Aaron Martin @ OH

I've had two Eyemos CLA'd by Bernie at Super 16, Inc. Might want to give him a shout ...

I've had good luck with some free software called DCP-O-MATIC. I was able to use my laptop to easily compress a ten-minute short for projection at a local theater. Good luck!

Good question. The version of the DeVry Lunchbox Camera that runs at 24fps has a different logo on the drive sprocket. It is red, and has the words "DeVry Sound Equipment" on it. Hope that helps.

-- I'm about to start work on a short film filming on 7266, almost all exteriors, and almost all on a boat in the middle of a big lake. Does anyone recommend using a yellow filter, or just forget it? Thanks! Aaron

-- anyone know if the folks behind this film processed their 7266 as reversal or as negative? Thanks! Aaron

My .5 ND filter will take about 2 stops out of the exposure. So I should be OK even in blasting sunlight - correct? Thanks!

It's a silent film - so no sound will be recorded in the field. And I'm looking for fine grain for this project. Thanks!

Hi! I'm starting work on a documentary short next week, and I'm hoping to get some advice on getting the most out of 7222 given the following specs and conditions: - Production will take place at a single exterior location over two consecutive days - The equipment is a regular 16 Bolex RX-5, a tripod, a light meter and me - The camera has a Kern lens set with 10mm, 25mm and 75mm lenses - The current forecast calls for one day to be partly sunny, and for overcast conditions the next - The temperature will be around 40 degrees Farhenheit - There's no power, so no lights - I have some limited filtration options using the filter slot on the Bolex. I currently have a Wratten #8 filter (it's yellow), and a Wratten ND .50 - The final image will be printed, not telecined or scanned Any advice is greatly appreciated. Thanks! Aaron

Have you tried Mono No Aware in Brooklyn? They have a regular 16 flatbed available at an hourly rate. Aaron

-- and I will look into it. Thanks a lot for sending the link my way! Aaron

So, with the addition of a viewer, this would be used something like an armless upright Moviola? I do remember a powered tabletop setup that used a viewer, synchronizer, and rewinds that was controlled by a foot pedal. Did this use an outboard motor of some kind?

Gregg, I'm editing a silent film, and I am on the lookout for functioning flatbeds near me. No luck yet...

Hi! Does anyone out there remember how to set up a motorized 16mm synchronizer so that it will power rewinds as well? Thanks! Aaron

Hi - I'm working on a series of interstitials for broadcast in the US, and I was wondering if anyone had any tips or best practices for getting the best performance out of Kodak's 200t stock. The series will start production after the first of the year, so all advice on exposure, filtration and color correction is greatly appreciated. Thanks! Aaron

You really shouldn't use the auto exposure function on a B&H 240. Your best bet is to put the money you would spend on batteries into a quality light meter and learn to expose film manually. I think if you do this your results will be much better and you will enjoy using your camera more. Aaron