Gregg MacPherson

I agree with Stuart on this. And further, the required final result, clean vs dirty, in the face of the environment, clean vs dirty, should determine how one proceeds. Having the pre-set notion of only checking the gate at a mag change is a bit perilous. Having the mental pre-set that this is how a documentary should probably be done may also be perilous. Why not avoid the dirt and hairs in the first place rather than zooming in. Zooming in compromises the original intention of the photographer. Unless, perhaps he had no definitive intention in the first place, was just fishing around for a fuzzy possibility that an editor might later put a rectangle around for him. White cotton gloves anybody..?

I know this doesn't help fix the problem, but to prevent it, you must keep the gate clean. The gate here is extremely dirty.

What an amazing guy he was. A while back I saw a doco on youtube on him designing the penelope. He was a very inspiring man

It's a mad venture...in a pleasant way.. :)

It's just a stunning piece....a wonder. Thanks Mark.

The cheapest, simplest way might be to process your B&W as reversal. So experimenting with the processing to see if you get a useful image that way might be a next step. I never did reversal processing, but I think in simple (simplistic?) terms, after development a bleach washes away the exposed silver, then the remaining emulsion is exposed to light, then developed and fixed. You can find descriptions online. Found this one after writing... https://en.wikipedia.org/wiki/Photographic_processing

I wish it was as easy as explaining the acronym :rolleyes: I always stumbled wondering what the minimum contrast is that the human eye can discern. Who's eye. We're all different. Some people have extreme acuity with seeing. There is probably a definition explaining that, somewhere, in very, very fine print, at very low contrast, so we can almost read it.

Can you give a link to a trailer or something..?

Max, it's worth owning incident and spot meters so you can recc'e for shoots like this beforehand. If that rented seconic has a spot meter as well you can meter from inside the car. If there is anything in the image that has tonality about the same as 18% grey that you want to expose as normal you could use that. But I think fully open and letting some bits go hot is fine as long as it suits the style. Can you drive the route a couple of times just to meter and think about what you really want to expose... In the liquour store you can meter, yes? Just my 2c.

From an obituary at... https://obittree.com/obituary/us/new-york/ozone-park/james-romanelli-stephen-funeral-home/william-f-dipietra/3353028/index.php I looks like he was very ill and didn't make it through...some words copied from there.. "...You so wanted to get well, but it was not to be....... To Bill’s doctors at NYU, especially Dr. Andrew Chi and his staff, thank you for everything you did for Bill......"

I just saw Phil briefly mention this in another topic. I wasn't sure if Bills passing had been noted here... I have to say that I liked Bill. He loved shooting film and often contributed good, interesting, useful stuff on the forum. Solid, sincere, and no BS. Travel well Bill. Gregg.

The Pentax analogue one is quite cheap and accurate, though it feels a bit bulky. It has separate battery types for high/low readings. But the button cell batteries for the low light level aren't available. Have to improvise with two 1.5V cells stacked. Some fiddling and research there, guys have done it. The Pentax Digital spotmeter costs a bit more but is less bulky, I think the batteries are still available. It's a nice, simple meter to use. These meters come up on eBay. Do your own checking first, download the manuals and see about the batteries...

From 35s you can see a frame line. Is it a registration issue with the scanner/telecine? You could look at the neg with a loupe magnifier and see straight away. Probably see that without one. Rob from Cinelab is often on the forum. He will probably know what's up.

Dom, do you normally use synthetic rather than mineral oil based lubricants if there are plastic gears or bearing surfaces, like a plain plastic roller. Also, do synthetics often have an advantage with longevity, retaining their properties over time..? Synthetics are pretty easy to find in other industrial applications now, like bicycle maintenance...

Aapo, I was going to politely challenge that. The flange location in the axial dimension on the collimated lens being the most critical dimension. But with the tendency to undersize the dimension from the the front and rear of the mount, then rely on plastic shims to collimate... So perhaps you are right. I have one PL lens mount that is a little tight in the port. Close to over tolerance. If Dom turns up here he may remind us that the PL mounts are machined minus even 0.1mm, to allow for the collimation by shims. And that is pretty easy for skilled guys, I seem to remember the lens projector giving the thickness of the required shim.