Dennis Toeppen

? They sure produce nice images despite all the problems.

Maybe I'll just get some Master Primes instead of buying a 765... ?

Arri 765s jam? If so, it's coming off my xmas wish list.

Arri 765 + Vision 3 = Nirvana

I found the story and production of OUATIH rather fascinating, so much so that I went to LA to see it at QT's theater (nice clean print in a nice clean theater). I also raced around to check out some locations. I made a little video. I didn't put much effort into camerawork. I was in a major hurry.

I miss it. It's been gone a very long time.

OH, I managed to purchase a maintenance manual and exploded parts diagram for $50 plus $5 shipping. If anyone needs access, you're welcome to a PDF copy.

Dunkin donut or butt problem inflatable donut?

Howdy, I lost my beloved Kodak K-100 this summer when the triple-rig (three huge rafts tied together) I was on capsized on the Colorado River at rapids known as "Big Drops." A triple-rig has never capsized in Cataract Canyon, not in over 50 years. I was lucky to experience that river bit of river history firsthand, I guess. Maybe someone will find the camera years or decades from now. It was double-bagged in 9 mil (very thick) ziploc bags and had my name on it. Anyhow, I've moved on. My new K-100 arrived today. It has a beautiful pressure plate with no discernable wear. Pressure plate wear is the number one cause of bad registration in high-mileage K-100s. I was just wondering if anyone out there has a repair/maintenance manual for the K-100. I've had no difficulty finding the owner's manual, but that doesn't help. I want to CLA the camera myself, and I don't want to just wing it. Here are two rolls that were shot before the accident. After the DANGER sign, the footage came from Arri 416 and Aaton A-Minima. Footage before and including the DANGER sign are from K-100. It's not much of a film because I was just getting additional shots to finish off a 2015 film. https://vimeo.com/355690136 Thanks in advance for assistance tracking down a manual. Dennis Toeppen

Assuming you use Mac/OSX, you should download Vidi to create .mov on your HD. Vidi doesn't stop recording when timecode breaks, like other programs do. But it sounds like you're dealing with analog out from your DV? I spent a bunch of money and time trying to figure out best way to capture analog (from a VHS source) awhile ago. I settled on Canopus as the most sensible solution. Here are a couple videos I made comparing hardware for capturing VHS. The differences are fairly subtle to a layperson, maybe not so subtle to you. The Canopus beat the top of the (consumer) line JVC VHS deck with IEEE output. https://vimeo.com/347814736 https://vimeo.com/347814814 Oh, you're the guy that posted the A-Minima reel awhile ago with home scenes in it. That was awesome. I especially liked the shots of stuff on your dining table...coffee, was it? The time lapse in the car was great, also. That film moved me from wanting an A-Minima to actually buying one.

Thanks

Closure: I got the A-Minima in, no problem. I carried it through security day before and earlier day of and nobody batted an eyelash. So I just took the A-Minima to the event with me. It sat in a porta-brace bag behind my chair and it didn't bother a single person. I think I got some halfway decent footage. The lighting was pretty awful, ie I shot 500T and pushed it 1/2 stop. We'll see how it turns out.

Thank you. I had CinePost (www.posthouse.com) scan all his 8mm stuff in 2012. They seem understand the home movie market well and their colorist makes good decisions and compromises. They consistently deliver nice looking files. Unfortunately, all the scans I have are SD. I guess I'll have to do another round. But I don't really feel like there is more than about 2k in an 8mm frame, if that. I just went to Apollo 11 "flashback" event at Kennedy Space Center. It was interesting and very, very, very hot and humid.

Ok, new information & question. I located some 200T in 50' magazines in my freezer. Now, I'm wondering if I can get away with pushing that 1 stop, or maybe just 1/2 stop. The goal would be to have 16mm 200T come close to look of 8mm 50D after scanning, or at least not look awful. The only alternative for the interiors, I think, is to shoot Regular 8 250D in my little Bolex D8L.

I have a couple Niko I have a couple Nikon R10's but no 500T in stock. Event is Tuesday. Wish I could shoot 500T! I have some for my A-Minima, but...

It doesn't seem like there is any room to push back, unfortunately. People's brains are scrambled by film cameras for some reason. They're perfectly happy letting someone capture 4k on a little digital camera but can't wrap their heads around someone shooting movie film. I actually had a mountain guide service (Exum Guide Service) go nuts when I said I was bringing an 8mm movie camera (Bolex D8L). I also had a gate attendant at Yellowstone Park go nuts over a Kodak K100. She actually called a Law Enforcement Ranger to follow me and pull me over to find out what I was doing with "obviously" professional camera gear in a national park.

Thanks. I have some 2R 250D, but none is loaded into 50' mags, unfortunately ?

I'm going to an event where my A-Minima is not welcome. It's too big, they say. The event is a celebration of something that happened 50 years ago, and I have an 8mm Kodachrome home movie of it. My film will be sort of a sequel or follow-up. Since I can't get awesome high-quality footage with my A-Minima, I thought that I'd go for more of a retro look. I think I'll shoot V3 50D with my NOS Bolex D8L. But that doesn't solve the problem I have with an indoor event, which is not likely to be lit well. I have 8mm 250D, but I imagine it will wind up awfully grainy. The 250D footage isn't likely to match the 50D footage well. My current idea is to shoot the indoor stuff on 16mm 50D with a tiny Revere wind up magazine camera, and push the film 2 or 3 stops. My theory is that 16mm 50d pushed 2 or 3 stops may reasonably match the grain of 8mm 50D. I pull 50D all the time to avoid using filters with my A-Minima. But I don't have any experience with pushing it. Can anyone help me speculate as to whether or not I can get away with pushing 50D 3 stops or not, and whether that has a reasonable chance of matching 50D 8mm grain? Ditto for 2 stops. I know non-pros aren't exactly mainstream here, and I'm not a pro. I appreciate any information you're willing to share.

Well argued.

"Interesting. But "shooting" is also used for a film shoot." Right, falls under "Recording images using any device or media".

Maybe some of you will enjoy this glimpse into the Apollo 11 launch, 50 years ago next week: https://vimeo.com/322987365 The film was shot mostly with a Bolex D8L. Launch footage alternated between the D8L and a B8. You can see that the aperture plates were slightly different. I've been shooting 16mm lately, in the home movie genre. Whenever I watch my dad's stuff, I realize he was a much more skilled filmmaker than I. I just wish he'd switched from 8mm to 16mm long before he did, in April 1976.

Shooting = Recording images using any device or media Filming = Recording images on film end of debate

I have 8mm film. www.toeppenfilm.com

I just used ritterbattery.com to re-cell an OBB-2. I can confirm that they provide competent, speedy, efficient service. I recommend them over myself any day. Cost was $230.

The new edition of Making Kodak Film is out. If you've ever wondered about the magic behind photographic film, this book will likely answer nearly all your questions. Also, it should be mandatory reading for every Millennial who takes everything in the world for granted. http://www.makingkodakfilm.com