Robert Hart
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Posts posted by Robert Hart
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If it is barium oxide, if you are a kitchen-table engineer with no PPE for yourself and your nearest and dearest, it may be very prudent to leave the stuff alone as it is apparently hazardous.
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If your fire is a wood fire which is in the shot, my personal preference would be to replicate a fire which has coaled down to a glow and would be more controllable.
Add some variously sized scrunched up chunks of alfoil into cold charcoals or maybe matte-painted stones with few small lamps wrapped with red gel inside the charcoal/foil mix.
With careful teasing you may then achieve hotspots of coloured light in the darker coals. Your other lamps lighting your character(s) may need to be connected to the small lamps inside the coals so that all lights can be made to vary or flicker together.
You could try covering a gas ring or burner with small rocks and lighting that up. You might control your other lights with something as simple as a human trembling a leafy branch in front of the light.
Please heed better advice than mine which may emerge here. -
Your roll of film appears it may have been made in March 1987. Here is a website with a bit of information if you scroll down.
https://www.japancamerahunter.com/2020/12/film-review-tasma-t-42-400/- 1
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The small shutter is part of the main shutter-mirror parking system. When the camera is buttoned off, the motor remains running at a slower speed creeping the park shutter around until it breaks IR light between an emitter and detector. In the manual there is reference to not bending the little wire which feeds to either the emitter or detector because a glass part will be broken.
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Slightly offtopic, the proposed new ORWO colour stock could be interesting. It is apparently based on Agfa Gevaert XT320 formulation but seems to have a different look. It's uniqueness may appeal to creative folk.
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If you cannot get hold of an underwater housing you might consider finding a thick sheet of white styrofoam about 3ft x 2ft, two pieces of plywood about 4 inches square as washers top and bottom of the styro sheet and attaching that to the base of your camera. If there is a mishap and you slide in, the camera may have half a chance.
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You will get better penetration with diesel fuel than cooking oil. You might try some diesel diluted with some automotive acrylic thinner. As the thinner gases off it will leave the diesel behind. Do this outdoors as the fumes are toxic. Be careful with the cooking oil as a preserver. It may gel and over time loctite some things together. Because it is edible, other things may also live on it in the future like mould. You might also try holding a soldering iron tip to the screw heads for a while to soften any loctite that may be on the threads of the screw. If it works for old BSR turntables it might work for your recalcitrant screws. Do not do this if the screws are holding together any plastic parts or you may damage them.
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QUOTE: "I'd suggest that the "fold" idea doesn't really account for the fault appearing in shots made a short time apart. Overnight, yes. But only on the first shot of the day."
My CP16 only required about ten minutes of rest to make it happen. I should clarify that I was using it in a hot climate.
I think the original author of this thread is now on the right track with his most recent reply.- 1
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I don't think the scan is bad. So long as the lens aperture is tight, movement of the film off the gate will not affect focus as critically as when the lens iris is opened wide.
What I am seeing is consistent with the shape memory of the upper fold of the loop going through the gate and momentarily lifting the pressure plate as if there is a weak spring.
The signature double-clatter of some CP16 cameras is the shape memory of the film passing through the gate and momentarily lifting the pressure plate. In the CP16, The film becomes deformed when parked around narrow rollers in the upstream film path within the camera.
In the ARRI style cameras, the upstream and outgoing film paths are within the magazine itself. However, as with the CP16, I expect maybe 15-20 frames of film would pass through before the artifact occurred. Your issue is occurring after about four frames which may eliminate shape memory from narrow rollers as a cause.
The visual fault in your film is also consistent with the pressure plate being hung away from full contact against the back of the film due to accumulated debris under its limit stop.
This might also occur if the magazine is prevented from seating fully home in the camera by worn latching, debris or physical damage having bent something. Is the magazine when latched to the camera snug or a little loose?
In that event, the film will be finding its own place between the pressure plate and the gate face and floating in a clearance between the two. As the shape memory of the upper loop fold passes the the gate, the film will momentarily move closer to and away from the image plane until the fold passes and the film settles.
The pressure plate as far as I can observe is the smaller rectangle within the longer chrome guide path in the front of the magazine.
There may be some other defect if the magazine has been dismantled for servicing and not reassembled correctly. Except for the initial bad frames after buttoning on, the performance seems satisfactory and may not have attracted the attention of the operator or been reported back to the operator by an editor.
My bet is that if you shoot in low light with the lens aperture wide-open, whilst your viewfinder image will be sharp, your film image may momentarily sharpen, soften and clarify a little but remain out of focus after the fold passes through.
Do you have another magazine to test with? I doubt that this issue will have anything to do with drive motor speed variations.
Another possible cause may be that your loading is causing the upper loop fold to be a little tight maybe by one frame and the initial start-up before the magazine film transport responds may be momentarily pulling the upper loop fold snug.
If there is workspace within the magazine for the upper loop fold to be one frame deeper then that would be my next trick to try.
As a defect, it may have always been accepted as an ideosyncracy of that particular camera. In the edit suite it might not have attracted enough attention to prompt reporting back to a camera department or the operator. -
I observe there have been no replies as yet.
To have the projector gate modified, the best would be a motion picture camera repair service. Widening the gate would likely be a fairly simple but necessarily high precision task.
A simple widening of the gate will locate extra image area away from the optical centre axis. If the light beam from the lamp is narrowly prefocused, there may be delivered an image which is dark in the right side upper and lower corners.
A more thorough method would be to move the widened gate slightly to recentre the image to the optical axis but this would be complicated and expensive.
What brand and model is your projector? Some projector lenses may deliver a Super16mm image which is vignetted at the right upper and lower corners.
I copy-pasted the following list for some european services from this web address.
https://re-voir.com/shop/en/content/10-film-services
SUPER 8/16mm CAMERA REPAIR/MODIFICATION RESOURCES : BJORN ANDERSSON - BEAULIEU Sweden, Atelier RAYBAUDI - BOLEX France, CINEFIX UK UK SUPER 16, INC. New York, USA, JK CAMERA Oakland, USA, LIST OF GERMAN CAMERA TECHNICIANS Germany, PRO8MM Burbank USA, DU-ALL New York, USA, CLICK & SURR Berlin, Dr. Bolex USA, LES BOSHER UK, MICRODELTA Spain, PIGEON CREEK CAMERA - Bolex Ontario, Canada, L'ATELIER DE CELESTINS Montrouge, France
Is there a reason scanning companies charge more for higher (full) res scans?
in Post Production
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I thought I had replied and confessed to an error but the reply I cannot find so here is a repeat. - My bad. I mistook Barium for Beryllium Oxide which is the evil stuff.