Heikki Repo

You could ask how much servicing would cost here http://whitehouseaudiovisual.com/10multi_serv.html

if it moves while the shutter is open you have a timing problem which causes the streaking.

Sure, 700nm might cause problems. However, there is also 850nm and 940nm IR equipment available. I have hard time believing that professional labs wouldn't use IR.

I don't mean to get this thread off topic, but I'd like to point out one important difference between the two groups: for the actors their tool of trade are they themselves -- they don't need anything else. For DPs on the other hand the work is rather technical. They need the right tools to make everything happen. Taking an example from a completely different area of life: if you were to hire someone build you a house they probably would want to have the tools they need and are used to working with. Even if you supplied some tools that were ok for the job they might have preferences which are also linked to their ability to do their work well. When working with lower rates (or for free!) question about tools becomes more important. The question is then for many DPs, does this work let me improve myself as a cinematographer? Or, is the work I'm doing something that I can put in my reel and resume? If enough resources aren't given there is a risk that even some paying gig might become a stumbling block for finding future work...

Nightvision goggles (IR) can be used. In fact, most labs use them. Much easier to work with film when you see it. Many film processors have IR sensors or cameras to monitor the process and control it. Normal motion picture film isn't sensitive to IR and Kodak doesn't manufacture IR motion picture film anymore. So if you are going to work with film a lot in the dark, do yourself a favor and buy nightvision goggles, then install some IR lights on the wall or ceiling. John Pytlak wrote 10 years ago: http://www.cinematography.com/index.php?showtopic=505&p=6099

There's one serviced Konvas with a Nikon mount listed on BB List currently: http://www.bblist.co.uk/item.php?item=33374

I just have to add this -- Frame24 (filmstockclearance.com) is now selling Kodak stocks as well! The price is really good also! http://www.frame24ltd.co.uk/

From Norway: http://www.fomafoto.com/index.php/vm/b-w-film/cine-film

About Logmar: apparently the way the film transport and gate are built pretty much ensures that no cartridge has yet jammed on this camera (this is what I have heard but testers would have to confirm this). If that's true, Pro8mm cartridges are no longer a gamble (had many of those jam on my Beaulieu 4008 ZM). The option to use 200 ft daylight loads in the camera also makes it future proof in that sense that it's no longer dependant on Kodak cartridges -- you can continue shooting if you just are able to buy super-8 perforated film.

On some other forums some seem to be wondering if this is Kodak's first step to kill off super-8. Apparently Kodak has done some big prices hikes just before stopping production of same products.

Hi Dirk, the cause for this problem was a light leak from the front of the camera (not filter holder). From a small hole to be precise.

It was a light leak but not through the filter holder.

I think there is still a certain special look that can be only achieved with super-8. Modern negative stocks work with it really well. However, I do agree that super-8 isn't that economical choice anymore. Modern super16 cameras can be bought for very low prices and the price difference between Kodak Vision3 16mm and super-8 isn't that big anymore -- not to mention that if one buys remaining Fuji film it's already cheaper to buy than super-8 (26 Euros for 15 meters of super-8, 73 Euros for 122 meters of 16mm). Nonetheless, I myself am still keeping my super-8 cameras. One never knows when one needs them for some special look uses (and I just love the small weight of Beaulieu 4008 ZM). Also, if I had the time, I could buy some cheaper bulk and refill used cartridges. That way one cartridge would cost only about 12 Euros which isn't a bad price (ORWO UN54, Wittnerchrome 200D, ..). Not to mention that we don't know yet what kind of film FilmFerrania will bring to market later. As for Logmar, just some days ago it was revealed that it will be able to use 60 meter daylight loads in the same camera. That is a big plus. It means one can buy those cheap stocks (http://wittner-kinotechnik.de/katalog/04_filmm/s8_meter.php) and shoot some 10 minute long takes if one wishes AND one isn't dependant on Kodak cartridges anymore. :)

I sent you a PM.

I'm happy to tell you I have found the cause. The problem was caused by a light leak, however not from the viewfinder. Many thanks to all of you contributing to this discussion. :)

Well, that's something I'm about to check by putting the whole viewfinder inside a black bag during next tests :)

First half of the material was shot with those Contax Zeiss lenses with long lens hoods. Despite that there is still that odd light...

An example of this film shot with an Eclair ACL. I like the look of this film. [For the mystery problems concerning the camera this was shot with see discussions in Eclair subforum.]

Back to square one: At the moment I'd be really happy if I just found out where that exposed "window" is coming from. Yesterday I spent about an hour in a dark room with a bright led flashlight + a piece of paper taped to the gate area. I tried my best to find the internal reflection that would paint a light rectangle on the frame while still leaving out that narrow very clean cut area on the S16 area of the frame. I didn't find anything. There is nothing inside the camera that would make a clean cut narrow area of shadow on the frame when light is bouncing around. That is to say, at the moment I'm not really that interested in the cause of flicker. I'm interested in the cause of that weird rectangle of light. Since the cause isn't the blooper light, I have to continue looking for the cause. Next up: - New tests with the whole viewfinder inside a black bag to rule out all viewfinder related light leaks (in my opinion this is at the moment the most probable cause since it fits with the very bright daylight and the viewfinder could reflect a rectangle shaped area of light on the film frame. Also, I'm having problems with all lenses. Even when I'm using that 10mm lens that same rectangle flicker seems to appear... - New tests with black paper taped over the mirror to rule out problems not related to the mirror BTW, this test was shot with AGFA Aviphot 200 / Wittnerchrome 200D. I like the look.

Contax Zeiss lenses are quality glass. For lots of info on them... take a look at this discussion: http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide I have myself bought some Contax Zeiss lenses for my 16mm Eclair ACL. Mine aren't rehoused though, instead I use them with a C/Y to C-mount adaptor. But Adrian is correct. There is no way to know who did the rehousing and was it done correctly. You could, however, buy some Contax Zeiss in original C/Y mount and have it cinemodded/rehoused. You wouldn't be the first. The good thing about Contax Zeiss is that because it was made for SLR, it will cover not only S35 but also sensor sizes larger than that.

Now I'm officially proud of myself. Last week I decided to test the fix involving disconnecting the clapper lamp. Well, if something can go wrong it probably will. Disconnecting the whole connector set going to the leds and the lamp was quite straightforward. I have opened my camera base several times. This time, however, for some reason I wasn't able to connect the motor when putting the camera together. That 9-pin connector didn't want to connect. It was surprising, but considering that someone before me had cut some parts of it because the connector in the motor was also a little broken (the shell around the pins), looking back, it wasn't really that surprising. So there I was, trying desperately to connect the motor. And then it happened: one of the sockets in the camera twisted and broke. It was really a moment every camera owner whose camera tech lives in a different country doesn't want to live through. Especially since I soon found out that those Cannon ITT connectors -- which are still produced and used! -- aren't that common and easily obtained. Almost nobody had them available despite having them on their catalogues. Thank you Eclair for using special military spec. connectors intended for aviation and space operations! Somehow I was able to find an almost 1:1 replacement part and order with two other connectors from the US for $150. Today I received it and after some five hours of first chipping parts of plastic from the connector to make it fit and then carefully soldering all the wires going to the old connector to this new connector's wires I have my camera running again. Lesson to be learned: be really careful with your old milspec connectors... As for the flickering, I decided to cut the clapper lamp wire. While doing that I measured the voltage going to the lamp. Pushing the clapper switch made it jump. However, what's really interesting is that there was a little amount of voltage even when the clapper was disabled from the switch. I wouldn't really be surprised if the amount of voltage is just enough to affect the film. But we'll know for sure quite soon: now that my camera is up and running again, I'll shoot some tests tomorrow and have them processed and transferred by the end of the week.

You could try this: http://library.creativecow.net/articles/stewart_g_allen/1970_tv_effect.php

Wittner Cinetec (Germany) sells 200ft day light spools "Kameraspule 16mm - 60m" http://wittner-kinotechnik.de/katalog/04_filmm/16_filmm.php

Well, there are many options. I myself think 16mm would make your life easier since the camera and film don't weigh as much. There are many options: - ARRI SR, not the lightest but probably a camera that won't give you too much headache. Also with SR2 or SR with VSU you have lots of options for different frame rates - Eclair ACL, with heavy duty motor you have frame rates up to 75 although not stepless. The c-mount allows using many different lenses. Switars are very light weight but really deliver sharp images. I own a S16 modified ACL and I like it, although I have had some problems with mine. It uses both 400ft and 200ft mags, very handy. - Eclair NPR, not as lightweight as ACL but has been used on many documentary projects. Also has c-mount and 400ft mags. Depending on the motor there are different framerates available. 2-lens turret. Some have converted NPRs to S16, others to U16. Some people like Bolex but I wouldn't choose one. In my opinion it is a bit difficult camera to hold in hand.

For the record, here's the earlier clip which I haven't yet posted here: https://www.youtube.com/watch?v=M82igSqcOlI I have shoot footage with my three different magazines: 400ft, another 400ft and one 200ft. Of those three mags I had problems with one and had it serviced during the S16 conversion of the camera. Let's call those mags mag A (serviced 400ft), B (400ft) and C (200ft). The film I posted in October was shot with C. The film I posted yesterday was shot with A (first part) and C (second part). The film in this message was shot with B (first part) and A (second part).