Daniel Joseph Lee

I'm in a tiny isolated area. I'll order the UK stuff I think and do it properly. I just want to design and build an accessory that will work on standard rails :)

Just been ringing around local steel places. No one will do 15mm rod diameters at all. They do 14mm and 16mm and 15.88mm (5/8th inch), the hell? I can source 15mm diameter aluminium rods off ebay from the UK. I was just wondering, 15mm is a standard for most things with 60mm spacing right? Are there other standards? The rods are exactly 15mm yes? Will 15mm accessories go onto 14mm or 16mm rods? I wont to build an accessory for a support system, I was considering just getting 15mm diameter wooden dowel for this purpose.

Here are two clips that originated from me, I had to put a last project together over the last few hours in order to pass all my modules before graduation day. Whats left is a report which needs survey answers. There are 2 clips in this video (probably better fullscreen - ) I want you to answer, which clip you think is fake, which clip you think is real, or if you think both are fake or both are real. I would also like your reasoning as such. Regardless of think fake or real, I would also like an answer if you think the lightning in either or both clips looks good or bad, and why. Sorry for the poor youtubedness quality. To present in a 'survey format' that I can show on my report. 1. Which clip(s) do you think is/are fake? 2. Which clip(s) do you think is/are real? 3. Why do you think these clips are fake and/or real? 4. Which clip(s) look bad? 5. Why? 6. Which clip(s) look good? 7. Why? http://www.youtube.com/watch?v=1wCGKX2QLz8

Day scenes? When I shot 50D, I was using it with ND filters soon as the sun was coming up over here. F-64D is also lovely stuff. Other than that Reala 500D is well.. what I would choose for anything high speed, it has Fuji's 4th colour layer found in their C-41 still films, the only motion picture film to have it, it'll balance out mixed/artificial lighting. There's also that 500 stuff from Kodak that is said to 'not have' a colour balance to it.

Vimeo link, next tank I'll build will overcome the problems I learned from this kind of design, expect a better video to follow for those builds (as well as mixing usable ECN-2 formula at home). Video journal of the "missile launcher" (since it likes to launch the inner tube like a missile if you dont tape the end cap on when using it). This shows construction of the first 16mm ~100ft I built (ended up being 86.5ft in this one). There are problems with this design I didn't know about or think of until I went to use it. This design takes a long time to construct, is very difficult to load. I would also recommend if using the heliacal-spiral type like this desig of mine, to have the spiral track cut into a tube (perhaps a wooden solid cylinder?) about 0.5cm+ deep so the film can be crank-wound on. Currently, at the moment I recommend a 2D spiral type on a base board that gets placed into a bath, a spiral may seem hard to make, but you can do it with vertical rods (nails, dowel, otherwise, etc) rather than two tracks at bottom and top like a 35mm/120 roll hand processing tank for still film. If your film needs to touch against something (such as the rod 2D spiral type or rack processor, or this tank in the video) wind it on so the emulsion side is not touching anything, then it is perfectly fine. I'll make a new tank and show a video, as well as mixing up useable formula for processing ECN-2 at some point. I'll be scaling up my final design when I find the perfect design after building enough 100ft tanks for 400ft and 1000ft and 35mm as well.

Thanks, I hope its nice!, the whole lot cost me about $250 US + $100 US shipping, around 5000 ft of 16mm and 800 ft of 35mm. Was too good to pass up given normal costs here. Hmm if I want tighter grain, a pull is usually in order, grain is finer less time spent in dev in my experience, or I'll add some borax and ascorbate to the first dev. Any its not a colour positive, its a colour negative. Its develop, fix, leaving a silver negative, bleach back to silver halides, which is still only the negative image left, then colour develop bleach, fix, colour formed exactly as the first developer.. first developer controls contrast, push or pull will change contrast but not level of colour development/saturation :) Here is an example of this on some real old german supermarket film I found in a 2nd hand shop here in Aussie land. This is C41 film I expect contrast to be different developed for ECN-II, though Im still setting levels, I'll probably add some hydroquinone to pump it up and make more use of more of the density range of the negative :) I really want to work this process out to close to perfection as possible, my processing 'tank' design can be scaled up for 35mm :)

I have to agree, the digital SLRs are currently as far as I know the world's best low light video cameras, you can shoot available light at night, you want get anything coming in as 1/10th as good anywhere near the price of the dSLRs.

AFAIK 5285/7285 (Ektachrome 100D) is Ektachrome E100VS. The high saturation version of the film. You'd use it for the colour contrast.

I have 1600 ft of Kodak EXR 50D and EXR 100T... as well as various other stocks, but these would be my main ones for my project. I know I can merely shoot a short test... but the film isn't here yet, and I'm currently repairing a prism for the camera. Given normal processing, the new 'box speed' of say the 50D should be shot as if it were ISO 25? I've heard its a stop per decade. I can overexpose and pull several stops in my first developer if I have to (if there is too much base fog at whatever the current sensitivity is), which isn't a problem for what Im shooting, as we generally shoot 250 speed video cameras with 5 stop filters. Has anyone shot with old stock before and what were your results? My custom processing involves first developer of Rodinal 1+100, 1 hour stand, fix, bleach, E6 CD, bleach, fix, etc, which results in a colour negative, contrast controlled by first developer, colour is very nice and perfectly accurate (once you take into account and correct for the different base colour). I've chosen to do it this way after several tests as it offers the control I want, looks nice once corrected, and is a cold/ambient temperature process.

Hi, I already develop b&w and colour film at home (still film 35mm + 120), have managed to create good looking reversals (both C41 and E6 films) using xtol developer (as first developer) + c41 developer (as colour developer) and been experimenting applying b&w processing techniques to colour film. Long story short - getting a 100ft 16mm tank (Im a student, will be using a modified Krasnogorsk-3, so 100 ft developing is all I need) - more or less have telecine sorted out too. Just want to throw this out there - which films have the different (remjet?) backing compared to standard anti-halation backing on still films that will wreck my developing chemicals if not removed? Am I right to assume an acetic acid bath will remove this for me? Or is only a water bath required?

Hi, I typo'ed my username, can a mod put an A in front of it please? :) (should be Athiril not thiril). Hi, Im studying film production (a bachelor degree), in my final year, and looking for 16mm single sided perf stock in Australia, as a student Id like any cheap stock I can get my hands on (recans, short ends etc) For those interested: Will be shooting on a modified Krasnogorsk-3, widened out to Super16, with the M42 mount I havea nice selection of lenses for it :) (i have future plans to put a tripod plate on the film mag, and shoot horizontally and create my own gate for a 3 perf 22.86 x 12.52mm image - will need to modify gear ratio, but its a simple camera :)) Will be developing b&W and colour film at home - I've been doing this for about 6 months now - on still 35mm and 120 roll film, I find it simple enough, and have used b&w developer (kodak xtol) and c41 developer to create a colour reversal with good success (http://www.photodan.com.au/xtol-e6.html) - one of the things I'll be doing for my degree in my experimental processing (as well as attempting to add dyes to b&w film - to create an autochrome like film), just plan on picking up a 100ft 16mm tank. For telecine, I'll be using the animation/single frame mode of the krasnogorsk and running the developed film back through it, with a dSLR + macro lens hooked up with the shutter release to the film advance mechanism as a switch to mostly automate the process, shooting down the throat of the lens mount (have macro imaged still film @ 3000 dpi of real detail before with excellent results, dont need a resolution that high for a HD telecine :)). Id like to stock up on 16mm stock as soon as possible so I dont have to worry about it. As for chemicals I can mix my own (ive spent a huge amount of time in experimentation on still photography on film though), I also have a deal with a camera house in case I cant get all the individual components to make it up to get bulk stuff (10-40 litres) pretty cheaply, in comparison to the normal cost of $150-$180/5 litres for colour chemicals Dont have much of a show reel atm, but I do have a few nice still photos http://www.photodan.com.au/gallery.php Anyway, if there's any Aussies out there that got some film supply connections Id like to hear from you :)