Robino Jones

I explained that in my original post. The guides are closed and clicked - I really think the issue is with the claw as Dom said but that's beyond home repair (for me) at this point - I'll try to find someone to look at in in the Los Angeles area - if anyone has tech suggestions let me know - thanks everyone.

Yes that's exactly what's happening. I saw this by advancing manually and it skips a perf here and there. I took the gate out and cleaned it very well, the claw is moving inside a hole in the gate and it is secured by 5 screws with not much play to adjust it so I'm not sure how else the actual gate could be the culprit. Maybe it is I don't have experience with this camera. I'll have to check alignment and pressure plate.

...Update If I roll the film around the pole that used to release the loop former, the upper loop sticks and bottom is held by that pole. It works and I checked the film for scratches, can't see any.. I'm not liking this workaround - anybody seen this before? See pic for loop workaround.

I can't figure this out, the loop keeps going up. See video for the issue - if anyone has any tips on solving this issue please let me know. https://vimeo.com/288433643 Password: loop ..and PS, I know the film is not facing the right side - just test roll, i don't have a take up reel yet. Thanks very much.

Thanks, I was there Friday night and Sunday only, Regret missing Saturday there were great makeups that day. I built my scanner using a Bi-Pack optical projector head with pin registered movement. Electronically it's driven through an Arduino hooked up with motor and trigger that sends a signal to a RED camera control software on MAC (Foolcontrol). I'm currently using a Red Dragon camera for capture which is not optimal but works for now. I get around 5.5K in S35 full aperture. Thanks Tyler, the convention center had plenty of light and most of the art / demos were pretty well lit. Everything was around 2.8 @250. I purchased my Aaton from Alan Gordon here in L.A. You can come see the scanner anytime - we actually have a friend in common. There's something I want to talk to you about.

This was accidental and there's no way to delete.. some admin please help. Why would someone double post??

Shot at "Monsterpalooza" 3 weeks ago on two 400' rolls. Made some music and put this little piece together with the footage. I admittedly went a little overboard with that motion controlled introduction but I believe in doing real life test instead of shooting boring charts :) Run and gun with Aaton 35III using Kodak 5207, one roll pushed processed 1 stop and the transfer was done at home on my custom built scanner. I purposely didn't clean the film before the scan for that extra "grindhouse" feel.

I have 2x 400' recans of 5219, one marked 2009 and another one 2008. Based on this discussion I should rate them at 250, but what would it look like if I did shoot it at 500? Is it only going to be a lot more grainier with a little color shift? I know it's a gamble but for what I'll shoot it's ok to gamble.

Are Kodak Vision3 16mm and 35mm stocks the exact same film / formula, only 16mm is a sliced up version of 35mm? ..and if they are the same stocks, is the bigger grain on 16mm due to greater magnification during scanning, optical blow up?

Thanks for sharing this great test - I purchased a bunch of expired stock, some of which is 5293. How do you figure out the year of manufacture? I got the PDF from Kodak about stock identification but you need to check edge code on the actual film. There are numbers on most of my film cans and on the tape around the can but not sure if it can be identified with those, most are factory sealed. I could probably open some cans and cut little pieces and hand develop them in a still tank with some D76 to remove emulsion / clean the remjet to read the edge code. Is it worth it or should I just shoot it and overexpose 1-2stop and see what happens?

I loaded 4 mags with 5219 on Friday and shot 3, now I have 1 left and have some more shooting to do on Tuesday night - should I unload the roll and store in the fridge or is it safe to keep in the mag until then? How long can you safely keep film inside a mag? My house is around 72 degrees.

Ok great and good to know, thanks for confirming!

I never taped my Aaton 35 III magazines and never got any leaks. Now every-time I see BTS images of film shoots the magazines are always taped - even Panavision mags.. Is this standard procedure for film loaders as an extra precaution for light leaks or is it for stock identification? I'm shooting a project tomorrow and I just taped my 3 mags all around, between the doors just to be sure.

I built myself a 35mm scanner using an optical printer head with pin registered movement. It's working and I'm really happy with the results I'm getting. I capture using a RED EPIC Dragon. For the illumination I use a 50W Yuji Led chip (5600K version) https://store.yujiintl.com/collections/frontpage/products/bc-series-cob-400l and it is powered using this PSU https://www.amazon.com/gp/product/B01N374QPE/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=13 The issue is that there are scan bars slowly moving down in my scans when shooting at shutter speeds other than 1/60th. It's like a darker horizontal band taking about 1/4th of the screen and you can see it moving when playing back a scanned clips. It sucks because I could REALLY use HDR in this application but with the EPIC HDRX feature set to 1/60th for A Frame, then the X frame track (is using a higher shutter speed that I cannot manually set, you can only select how many stops you want) has flicker issue. Any suggestions on how to improve my LED power or other power supply recommendations, so I could use more shutter speeds and not have to worry about scan bars / flicker ? Someone suggested I install a High Speed Dimmer between the power supply and the LED Chip similar to this and said it would improve flickering. What do you guys think? https://www.amazon.com/dp/B06W9MH8QQ/ref=asc_df_B06W9MH8QQ5044497?smid=A2VAJ7VEVYWQKW&tag=shopz0d-20&ascsubtag=shopzilla_mp_1191-20;15027333268181517694510070302008005&linkCode=df0&creative=395105&creativeASIN=B06W9MH8QQ

I purchased a Scheib 35mm Optical Printer Projector Head with a pin registered ACME style movement. I am converting it into a scanner. The mechanics are working but it needs a little bit of adjustment. I cannot find any information about the “Scheib” projector head and I was wondering if I could get recommendations on what type of oils / greases to use for roller bearings and larger drive gears. (I have Moviola intermittent grease, maybe that could work on the larger gears? I also have Sewing machine oil that I use on my Moviolas.) It’s a chain drive, would you slightly lubricate the chains? Another thing I need help with is how to adjust / tune the clutches. When I got the printer the feed roll was feeding film to slowly and the take up was pulling to hard on the film - I found that tightening the hex screw on the clutches increased the tension on the reel shafts and it made it a lot better but I really would like to understand what the springs are for and basically how to adjust them, I also read somewhere that the felt disc needed a little oil? Not sure if I read that correctly. Here are some pictures: (Dusty pics are 2 days old.. the projector is now all shiny)

Makes sense since the gate is super 35mm...my bad. Thanks for the reassurance guys.

I plan on having a print made for my film project and will want to have an optical soundtrack on the print. To save costs for the final print I switched my camera from Super 35mm to Regular 35mm and swapped the ground glass accordingly. I read somewhere that shooting super 35mm would cost more because you would have to optically scale down the frame to leave space for the optical soundtrack. I shot a test roll in regular 35mm and got the print this morning. I didn't provide a soundtrack so it's a silent print. Is it normal that on the print, the entire negative has been exposed (like super 35mm)? The framing appears to be correct though when running it through my Moviola. Is it normal for my camera to expose the entire width of the negative when shooting Regular 35mm? Lets say I wanted a print made with an optical soundtrack, would the lab mask the left side and print the soundtrack on the left side over the exposed image when creating the print? One more question, when they make the final print do they matte the frame to 1:85 or do they leave it open and the projectionist frames it? ..and if they matte the print to 1:85, how do they know where to frame the matte? Is it by giving them a shot of a frame chart?

What do you guys think about Imagica XE? I have a potential opportunity to buy one modded with LED for a good price. Only issue is that it's slow - very slow.

I've recently started shooting on 35mm and I have been extremely frustrated by the exorbitant quotes and turnaround times I am getting from post houses around the L.A area for scanning my films. Coming off RED Dragon..once I saw my first scanned 35mm test roll (also had a print made which I viewed on one of my moviolas) I knew I was never going back to digital. Film was everything I always wanted. I am toying with the idea of finding 5-10 independent filmmakers, in the L.A area who are shooting on 16mm and 35mm to come together and invest in a high quality, fast, high resolution scanner (Lasergraphics comes to mind) for us to use 24/7 at no additional costs (except for initial investment). The lasergraphics is a fast scanner (up to 30fps @5k) so we could crunch a lot of footage - fast! When the scanner is not being used by the investors, we could scan for other independent filmmakers, effectively paying ourselves back. There are obviously things to iron out like: -Where is the scanner stored? -Do we operate with a queue system(when investor 1 is done, investor 2 scans..etc) -Who operates the scanner? -Is there a quota limit per week? (If investor 1 has 20,000' of film but investors 2,3,4,5 have 1000' we make logical arrangements so everyone can have their footage scanned. After the one time investment, investors get unlimited access to the scanner for life. Investors sign a fair agreement so investors are protected against overuse, etc. That's it - I had this idea because of the frustration I've been going through lately. If anybody is interested or wants to pitch in other ideas, post here or PM me directly. I have a scanner option but need to discuss with potential investors.

I'm considering purchasing a BMD mini 4.6K but I have 2 questions for owners. 1. Can you undercrank with this camera and what are the frame rates available? And if undercrank is possible, can you set the shutter to the corresponding angle needed or enter it manually - Can the timebase be set to 23.98 or 24fps? (Example: set the camera to 2fps, shutter to 1/4th (180°) and timebase to 24) 2. Is there aliasing or moire at specific resolutions and also when using ProRes vs RAW?

Selling Canon L lenses: - Canon 16-35mm 2.8 II / $1000 - Canon 24mm 1.4 II / 1000 - Canon 35mm 1.4 / $700 Also have: - Tokina 100mm Macro 2.8 in EF mount / $300 All lenses in excellent cosmetic condition and like new glass front and back. Pictures available on request. Located in Los Angeles, would prefer local sale but can ship. Paypal (verified emails only) and cash accepted.

On my Aaton 35 III, camera running - when the magazine is near the end (around 15') the red led starts blinking. Is this normal? In the manual it indicates slow speed.

I spoke with a guy over at Visual Products yesterday and he said they didn't have parts and that they were not servicing the 35 III. He gave me other numbers to call, I'm checking and once I get something I'll post it here.

I asked specifically for the 35 III so I'm not 100% sure about the other models.

Visual Products do not service the 35 III and they have no parts either.