John Salim

Hi Rob, I'd use a small blower or hairdryer ( cold setting ! ) close to and blowing across the front of the lens - like a curtain of air to stop steam getting on the optics. By having this set up, you shouldn't see the steam being blown out of the way. John S :rolleyes:

35mm optical soundtracks in recent years varied from Dolby SR ( analoge ), Dolby Digital, Sony SDDS ( data blocks ) and DTS ( timecode ) all on the same print. Mag stripe was phased out decades ago for 35mm due to cost and better quality sound from Dolby encoded tracks. John S

Mag stripe ( for new prints ) hasn't been used for many years now. 70mm is printed with a DTS timecode ( or timecode for PCM on IMAX ). John S :rolleyes:

Seems the link above dosn't work for some reason, use this one.... www.16mmfilmtalk.com/ John S :(

John, Why not try asking on this forum... www.16mmfilmtalk.com There'll be many more folk on there able to help with 8mm & 16mm film projection / equipment. John S :rolleyes:

Their eBay page says.... 'This Shop seller is currently away. Please add this Shop to your favourites so that you can visit again' so I wouldn't worry too much .... be nice to know when they're back though ! John S :(

There was another trend a few years back ....'cut and run' I think they called it where the camera jerked and zoomed all over the place for no apparent reason. I've never seen a technique so bad that it removes the viewer away from the actual story ( ... and makes you sea sick at the same time ). I think 'NYPD Blues' was one of the worst offenders. John S

Artificial lens flare ! Hate it, hate it, hate it !!! It's everywhere. Quite often I'll see a commercial break where all ads have it ( even the show's bumpers had it once ). John S :angry:

A friend of mine recently commented that apparently it's common to expect slightly unsteady images from the front and end of 16mm rolls when scanned. Has anybody heard of this - can’t see it myself ! John S :wacko:

Kodak have discontinued supplying their E-6 chemicals but Tetenal's been making them for Kodak for some years now. As far as it goes supply wise, Tetenal's only repackaging them ( different pack sizes ) in both 'small' and 'large' quantities. It's the exact same formula - and that suits me fine ! John S :D

Absolutely right Robert - you beat me to it, the processor would have to have a rem-jet removal unit. JS ;)

I do occasionally cross process C-41 films through E-6 for clients, but always recommend they push the film at least a stop and a half to help blow away the orange mask, otherwise you end up with a positive image with an overall dark blue bias. It always helps to test various emulsions too. I remember cross processing some Agfa colour neg once ( can't remember the type ) and it came out looking like poor quality 'normal' colour transparencies ! Reversal through negative process is definitely the best route. John S :rolleyes:

Hi all, I've for sale a Mark Roberts SFH-30 Motion Control head with many extras including ...... Focus control motor ( with a selection of rings ), Dolly motor with ( 10m of tooth belt ), mini laptop with Flair control software. This is used mainly for very precise repeatable moves ( great for 'green screen' work ) .....was used with Canon 5D DSLR, but perfect for Red Epic. Retail, it all costs approximately £14,000 but for sale here for £7,500 ( with plenty of extras ). Located in Leigh-on-Sea, Essex, UK. link to Mark Roberts website ( actual rig )..... http://www.mrmoco.com/products/heads/sfh-30/ Many thanks, John S :rolleyes:

John, How are you getting on installing your 16mm printer ? John S :rolleyes:

One thing to mention is most glass filters are actually of a 'glass-filter-glass' sandwich construction, so a simple glass cutter wouldn't work without messing up one side ( or both ). John S :mellow:

Hi Tim, I'm fairly certain it isn't the filter slot that's caused the fogging. Was the film cut down from a 400ft roll down to a 100ft spool at some point ? ( ..... or did you use a 400ft roll in a mag ) as it could be a darkroom handling problem. Did you buy the film un-opened, as it looks like the roll's been handled in some sort of light. Check to see if the whole roll has THE SAME CONSISTENT edge fogging - right up to the ends...... if yes, it's been handled in light. John S

I was always led to believe 2.40:1 was instigated specifically to hide 'neg flashes' ( from anamorphic cut negatives ) in movie theatres. John S :rolleyes:

Guy, Technical manuals are here on the 'small format film forum' website..... http://www.mrelmo.co.uk/smallformat/viewtopic.php?f=29&t=779 John S ;)

Philip, Find a part of the film that's not exposed ( black 'D max' area ) and look through it at a bright light source. It won't be totally opaque, but should look very dark like several ND's and may have a brownish cast to it ( or any other colour actually ). This is normal, however if you're seeing 'clearer' through it with such a colour bias then it could be under-replenished chemicals ( particularly the colour developer and / or bleach ). Does the colour balance look normal ? ... is there a slight colour cast ( towards red perhaps ? ) John S :blink:

Gilbert Taylor who shot 'The Omen' ( 1976 ) used a similar look in some scenes - worked perfectly, added to the suspense very nicely too ! Incidentally ( and going off topic ), I just found out that sadly Gilbert Taylor died last month aged 99. :( John S

Yes, these adapters do work very well ....with much lighter 'stills' cameras - but don't know if I'd trust one with a much heavier 16mm Eclair. If you must buy one, go for the ( more expensive ) Arca-Swiss adapter. This is probably made of better quality hardened steel ( as you'd expect from Arca-Swiss ), though personally I'd ask them first ! I have had one of the cheaper ones break on me, due to ( my excessive ) force. :o One other important thing, check the Eclair's base will safely take the 8mm depth required without causing internal damage. John S :rolleyes:

I'd strongly suggest you contact all your local cinemas to see if they have any left over ( .....that's if they've dumped their 35mm systems - which most have now ). There are plenty about ! John S :D

Update: Yes Brian, AC Lighting can supply spare Redhead glass shields for £29.00 ( inc VAT ). Thanks again for the link. John S :rolleyes:

Thanks for the link Brian, I'll drop them an email ! Cheers again, John S :)

Does anybody know where I can obtain some spare 'safety glass shields' for Quartzcolour Redhead lights here in the UK ? Cheers all, John S ;)