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Luigi Castellitto

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About Luigi Castellitto

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  • Birthday 06/07/1979

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  • Occupation
    Camera Operator
  • Location
    Campobasso (Italy)

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  1. I have an old 16mm Karel Zeman short that has a LIGHT vinegar smell, I don't know if it can be a principle of vinegar syndrome (acetosis). How do I behave? I have never had films with vinegar smell. Does a pass of Filmguard help it? Thank you.
  2. Simon, is it a publication? Could you tell me more? Thanks! 🙂
  3. Maybe some amateur work, but perhaps impossible, the distance between sound and image would be distorted. Ah, does anyone know if labs could/can perform on commission optical tracks for private customers? If not in Super 8, maybe in 16mm, etc. I knew of laboratories that can make FROM optical track to magnetic track, but not vice versa. And not being able to do any kind of optical track on private films, even if the customer provided an audio base. Am I wrong?
  4. Mark, do you know if there are super 8 optics sound film that run at 18 fps instead of the classic 24 fps?
  5. Sound/picture distance is 18 frames for Super8, 56 frames for Standard8 (value respected by very few biformat projectors). Is there a sound/picture distance even for the super 8 optical sound? Is 22 frames? Thank you. P.S. Let alone, the Normal 8 sound optical machines (Toei, etc.), too few and too experminetal, but if someone wants to enter the explanation...
  6. Rob, when the claw doesn't take the hole in the film, did you try to remove the pressure plate and fit the claw with the nearest hole (and handling the loops a little)? If after doing this, the film goes, it is perfectly normal, the K3 often needs adjustments to the loading. Even the instruction manuals show the thing, and I have to do it myself with my K3s. If instead the problem can continue even by manually hooking the film with claw, there is some problem with camera.
  7. The dirty one could also be a residue of the foam, often in K3 there is that kind of residue. However, Ruben's indications are excellent. On loop formers: I had two K3s, one with and one without, but I never found any differences, both didn't give loading problems (apart from having to move the film by hand if jammed during the load) or scratches during shooting .
  8. Anyone use old Soviet films on types of cameras? Certainly expireds, but they have the advantage of being already cut in N8. In my case, the daylight spool must be transferred to that of Univex. Even if I believe we should do the same thing for the cartridges of the Ekran-8.
  9. Hi, I've had a Davis & Sanford MAGNUMXG13 tripod for years. Many months it stopped when moving it horizontally, so I disassemble and cleaned it, leaving a layer of litihium grease. Then, It worked well, but the horizontal movement is too fast, I would like it harder. How can I do? Thank you.
  10. I'm testing with my Univex A8 and test film, a fun camera! I'm always looking for other lens, the Univar f5.6, besides being slow, doesn't have, as I said, a table to understand the distances, the depth of field and the parallax. Even if with those openings (F5.6 --->) the depth of field it's very long. Martin was right about the deformations of this machines: mine had two slightly bent parts, the side cover and a piece in front of camera, but I fix them without breaking anything.
  11. Daniel, Ruben is right, and I add: the more experts of me will confirm it, the Bolex H, typically, impressed a film image a little bigger than the one you saw on the viewfinder. I also have a Rex4 (H8), I can't tell you if it's bigger than 10-13% (which seems a bit too much), but a little bigger yes, it's true. Instead the viewfinder that moves might be to be reviewed, if it moves very deeply it could give you a wrong focus, slightly changing diopter, if it moves in other senses it could give you a displaced image composition.
  12. Wow, curious and interesting effect, it looks the same as the films developed with caffenol.
  13. My Univex A8 has arrived. Very pretty camera, small and heavy, very aesthetically pleasing. It's in excellent condition, runs very well, a bit more noisy than I expected, but it runs smoothly, very fast, I think it holds 16 fps well, and slows down more than good, without acceleration and deceleration. The Univex F5.6 is very small, it has a particular kind of function (who knows it knows it, if someone is curious, I post a picture). It does not have only ONE mark for the stop selection, but FIVE, one for each stop, so the lap making the ring iris is minimal (1/8 inch!). I also tried the two reels with a test film cut with the Lomo cutter, running smoothly. Obviously, having two take-up spools and not an original 1x8 film, I will have to insert the film "inverse on the hook of the spool", because it is made to receive... I don't know if I can explain myself... However the manual is clear, shows how the two spools are wrapped, no problem, the unexposed film wraps itself well even on a take-up spool. I will buy a Fomapan R100 2x8 10m, to cut in two in the dark with my Lomo cutter, and I will use an external lightmeter, the table included is only approximate. The only thing: the manual does not mention how use camera with parallax. At what minimum distance should I expect a decentralized vertical image? So, a table of distances referred to Univex F5.6 would have been useful... Does anyone have one?
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