Heikki Repo

My rule of thumb with expired color negative is 2/3 stops overexposure by default, add one stop for every decade of expiration. Some Fuji 250D from the early 90s or late 80s:

Hi RC Hoffman, I'm selling an Angenieux 9.5-57mm f1.6-2.2 zoom lens. Included with the lens Chrosziel zoom fluid dampener and lens hood. Everything is in good working condition, there are no scratches, fungus or separation on the lens elements. However, Cameflex mount -- but there are suitable adapters available for cameflex to m43. This lens is intended for R16 and thus doesn't fully cover S16. However, when cropped to 1:2.35 no vignetting should show up. Would work nice with a BMPCC, if you search on Youtube there is a test in which an Angenieux 9.5-57mm was used with a BMPCC. Asking 280 € + Finnish VAT + shipping (EMS package). No VAT for buyers outside European Union. Photos here: https://www.dropbox....2DCpKIzQpXeDx6a

Well, I'd say that Kodak might want to but their coating facility is way too big to be efficient enough these days. Kodak dismantled smaller coating lines years ago and now they only have too large ones. There is still quite big demand for film globally, but what we are learning from the news is that if there wasn't this deal between the studios and Kodak, Kodak would have plugged the plug. Due to digital projection and projection prints not being made anymore we have been on the edge of film making not being profitable enough for Kodak anymore. And that would have been pretty much the end of color motion picture film. While the new deal does secure Kodak film for some time we really can't be sure for how long it'll last. Not to mention that while 35mm is available, we don't know for how long super-8 or even 16mm will be. Is there enough demand vs. just slitting and perforating 35mm for studios? There will be more Kodak motion picture film products discontinued by the end of this year, no doubt. Ferrania is a new hope. It is more like "film enthusiast to film enthusiast" type of business than "biggest profits to the stock owners". They are here to make film and they hope to be doing it "for the next 100 years". They won't be, however, bringing some Vision3 killing negative film stocks to market anytime soon. Instead the film they will be coating first is color reversal for which there are no motion picture film made anymore. That way it'll be catering first to super-8 and 16mm motion picture users and to still photographers, who understand the risk of losing all color reversal film all too well. Even though Fuji is still selling those film stocks for still photography use, nobody knows how long that'll last -- or whether they are really making new film or just selling film coated years ago and stored under some mountain...

Apparently RMS granularity of this film is 13, while AGFA 200 is 12 and Fujichrome Provia 400-X is 11, so do not expect it to be Vision3 50D. However, one thing to note: someone asked Ferrania on Twitter if they are going to do something about the grain. Their answer? Yes, it'll be the first improvement.

New smaller cine film rewards (1x super-8, 1x 16mm and 1x super-8 + 1x 16mm) now available: https://www.kickstarter.com/projects/filmferrania/100-more-years-of-analog-film/posts/1006200

Yeah, just backed and hoping to get a Collector box. Good chance to test the film in all different formats! :)

Ferrania has launched a kickstarter campaign! First batch of film for backers :) https://www.kickstarter.com/projects/filmferrania/100-more-years-of-analog-film

Not to mention you better live in a big house! :)

Yet still there are people, who want to have a picture painted of them instead of just taking a photo and printing it. Somehow they even see some value in the tedious process that is necessary to achieve the picture... :) It's always a question about values: what is good. Sure, those 4K videos look great on large television sets. It was almost as if I was looking through a window. But I'm not sure if that's the aesthetic I like in fictional movies. Sometimes less is more and more is ... well, something else. Some say 24 frames per second is too slow and makes the movement jittering. For them higher frame rates is the thing and even 120 fps isn't too much. For me going higher than 24/25 and it begins to look like bad television drama shot on cheap cameras -- even if it isn't.

He was in contact with Lasse. They had some people testing prototypes at that point.

For those of you thinking about buying used, old equipment -- please do note that some old equipment might not be built according to today's standards. An example: I bought an old broken HMI fixture with the intent of trying to repair it DIY by replacing the ballast, socket and the bulb with a HTI one of CRI 90. Well, I was able to find all necessary parts, but when I opened the fixture I bumped into an obstacle I'm not sure I want to mess with: a concrete-asbestosis board on to which the earlier socket and the reflector are installed (with screws)...

Results: https://filmferrania.squarespace.com/news/the-survey-results/2014# :)

With the 200' mag this could be very useful for those wanting to shoot one-man-band documentaries on film. Sync sound, check. 10 minute takes, check. And to be honest, this would be my camera of choice for shooting home movies if I had the money. Even sync-sound soundtrack for a super-8 print would be within grasp: just have a neg-pos print made and striped, then play all of the recorded audiofiles and record on the sound stripe.

Hi Gregg, I sent you an email :)

I called Les and we'll look in to having gears installed on my Contax Zeiss lenses. As for Zeiss Superspeeds, he didn't remember anyone having problems with his design. I guess I'll have to try to find a PL adapter and just test my camera with them. Any idea if one of these would work: http://vandiemenbroadcast.co.uk/epages/eshop406899.sf/en_GB/?ObjectPath=/Shops/eshop406899/Products/%22PL%20Mount%20Adapter%20%28came%29%22 ?

Still looking for a PL mount to Eclair ACL TS-1 adapter.

Thanks Brian and Gregg. Gregg, regarding your idea to make a new mounting hole: unfortunately the mounting hole for the camera and the hole for the tripod are too close to each other. There is no space for a new hole. I sent Les an email and the photos to ask if he thinks superspeeds + ff work with this setup. Haven't received any answer yet, I think I'll call him tomorrow. I'm a bit surprised if this hasn't been taken into consideration... after all, isn't the most common reason to have rods installed in order to have the full spectrum of accessories including follow focus installable on the camera?

On Twitter they are active (https://twitter.com/Kodak_ShootFilm). If just buying film from them was as easy as following them...

I just received some Les Bosher made brand new 15mm rods and interface plate. Well built and nice. Now I'm just left wondering if there are any follow focus units available that would work well with my setup of these rods and Contax Zeiss lenses. There would be no problems with PL-mount cine lenses (which are long enough and have the focus ring near the front), but with my current SLR lenses I think most of the follow focus units available couldn't be fit close enough to the lens to be used. Any ideas? Please see the following photos http://postimg.org/image/4dpd0e3zt/ http://postimg.org/image/igefw0l37/

It's always tempting to buy more equipment. However, all that stuff needs space and needs maintenance. Owning a basic set of tungsten light and some reflectors/flags is a good idea because they don't require that much of either and can be bought really cheap. Those lights will be useful when you are doing something alone or need to be able to go somewhere without having to first visit rentals company. However, for anything bigger, just rent. You'll have more options and you don't have to worry about maintaining (expensive) technology such as HMI ballasts. Nor will you just buy expensive equipment and have it sitting unused in your apartment...

My guess would be that the LCD and/or the IC taking care of the display output needs to be replaced. How expensive that might be I unfortunately do not know. Hopefully you can get it running, shooting film is fun! :)

Okay, it'll need to be serviced.

Hi Alexander, that doesn't look good. Have you checked the manual for operating instructions http://www.calstatela.edu/sites/default/files/tvf/equip/equipmentpdfs/xtrplus.pdf ? If you try different functions of the lcd (page 13 in the manual) does the output on the display look better? By the way, if I may ask: I have noticed that you have been selling quite a lot of S16 film cameras and equipment (Arri SR2, Minima, now the Aaton accessories). Just wondering how come so many film cameras are going through your hands? :)

There are lots of quite cheap Contax & other still lens adapters to C-mount available on Ebay. It might be possible to either add the cylinder over those adapters or to remove the mount from the adapter and fit it on that kind of cylinder. However, keeping the flange focal distance precise enough might be a problem. Les Bosher could make me a Contax to TS adapter, but £220 is a bit too much as the wide angle is so lacking on the Contax side.

I have a Contax Yashica to C-mount adapter. The one I used was lower quality with shiny insides so I had to put some black tape there as well to remove any chance of light bouncing from it. I have since then bought an old Beaulieu adapter which doesn't seem to have this problem but I have to test it first. Contax Yashica lenses are cheap and produce quite good looking images, however there are few wide angle lenses available and those are rather slow. It would be great if everything could be done with just one adapter. At the moment I'm using 10mm and 16mm Switars for wider than 28mm. I have to admit, I have been wondering if I could find some good Nikon (G) to C-mount adapter. Would be interesting to see how Tokina 11-16mm would work with Super16... ;) This might do the trick: https://www.lensadaptor.com/nikon-g-c-mount-adaptor