Charles Watkins

This is such a huge help Adrian! I'm so often a visual learner and you just don't know how thankful I am. I kept wondering if I would ever see some finality with this and you have helped me to go forward! It may take me a while to get fully familiar but I will definitely share my progress and send you clip samples for your feedback.

Adrian, Only if it's not too burdensome but that would be great. My email is (cwatgo @ gmail dotcom) no spaces.

Greetings. This is likely an all too familiar question, but I've spent many months recovering images from a severely decomposed 16mm film that basically turned into a bed of acid crystals. It was in the worst stage of vinegar syndrome and was originally believed to be well beyond conservational effort. I have painstakingly extracted and scanned carefully removed sections for months I have cropping the individual still frames in PS and have retaining them in consecutive order. They have also been cleaned up and restored digitally but now I need to work on animating the footage. I'm reasonably sure it's 18fps footage. I have Sony Vegas 7 should this mean anything. I scanned the film using an Epson 4990 at (24bit ) 2400 ppi which gives me a lot of room for resampling if this also helps any with info. Any input will be greatly appreciated. The film is a one of a kind and has unseen footage of Hiroshima, Japan in 1938. I expect much of the footage will likely meet acceptance by an archives of national level. Thanks for your time in reading and input that you may provide. Charles

Greetings, I collect vintage 16mm home movies as a hobby, and sometimes I get reels that have so few mistakes in their composition and sequencing in shooting that I'm left wondering if it's a post edited duplicate. Does anyone know how to tell for sure? I can date most films from through date codes printed on the edges of the film, but I've not been able to find out how to differentiate if something is a duplicate. I notice in movies which were obviouse duplicates tend to have clear edging, as opposed to dark, I find on originals. They also usually have perfectly fitted frames for exactly what will be projected on the screen. As with most original films shot with older 16mm and 8mm movie camera...each model seemed to carry their own unique edge signature where the exposed frame often overlapped into the edges. Any information towards this would be greatly appreciated. Thank you for your time in reading. Regards-Charles

Sorry for the double posting, I was trying to edit.

Greetings- I suppose I didn't sweat much worry during my youth with using cheap consumer grade projectors when watching my (now old) super 8 movies from the mid 1970's. Probably because it's what I had readily available at the time and didn't know better. I suppose I thought having a frame or two being burned out of your film whenever the belt broke on the projector was fairly commonplace with all models. Nor did I think about the endless streaks I was scratching onto my movies when using the rapid rewind. That was then, but since catching a fever for archiving various media from the 20th century I've come to be more thoughtful about what equipment I use. Especially now that I have several 8mm reels of rare 1936 (old bleach-dye)Type A Kodachrome I would like to copy on digital, I wouldn't want to risk using a harsh projector. I've searched and read a ton of threads and discussions about 8mm and 16mm movie camera models and recomendations, but I have failed to land much information about selecting movie projectors. I'm looking for models in both 8mm (reg and super) and a 16mm which can be considered "film-friendly",...or at least "friendlier". The stress on film from fast rewinds is a concern, but mainly I don't want to risk buring any frames out of my films. I've thought about implementing a piece of heat-absorbing optical glass in front of the lamp housing of my old ANSCOVISION, which has always been a real blow torch! However, with so many projectors being dumped daily on junk-bay, I think I'd be better off with getting something better. Maybe some of you can help by offering some input and suggestions for models? Thank you for reading and I look forward to reading your input and suggestions. Charles

Greetings- I suppose I didn't sweat much worry with using cheap consumer grade projectors when watching my super 8 movies from the mid 1970's because it's what I've had readily available since childhood. After all, having a frame being burned out whenever a belt broke on the projector when watching, was justt commonplace I thought. So was getting the endless streaks of scratches on your reels from the years of rapid rewinds. That was then, but since catching a fever for archiving 20th century media a few years ago I've come to be more thoughtful about equipment. Especially now that I have several 8mm reels of rare 1936 (bleach-dye) Type-A Kodachrome I would like to copy on digital. I've read a ton of threads and discussions about 8mm and 16mm movie camera models and recomendations, but I failed to land much information pertaining to movie projectors. I'm looking for models in both 8mm (both of reg and super) and 16mm which can be considered "film-friendly",...or at least "friendlier". The stress on film from fast rewinds is a concern, but mainly I don't want to risk buring any frames out of my films. I've thought about implementing a piece of heat-absorbing optical glass in front of the lamp housing of my old ANSCOVISION, which has always been a real blow torch! However, with so many projectors being dumped daily on junk-bay, I think I'd be better off with getting something better. Maybe some of you can help by offering some input and suggestions for models? Thank you for reading and I look forward to reading your input and suggestions. Charles