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Robino Jones

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  1. You could possibly hook a micrometer in the gate opening and place the tip on the cam but moving the cam block is not precise you have to wiggle it a bit to go up and down. My movement was pretty loose and you could visually see the issue by touching on a piece of film in the gate. I moved the cam in one little bit a time and tested until the film was held firm but not too firm. I have to say that after the adjustment was made, all my movements worked perfect in the projector even though I mentioned in previous post that the adjustment would work only with 1 movement.. It's been a couple years I'm a lot more comfortable with these things now, send me a PM maybe I can help you if you have a problem.
  2. I went Thursday 5pm at the Landmark (old Sunset5) to see it on 70mm and after 4 seconds of during opening logo, the screen went black.. and then 4 seconds later it was orange yellow plastic melting with bubbles..the film literally burned on screen like in Gremlins 2! Never thought I'd see that - especially on 70mm it burned for a long time that a lot of plastic to go through! I left and got a refund. Last night went to Regency in Westwood and watched it on 70mm- I loved it. Will go see it again in Imax 70 at Chinese Theatre when it cools down - every screening for the next week are packed.
  3. I heard that back in the heyday of optical compositing, Kodak would put aside the first batch of film coming off a newly aligned cutter/heart and it would be reserved for big shops like ILM. If anyone knows anything about this, please chime in; this is very interesting. I really didn't know how complex it was to perf film, you can see in the video the first heart is for B&H perf and the second one (with the microscope, it's for Kodak standard (KS) - I wish they showed the 16mm and 8mm cutters too and elaborated on the alignment, how long before you need to re-align, are the punch becoming dull after a while? etc
  4. You can see in the test side by side with the 5219 that the ORWO is really unstable. I was watching this video about how Kodak makes film, and you can see how complex and precise the "Hearts" are to perforate the film. Boggles the mind - I suspect ORWO may not have this level of precision, which results in stability issues. Fascinating stuff! Here's the video, I cued it at the perforation section.
  5. You can get this little device: https://www.catlabs.info/product/photoplug-optical-shutter-speed-tester I got one to figure out single frame exposure times for a very custom camera that has no manual 🙂 I setup a small flashlight on a c-stand pointing at the lens mount, and then used the app to calculate the shutter speeds. It worked well and the film came back nicely exposed.
  6. Unless you're a rookie, in a DIY shag-carpeted darkroom with feline assistants, or chain-smoking through your spooling session, dust shouldn't be an issue. Also with that attitude you prob should go on craigslist you'll have more success with your sale 🙂
  7. I built it for myself, no plan for making commercial machines but may do one or two for close friends.
  8. Thanks for pointing that out it's fixed now. He mentions at 2.35min "You are viewing either a release print from 5244 EXR color intermediate film or direct video transfer from the camera negative” - I added the note at the beginning to make sure people knew which one they were watching.
  9. Wanted to share this film I had in my collection. I never seen this one online anywhere and I'm sure a lot of you would love to view it. The film is titled “Vision, the realization of your imagination” and was released around 1996 to introduce their new Vision motion picture color negative lineup. Narrated by John Sawyer, it demonstrates Vision 320T and 500T. The transfer was made on RobinoScan from a 5244 Color Intermediate release print. In one of the test they push the exposure -5 to +5 stops so the highlights are hard, but that's the way the print is and the transfer is not clipping. I'm sure some of you saw this test film back in the day - would love to hear about it. Enjoy!
  10. If Tyler is not going to take it I'll take it - @tyler's test was great but maybe a second opinion / different camera/scanner could be good 😉
  11. Film images are made of grains. Here's a 16mm frame of a chart I made and scanned in 4K. (can't upload large files here so it is downscaled). I wish interlaced standard def looked like that back in the day 🙂 Not sure why I'm replying to this troll post but merry xmas everyone! Edit: ..and this would look even sharper today on my new scanner..
  12. I can't find pricing on Dustbuster+, may I ask how much the software cost?
  13. I would have bought rolls for sure - it was a nice affordable alternative to Kodak but not anymore.
  14. That makes more sense. Was the scratching on the the perf areas or on the actual image?
  15. I built the machine, so of course I tested it with dummy film. lots and lots of them 🙂 ..but you haven't seen my gates Nostradamus, If you are referring to the Kinograph thread - everything on there is super old. Thanks very much I'm good 🙂 Soon it will be only PTRs without the 2 metal tension rollers. Tension will be integrated in the main rollers. PTRs are designed to take out dirt particles not add them like the "friction rollers" example you linked to. My transport is like the Kinetta which is a great machine. Of course you need to keep the PTRs clean and give them little baths in soapy water from time to time. I really didn't want to derail the thread with my machine, all I wanted was to share the stability I'm getting using perf sensor. I'm not comparing my scanner to anything, there's still so much to do on my machine - probably another full year of development and headaches. It's hard making scanners.
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