Dennis Toeppen

Thanks, Simon. I think I'm just going to stick to 25' and 100' daylight spools for now.

Don't bother. It's a tedious and noisy little camera. Just get a good Bolex and you'll be much happier.

Is it wrong that I'm drooling?

As for 50D, I have one ~60' roll available for $90. The last two 100' rolls of 50D are tentatively committed to someone.

I can spool 100' rolls of 250D and 3383, both $1.50/foot.

If anyone is looking for 8mm film, I just listed four 8mm products on Ebay:

https://www.ebay.com/sch/toeppenfilm/m.html?item=313977700645&rt=nc&_trksid=p2047675.m3561.l2562

I know, I know...the price is high, film is dead, yadda yadda. Please spare me.

There is plenty available. But the Ebay twits limit the amount of stuff I can list until I've proven that I'm willing to tolerate their high fees and endless bs.

Thanks, Simon.

If anyone is looking for 8mm film, I just listed four 8mm products on Ebay:

https://www.ebay.com/sch/toeppenfilm/m.html?item=313977700645&rt=nc&_trksid=p2047675.m3561.l2562

I know, I know...the price is high, film is dead, yadda yadda. Spare me.

Correction: It's V3 250D.

Hello,

I'm getting ready to have some 16/8 2R (regular 8) V3 50D spooled onto 100' daylight spools. Last time around, Wittner did this for me. Somehow, we settled on 108' as the correct length for a 100' roll. I'm wondering if anyone knows differently? I hate when film runs out before counter, because it leads to lost shots.

Thanks in advance for any knowledge/wisdom you choose to share.

These will be priced at $150 each, btw. Sorry it's so high, but this is very costly stuff to produce.

I have 1000' or 2000' (can't remember if it's two cores or one) of 16/8 2R Vision 3 50D that I may be willing to sell for $1.75 per foot. It was perforated by Wittner.

I'm just a hobbyist, but I have had a little experience playing with 200T in daylight (with an 85 filter). Here's a film I shot in 2019 to test some older stock I'd bought on Ebay.

Later, I tried pulling this stuff 1 stop and the results were pleasing. The grain was a bit finer. Unless you're interested in the railroad grade, you probably want to skip forward to about the halfway point. Also, I acknowledge that the editing of the first minute could use some clean-up.

3 hours ago, Doug Palmer said:

Watched this and felt very much there ?  I like static camera filming.

I find this interesting because I have some 35mm Ektachrome in the freezer about 8 years old.  I was wondering if by now the colour and grain could be affected,  but yours looks to me unchanged and good. Don't know if you agree.  The regn.  issue yes is strange towards the end.  I wouldn't have imagined the film would shrink like that, unless it was something else.  So I'm preparing myself for similar issues maybe.  However,  I'd be using a non pin-registered Arri, so wondered perhaps it might cope better ?

The only thought I have is that maybe I wouldn't have had these problems if I'd reverse-wound the stock and left it that way for awhile before shooting, then wound it correctly before shooting. That might have eliminated the curling that I theorize caused my problems.

I had big problems running Wittner 200D (estar-based) in my A-Minima. It wouldn't run. So I let it sit for 50 weeks and it worked fine. It just needed a chance to forget its original curl.

Think that sounds kooky? Here's the evidence.

Film used shortly after spooling (bad): https://www.youtube.com/watch?v=C1uM3Z345fY&t=0s

Film used ~ 3 months after spooling (still bad): https://www.youtube.com/watch?v=jz2FCldULtc

Ran fine after a 50 weeks:

https://www.youtube.com/watch?v=UgWLgok_tQc

I don't know if the Ektachrome problem is due to film curl, but it's the only theory I have.

Here's some 35mm 7285 (Old Ektachrome) processed as reversal:

Shot in an Arri 235, which is pin-registered. There were some pretty significant registration issues, and they got worse and worse as the supply side closed in on the core. I sort of imagine the stock was just misbhaving because it had been stored frozen for more than 10 years. I should have used fresh (1/2013) stock. 

"That's to keep lens barrel out of frame when using wide angle lens."

To clarify, I mean barrels of adjacent lenses.

Hi Again - Do you have ayny samples posted online? Thank you.

That's to keep lens barrel out of frame when using wide angle lens.

On 1/10/2022 at 8:45 PM, Duncan Brown said:

Keep in mind that is orthochromatic film (blue sensitive) - cool, in that you can handle it under a safelight, but may not give the look you want when filming stuff out in the world.  Their duplicating film would give you all the good and bad points of that print stock, but is panchromatic:

https://www.orwouk.com/dp-31

Also worth pointing out the usual warning that running polyester-based stocks in a camera can cause issues because it doesn't tear if there's a jam.  (This warning always comes up as a theoretical; I have never actually seen a story of a camera damaged in this way.)

Duncan

Which is 3383? Thanks.

A couple people have requested that I send them these service manuals. They are difficult to email, so I'm posting them on my FTP server. Here are the urls. Anyone who reads this post is welcome to download and use the pdfs.

http://suburbs.com/k100/k100x1.pdf

http://suburbs.com/k100/k100x2.pdf

http://suburbs.com/k100/k100x3.pdf

The K100 is my favorite camera:

1) It has an insanely long spring

2) It has a nice bright viewfinder

3) It fits right into a small video bag because it's got no weird or large appendages

4) It's got decent registration - provided you don't buy one with a worn out pressure plate/aperture plate.

5) It's sufficiently sparkly that people think it's cool, but it's not so sparkly that it draws the kind of crowd a Bolex draws.

On the downside:

1) It doesn't use B&H finders. The widest K100 finder I've found is 14mm. That gets me pretty close to the 10mm Kern lens I like to use. I just ignore the frame lines and consider the vertical tangents of the circular field of view as left and right edge of 4:3 frame.

2) It sinks if the raft your on capsizes.

Long live film!

I tried to edit title but site rejected my edit. I am therefore posting with correct title.

FILM WINS

22 minutes ago, Max Field said:

What's the average age of the posters in here? Like 40 or 50? I guess gay marriage was a hot debate when you guys were in high school but people under 30 just talk about transgender rights at this point. I thought the 2004 archive posts were a time capsule but you're all really impressing me here.

I think you're a couple decades off there, not with age estimates, but with timing of social evolution...but maybe also the age estimates.

I think this would be a good thread for finally deciding which is better, film or digital.

Thanks. What ASA do you meter at, and how have the results been? Thank you.

Has anyone ever tried 3383 as a camera film? I have 3000' of it perfed double 8 and was thinking of trying it in an H8. 

Thanks in advance for any responses.

Dennis

Update: I was able to order two eyecups from Procam for $46 each. These are the OEM eyecups with the smooth transitions on the eyecup rim. Yes, I'm a bit particular. I believe it is genetic.

Howdy,

Two questions plague me this evening:

1) Does anyone know where to get original Bolex eyecups? I was going to order a couple from Jesse Chambless, but he has passed away. This is very bad news. He knew everything and was very generous with his time. The eyecups that Calkovsky sells aren't the right shape (they're not cup-like at the eyepiece) and I wouldn't buy anything from him even if they were. 

2) Has anyone ever tried 3383 as a camera film? I have 3000' of it perfed double 8 and was thinking of trying it in an H8. 

Thanks in advance for any responses.

Dennis

I just learned about this today. 

I will miss Jesse. He was always very generous with his time and knowledge. 

Nobody will fill his shoes.