical soundtrack added :rolleyes: John S
  12. John Salim

    Alpha Lab

    ...has John Tadros left idailies then ? John S :o
  13. Yes, absolutely just right Josh .... as it should be. John S
  14. Is the door loose Josh ? I remember my K3 door moved about and although it was light-tight and didn't cause the problems you're having, I added some *black cord light trapping in the door groove to make it nice and tight. By doing this you'll raise and move the door away from the body a little and this just might fix it ! * all I used was some cord blackened with a felt tip pen and carefully glued in the channel. John S :unsure:
  15. I saw the loop formers wern't there Mark but didn't quite notice the actual plunger was missing too ! ....thanks for the correction. :huh: Spool must be catching on the lid then..... I wonder if it's warped ? John S
  16. First thing to try Josh, is run the loaded camera without the lid on - but keep pressed down the post just below the sprocket. The door pushes down on this to 'open' and move the loop formers out the way. Watch to see if anything strange happens. If that feeds film ok without losing loops, the door must be touching the feed spool - or at least impeding it. John S :)
  17. Re: Simon's comments..... maybe the original camera recording needed sweetening up, so dubbed off and re-recorded. .... definitely charge $$$$$$ for re-syncing ! John S
  18. The Super 8mm single system sound camera 'picture to sound' sync is most definitely fixed and cannot be out when shooting. Remember many enthusiasts dabbled in editing etc... so I'd suggest the reel you have must have been post re-recorded. John S ;)
  19. Hi Cory, Thanks for getting back to me. I'm curently on the look out for an SR II package ( for a friend ) and thought your kit would have been within his budget ( being an original SR ), but sadly isn't. Being in such good condition, your camera will probably be more interesting to a collector. Good luck with the sale. Best wishes, John S
  20. I would think so Sebastian...... ask them. John S
  21. I've no idea where you're based Sebastian, but here in the UK there's some bits n bobs on Aimimage's website ( 'Kit for Sale' ). Worth keeping an eye on it from time to time. http://www.aimimage.com/category/kit-for-sale/ John S :rolleyes:
  22. I'm using a raher slow Windows XP pc ( with IE ) Phil, and have to wait a while for the video to load ( ... I even get a 'do you want to run this script' prompt - click yes ) and it eventually plays. I'm not on facebook and it's openly accessable. John S ^_^
  23. Developer replenisher solutions need to be 'started' ( using a starter solution ) to prepare a tank solution suitable for proper film processing. Starter 'conditions' the developer for correct activity by introducing chemicals into the solutions ( normally released from film ). Using an unstarted developer will result in over-activity. John S :rolleyes:
  24. I believe all high speed SR mags have fixed pressure plates whereas all standard mags have sprung plates. John S :unsure:
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