Martin Baumgarten

Collimation notwithstanding, the lens can be reset to fit correctly to your BEAULIEU. You'll first have to make a mark on the lens mount just above the threaded part with either a small piece of white tape or mark it with a felt tip marker. Then with a small piece of white tape on the camera body, make a mark with a felt tip marker lined up with the mark on the lens base. This will be your reference point. You'll have to figure out how far off the lens is from correct seating. To adjust the lens (this is assuming the motor zoom and iris motor drive unit is removed), loosen the screws closest to the rear. These will loosen the threaded portion so it can be rotated left or right. If it doesn't move easily, wear a plastic dish washing glove so you can grip it easily. Rotate it ever so little right if you want the lens to mount more to the LEFT, and move it every so little to the left if you want the lens to mount more to the RIGHT. There are other screws on this rear barrel, which you may also have to loosen a little to do this; sometimes the rear unit is very tight due to such great manufacturing qualilty. NOTE: This does not collimate the lens to the camera for focus, only adjusts the lens mounting position, since there is a small variation often from camera to camera. Oh yes, don't forget to retighten the screws once you have it in position, and BEFORE you try mounting the lens on the camera. As for the built in Filter, remove the lens, with the battery or power source removed, remove the Rewind Shaft Cover, then while depressing the Trigger, rotate the Rewind Shaft using either a Rewind Knob or wide thin flat screwdriver or similar, just enough to fully open the camera's shutter. You'll know, as the mirror shutter will open up. Then place a small flashlight in the film chamber and examine the filter visually from the lens mount. You should be able to see clearly thru it, as well as note whether or not the filter is warped. A badly warped filter can catch eventually on the slide mechanism (which holds two filters, the Wratten 85A and a clear UV Filter). To check for warpage, you can move the filter in and out and observe how it looks and works (you'll need the Filter Removal tool for the grip slot, or use a small piece of metal or cardboard or a large coin that fits the slot....better something that you can grab and push in and out. You can also put a small piece of scrap film with a sharp image on it, into the film gate, and use some tape to hold it there, and then shine the bright small flashlight thru the film, thru the lens, and focus it onto a piece of white paper on a wall using the 5 foot (1,5m) setting, and examine the image for sharpness. While these are visual tests, final confirmation of clarity would require some more specialized tools to examine the filter, or an actual film test. You need only shoot a few feet to test this, then you can move the cartridge to another camera to use, so as to not waste it just for a test. As for the FUJICA wide angle lens, I suggest trying it out to see if it works okay. Usually if you can get a clear focus in the viewfinder of the BEAULIEU, the lens will work as is. The only real issue is with Infinity Focus using other lenses, but that also can be determined visually most of the time. The high inherent depth of focus on that wide angle lens will usually allow a decent image unless it's truly way off. Hope this helps.

It can be a couple of issues. But an easy check is to remove the battery source, then remove the cap cover on the Rewind Shaft, then while holding the trigger in, rotate the shaft using a small flathead screwdriver. Then put the battery back in, and try it again. If still no go, try rotating the shaft again, but this time with the power applied and the trigger pressed. If no go, try using a cable release and see if that makes it run. If it does, then the issue is with the mechanical switch of the trigger mechanism. If not, it's more involved. It can also be light corrosion on the switch inside, but obviously you'll have to open that side of the camera. This is not that difficult, but you will need the fine tools for it. To remove the side cover, there's a small screw just below the viewfinder for the outer cover, then remove the Ground Glass Knob via a tiny set screw (don't remove the screw, just loosen it so you can pull the knob off the shaft), then remove the Rewind Shaft trim plate (you'll need a wide thin flat screwdriver or tool you can make if you don't have a small spanner wrench for this. The cover then lifts off easily (make sure the batter has been removed as well). Inside, you'll be able to see the trigger mechanism which the exterior trigger button presses against. Make sure it's making contact with the switch. You'll note, it does two things, it closes the power contact switch so the motor will run, as well as release a lock on the motor drive shaft. That's why in the earlier test, you had to depress the trigger first in order to be able to rotate the Rewind Shaft. Sometimes the contact switch gets weak with age, and you can both clean it and also bend it a bit so it makes contact again. While the cover is off, you can clean up any areas that need cleaning, as well as give everything else that is visible a once over. When ready, replace the side cover carefully, front to back, then replace the rear body shell screw below the viewfinder eyepiece, the Ground Glass Knob (don't over tighten that tiny set screw!), and the Rewind Shaft Trim Circle. Hopefully it will be something easy and your camera will run again soon! Good luck!

Just need to add, that that site requires users to register. I know not everyone likes doing this, but it's one source that's out there. There is information on the Super 8 Wiki: www.super8wiki.com/index.php/Fujica_Z800 Also visit this site for similar help, and also to view similar cameras for other disassembly pics and instructions. Use the translator for the webpage for Japanese to English: www.nakanocam.com/8mm.html

It's much easier to follow a repair manual than to try and explain it all in detail here. Here is a link to download the PDF repair manual: http://www.manualslibrary.net/FUJICA-Z800-SINGLE-8-CAMERA-MANUAL-REPAIR-MANUAL.html Best of success in your repair work!

There hasn't been a practical demand for Super 8mm contact printing in many years. I stopped doing it also, not only due to lack of demand, but never liked the quality. The best prints were emulsion to emulsion, which then put the print into an emulsion in wind. If sound striping was desired, it was a pain, required 'rutting' the emulsion to reach the base so a mag track could be added. The better variation was a liquid sound track application which didn't require the rutting, such as the now long discontinued KODAK Sonotrack Coating, and some services from other labs now also long gone. Optical print duplication is better, more expensive, but doable. Some went the route of having the color internegative made on 16mm, which could then be printed to 16mm or reduced to Super 8mm. I did like making some of my own contact prints onto KODACHROME stock, back when it was available, but that mainly for Regular 8mm film. I was going to experiment with EKTACHROME 100D, since once filtered down for Tungsten Lamps, it would drop the filmspeed to something manageable in the lab, but then it was discontinued and I reserved remaining filmstock in the freezer for other projects. How nice though, that it's coming back later this year! I might revisit contact printing again.

Odds are, when you detached the motor unit for the zoom and iris, you moved or bumped the macro shift slider, thus putting the lens into partial macro mode, in which everything will look blurry unless you are very close to your subject. Slide the black macro knob back down and it should look fine again. Another possibility is that the viewfinder dioptre lens needs to be reset for your eyesight, or that the guillotine shutter has moved slightly throwing things off a bit more as well, or lastly, you don't have the ground glass focusing screen in position, thus are only seeing an aerial image, in which focus changes aren't really noticable, especially while there's something amiss somewhere, in the lens, diopter, shutter, etc. I do hope you have an owner's manual, as it REALLY helps, with any Super 8mm camera (any camera for that matter). Hope you can sort this out! Good luck!

You do not have to shoot an entire roll of film to do a focus test on various lenses. Just slate each shot so you know which lens is being used, once the tests are completed (keep them short, just a couple feet), you can then remove the exposed film in a darkroom or film changing bag and seal that up and have just that processed (by yourself or a lab). Since it's just a focus test, I suggest using some old film, color or B&W and processing it as B&W Neg. The goal here is to check for image sharpness, which a few feet is plenty, examine it with a strong loupe on a light table.

Sorry, wasn't 100% sure that the eBay ad meant to be a minus symbol. Looking at the ad again, it would seem so, so my mistake. Even so, it's a high price, but, IF the film was truly deep frozen so it will be perfect in color, I would be willing to pay that much IF I had to. Again, let's hope FERRANIA pull through and come out with their filmstock. KODAK higher ups said earlier this year that they would be willing to make most any filmstock that they had the formula for (their own films of course), but the minimum order to startup is cost prohibitive. Maybe we could interest Donald Trump or some other wealthy person to throw some supportive money to assist in getting Color Reversal filmstock made. What we need are weathly hobbyists; they exist in other passions, why not film?

FOMA R-100 B&W Reversal film should NOT look yellowish! If so, then it was poorly bleached and not cleared out, thus the resulting yellow stain in the film. FOMA should look rich in contrast, deep blacks, clear highlight areas. It's an older formula silver rich film, which yields great results when correctly processed. The only issue with it, is that the film base is thicker than other B&W films. True Sepia processing is really nice looking. Films made during the silent film era (which were never truly silent since they were accompanied by music and sound effects) often used several tinting processes to convey a feeling, change of scene or time, or other effect desired by the filmmaker. Thus we see red, yellow, green, blue and sepia used in many of those old films.

A long straw taped to the end of a vacuum cleaner hose will reach all areas of the NIZO film gate and suck the crud out, rather than risk blowing it past the gate area towards the shutter. Another method is to remove the right side camera body cover, pretty easy to do, and then just be careful, pay attention to the position of the filter knob etc, and replace it the same way as when you removed it. Once removed, you'll have easier access thru the chassis frame of the gate area. Using a strong magnifier and light source, you should be able to see this hair, and then remove it with tweezers, or even a small piece of tape well attached to a small wooden skewer, plastic screwdriver or similar item. This is a common issue with the rear cartridge loading film cameras, thus the side loaders have an advantage in this regard. Hope you get that bugger out!

Well, this price hike on discontinued films has happened before. Now, EKTACHROME 100D is getting rare. IF and WHEN Ferrania being film production, prices will be in a more realistic range. And IF they are successful in producing color reversal filmstock, few would consider paying Euro 89 per EK100D film. AND, notice he stated that it's NOT even stored Frozen as it should be....just at 18C. Unless stored FROZEN, the film will continue to rippen and age normally. I have films that have been stored frozen since they were new, over 30 years now, and still yield good color. I wouldn't buy film at that price or anywhere near it for stuff that hasn't been stored frozen all this time. Even in a refridgerator would be colder than 18C!

Hi, looks like some form of condensation damage to me. If not done previously, always make sure film is warmed up to room temp before opening the foil package. In high humidity and high temp situations, this becomes even more important. Good luck!

ORWO, AGFA Scala, TRI-X, Plus-X, Fomapan R-100, any KODACHROME film that has been cold stored frozen since new or isn't older than 10 or 12 years(after that, I would test it, since any reversal film stored at room temp will lose contrast and gain age fogging affecting reversal density). Kodachrome is a bit unique since it has filter layers that will often also cause some additional yellow to orange tinting of the Sepia image tone. If and when I can figure out how to place photos in these text windows, I would include image samples.

Hi, if the film is very old, and has not been stored well, processing both as B&W Negative is the better option (due to excessive age fogging lowering image contrast to a very flat gray tone if processed as B&W Reversal). Other than that, Both can be processed as B&W Reversal or even in Sepia (brown tone) Reversal, which I still offer here at Plattsburgh Photographic Services. But, there are most likely labs closer to your location as I'm in upstate New York, USA.

If you have all the pieces, you could use a good grade fine epoxy, gorilla glue, or a gel Super Glue (must clamp any of these for it to be effective). Or just put some electrical tape on the splines, just enough so the reel will fit real snug. Actually, I recommend getting a better projector, since the Whisper is a Dual 8mm configuration using the pull down claw to do all the work rather than having a proper sprocket to run the film and thus relieve the additional stress on the sprocket holes. I mean, it works fine for a couple runs or so, but I wouldn't want to put lots of wear on any film with this. It's gentle enough, but this is a cheaply made projector. The only things going for it are dual 8mm, quiet running, and variable speed (for cheap film transfer DIY). You'll be much happier, have better results (brighter, sharper, steadier image on the screen), if you opt for something like an ELMO. Just my two cents here.

The original KODAK 200ft cartridge is a nightmare to reload! It uses a cheap plastic sprocket drive which advances the and takes up the film, and has a somewhat complex and total pain-in-the-neck would spring (which helps feed the supply reel's rotation, as well as 'balance' the internal load so the film can be backwound for special effects. The discontinued Ritter-Beaulieu Super Drive 60mm (200ft) magazine is a superior design, all metal, well made, but can be a bit finnicky to use. The cameras must also be modified (except for the last version of the BEAULIEU 7008S/Pro and 9008S/Pro which had the option available). The Super Drive Magazine is a reworked Beaulieu R16 60m(200ft) Magazine that is reversed from how it is used on the R16, since Super 8mm film is loaded on the opposite side from the 16mm counterpart. There was one for sale on eBay a few months back, which had been gone thru by Ritter in Germany (yes, while the former shop is gone, they still exist in Mannheim and do servicing) and had a 90 day warranty with it. I don't think it sold, it came with the 7008S camera as well, which also had been serviced. A man in Arizona spent considerable time and money making a 400ft Magazine, and with wonderful intentions but it was problamatic in use at times. It was made to work with an unmodified camera that could use the former KODAK 200ft Cartridges. Unlike the Super Drive, it does not have a sprocket drive which is run off the film take up gear in the camera, so tension issues were a concern. Not sure how many he made, but the he ended ceasing making these. I own one, so I know. MINOLTA had a modification of their fine D-12 camera which used a 200ft Magazine, and these are quite rare, but I saw one show up on eBay about two years ago. The exact name of the Magazine eludes my memory at this moment. Lastly, KODAK did make a B&W polyester based filmstock which was 100ft long in the standard Super 8mm 50ft cartridge. So, having a 100ft load in that small cartridge using a polyester based filmstock could work. I had thought of reloading that AGFA 200D, but its availability is waning now since AGFA ceased manufacturing the rawstock from which the Super 8mm filmstock in bulk was made.

Last thought, LEITZ used both the Angenieux 8mm - 64mm on their fine LEICINA Super 8mm RT, and the Schneider 6mm - 66mm on their LEICINA Special (interchangeable lens option, standard was either the body or the 10mm), so that says something for their renowned sharpness.

That lens would be quite usable, however, the minimum focal length of 12.5mm is the 'normal' lens length for the Super 8mm format. So, no wide angle. If you can get the Schneider Krueznach 6mm to 66mm lens, which was made for the BEAULIEU Super 8mm 4008ZM2, and would work fine in manual mode on the 2008S, you would be impressed. You'll then have a nice respectable wide angle of 6mm, sharp optics through out the zoom range, and a fantastic macro focusing capability as well. Second to this lens would be the later 6mm to 70mm version which came standard on the 4008ZM4 (and also a breech lock version for the 6008S/Pro and up models, and for the last 5008MS version). The 6mm to 66mm lens though, allows macro throughout the zoom range, whereas the later lens only has it at the wide angle end. The Angenieux 8mm to 64mm lens which was the costlier option for the 2008S model (over the Schneider 8mm - 48mm) is also a very sharp lens. Sometimes it's easier to just buy another camera working or not that has the lens on it to obtain the lens (then you have an extra body or spare parts camera if needed). These lenses were made to resolve the sharpest image possible on this tiny film frame. And while I have gotten many a sharp image out of other cameras and lenses, that 6mm - 66mm still rocks. - - - So, if I were to use that Cosmicar lens, I would also want a separate wide angle, and those in C-mount such as the fine Century lenses, can be quite expensive. Anyhow, something to think about. Good luck!

I just checked out the ELMO version that I own, and it's a Dual 8mm configuration with switchable sprockets for both formats, and while they are similar, mine has a focus wheel on the lower cover's left side. Some of these were fixed focus, as were many other Regular 8mm Editor Viewers. As you surmised, focus adjustment would require some other physical adjustment. As for the out-of-frame or sync, there is obviously something wrong or out of adjustment. This is too involved to try to solve via a posting. You would have to carefully make various adjustments to get it to work correctly. I would just move on to a better stand alone type unit. Minette used to make Regular 8mm versions long ago, they rarely show up anywhere though. Craig Kalart made heavy duty cast metal units that will last forever, and these show up on eBay from time to time, as do many other units. You just have to hunt around. Avoid the all Bakelite unit with the tiny screen, it is the predecessor to the ELMO and B&H units, and just not fun to use. Atlas Warner made pretty good Regular 8mm units, but I only see a dual 8mm version on eBay. At the moment, there are two MINETTE Reg 8mm units (labeled only as 8mm, since Super 8mm wasn't around yet) in the $50 to $60 range, plus shipping additional. Otherwise, visit thrift shops, antique shops, junk shops, garage sales, or ask people in your extended family. Lastly, you might just want to lubricate the mechanical rotating mechanism on your GOKO Dual 8mm unit. You can use a good Silicone (one that will not harm plastic, read the label), as it won't harm the film. Just be careful not to get any on the lenses, mirror areas. It won't harm them, but might make it difficult to view the image. If you do, you could wipe it off or around with cotton swaps. Pinion areas which have heavier torque on them would need a heavier lubricant such as some fine Lithium Grease. Good luck!

This Regular 8mm Editor Viewer was made by ELMO, and also sold under their own brand name. It works fine, but uses a chain inside which places a lot of torque on the mechanism, especially if you try to reverse wind the film to go back. For 50ft reels, it's okay, but anything longer, there's stress in it. Also, if you have any Regular 8mm film that is overwidth, it will bind trying to run thru this unit. Overwidth film is due to uneven film slitting at the lab, which was more common than many people realized. In the projector, the gate's side pressure spring will ride the film width and is more forgiving, but in this unit which is pretty precision made, it will not. I speak from experience, mine just sits in my collection now. You're much better off with a standard design dedicated Regular 8mm only unit, such as those made by Craig Kalart, Minette, Warner, and others. The Baia units can be tricky, as they used a design whereby the film is in an emulsion down configuration and you have to twist the film to make the splices. They have large bright images, but unless the unit is immaculate, dust will have gunked up the rotating prisms units and make it difficult to pull film thru them. They are light weight and plastic, so if you use one of these, best to tape the winding arms down to the table top. This goes for other units also, securing the outrigger winding arms helps keep the unit from moving around on you. Had to add this, if you decide to go for another unit. The Dual 8mm units, even the GOKO ones, just put a bit too much strain on the film, as the film sprockets rotate the prism units which are double wide to accommodate both gauges. It's best to use a unit made only for that film type, that goes for 8mm or Super 8mm. So many around these days and pretty cheap too on eBay, since many no longer edit their film the old way; opting for digital transfer and do it in post. For those of us that still project film, (and what a treat that is!) film editing on an Editor Viewer is the way to go.

Running the Super 8mm cartrige for a couple seconds first is a good idea. The light stuck film, only goes back into the cartridge barely an inch either way if that much. The cartridge was designed for camera loading in full daylight without fogging the film. However, the first few inches of film have a backward twist to it owing to the film path in the cartridge, so it can take about a full second or two to run completely steady. Those first few inches though are great to shoot a color chart, gray scale, or film slate, or do a focus check. This steadiness would also apply to a given cartridge if it has sat for an extended period of time prior to filming on it again, due to the torturous film path.

Doug, film lubrication is vital! All motion picture film that is intended to be projected should be lubricated. There are several products on the market, some which will clean and condition the film as well as lubricate it to allow smooth passage thru projection equipment and minimize any friction. Lack of film surface lubrication is a major cause of jittering and other image instability in the gate. KODAK used to make a fine motion picture film cleaner with lubricant, but there are other products out there. FilmRenew is fine, but is very slow drying and mainly intended for old films as it helps make the film base more pliable. Urbanski Film sells a few pproducts as do other film supply houses. You usually have to buy a minimum of a quart. To apply you can use a professional application unit, or using a set of film rewinds, set them apart about 5 feet, and using some clean soft white cotton flannel (you can buy this by the yard in the cloth dept of Wal Mart etc) run the film thru this after having moistened it with the cleaning/lubrication solution. Have a small desk lamp nearby aimed so you can study the film surface, as you want the solution to dry before it takes up, thus controlling your winding speed. Every 10 to 50 feet, stop and examine the cloth periodically to make sure it's not gunked up, and flip it to a clean section and reapply more solution, change clothes as necessary. Some Super 8 fans have used Pledge furniture polish, which will clean and lubricate. Some have used a cleaning solvent and added pure bees' wax to it. You can also use 91% isopropyl alcohol or higher for film cleaning, and then lubricate it in a separate pass, using a pure silicone (spray the cloth first, allow several minutes so the solvent evaporates and then run the film thru it. There are different types of silicone on the market, make sure to use one that works for plastic. I also always wipe the film rollers, film gate, and pressure plate in the projectors to allow for steady smooth projection. And, I always wipe the film gate as well in m Super 8mm cameras prior to shooting film, really helps make for a steady image, even in low end cameras. Some vendors on eBay sell film cleaning and lubrication products as well.

Uh folks, let me double check something here, this IS the Super 8mm section of Cinematography dot com, isn't it? While so many other filmmaking related technics and issues relate to all film, this section is for Super 8mm, which is sort've unique for a variety of reasons. While you can get as professional as you like, regardless of the film gauge, there are still many who desire to shoot in the 8mm formats for the DIY approach and cost savings. Okay, back to the processing issue. Yes, in a perfect world, all film would be processed correctly. Sadly, that is not always the case. Processing machines are great but often are compromises. I've used some of the top end machines years ago, that did 16mm, 35mm and 70mm films while in the Air Force, and we had pretty exacting standards. Machines are built well, and many of the machines in Hollywood that processed film date back decades. There is an allowable technical balance in the film processing world, carefully controlling image quality, cleanliness and longevity. That being said, unless a machine was built for archival processing, the film processed in it is NOT archival. This same thing applies to the still film world. Those that wanted archival processing quality in film and in their photo paper prints, had to send their work to a lab that did so, and it was usually done MANUALLY. Or, using much slower operating machines to gain such archival quality. A minimum amount of fixer residue in the emulsion has been found to still allow film or photos to last a very long time. Eventually though, these compounds in certain quantities will attack the image in the emulsion. It might be outside your lifetime, but it can and will happen. Vinegar Syndrome is another completely different situation, but can be linked to chemical residue if very poor washing was done. I'm not advocating that everyone rewash their own film. A question was posed to me and I answered it to the best of my knowledge. In B&W film processing, the Fixer also has a hardening agent, and insufficient washing can cause staining down the road of time, and attack the black metallic silver that makes up the image in the emulsion. In Color, the Bleach Fix is different, but you certainly don't want such residue sitting in the emulsion. You want blind trust in the industry, fine. Place that same blind trust in other things...such as automotive repair, roofing etc. We're all human beings, and things are not perfect, it's not a perfect world. Rewashing might not save it either, long after the fact. There are Hypo check solutions made to test for exhausted Fixer, and also ones to check for proper washing. These are available from places such as FREESTYLE or the Photographer's Formulary. In the days of "real" camera stores, it was an over the counter item along with lots of other photographic chemistry. It's possible to scratch mix your own solutions, and formulas can be found in old books, or possibly even online. Last item, I do know that all the films I had KODAK process years ago, seem fine....it's the others sent to a variety of other labs that are not. For those of you that have had good fortune on film longevity, that's great. Nothing lasts forever anyhow. Sorry if I caused any upset here, that was not nor is my intention. Long live Super 8mm!

Argh......Super Duper...what an idiotic name. This widening of the gate was referred to as Super 8B (for Breitwand or Widescreen) by the actual inventor of this format, doing this in Switzerland. So, Super 8W or Super 8 WideGate might be a better term. Just my thoughts on this. The adjustment of the viewfinder mask can be done on some other Super 8mm cameras. Personally, I would just use anamorphic lenses, but there is advantage of more of the zoom range, the macrofocus range, etc on cameras where the gate has been filed out. For anyone wanting to do this themselves....I suggest removing a gate from some old junker non working camera and attempt that first. Fine files are available from various tool sources, and for polishing you can get an ultra fine grit sandpaper in the 2000 grade and fine range (works awesome on polishing engine crankshaft journals), or a jeweler's rouge, for the final polishing so as not to scratch the film surface. Anyhow, if it were truly so super duper, it would be much wider somehow. But, then, that's why I like using the KOWA 16H for a true CinemaScope type image, despite the shortcomings. One last caveat: IF you are not tech savvy the consider having the work done by someone competent as you certainly don't want to ruin your camera. Should you ruin the gate, you could always just buy a junker version of the same camera or camera series where the gate would be the same one, and replace it. A good case for buying a backup junker for parts off eBay or elsewhere should such a need for any parts ever arise.

Regarding the rewashing of already processed film; yes, I've done it a few times, and often have wondered about the necessity of it. However, quite a few of the films I shot in the 70s and early 80s have suffered due to imsufficient washing and how are damaged forever. Most of it occurred at non-Kodak labs (my Kodak processed films, as well as the ones I've done over my lifetime are still fine). I have seen all kinds of star type patterned bleach and fixer related artifacts occur and they won't wash out or clean off now. With the loss of Kodachrome color reversal processing, now since 2010, there is no need for me to ever send film anywhere again; I do it all here. As for advocating whether or not others consider rewashing their processed films, all I can say is that you'd have to check with the lab that does your processing about archival keeping and/or processing procedures. There are ways to test processed film for Fixer residue just doing a small snip test on a tiny piece of film. If this were to show insufficient washing, then I'd certainly consider rewashing the film. Even if you don't process your own film, rewashing would be easy since it's all done in room light. You'd still need a spiral reel or rack to load the film onto, conduct proper washing, have a Film Drying agent such as Photo Flo (for B&W films) and a Final Rinse or Stabilizer Solution (for color reversal and color negative films) on hand, as well as a convenient way to dry the film (film drying rack or film looped over a plastic clothesline in a dust-free room (a bathroom, vacuumed out and wiped down a few hours prior to use would work fine. Then after drying, a way to relubricate the film again prior to ever projecting it or transferring it.