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Beau House

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  1. @Graeme I ended up sending the double perf / regular 16mm gate in the picture above to Bernie at Super 16 Inc to have a registration and take down pin removed. I suspect you’re right about only the super 16mm gates being single perf. There’s a fully functional Oxberry optical printer, as well as a couple non-functional animation cameras (originally built for the NFB) along with several gates and a couple film transports in the inventory of the group this animation stand belongs to (Cineworks Independent Filmmakers Society). I’ll take a careful look at what’s on hand in the next few days
  2. It’s good to know that there are still full-blown Oxberry Pros out there (assembled or not). A road trip to Ohio would be quite the adventure. If I had the resources to make the journey I’d seriously consider it. In the meantime I’ll keep working to resurrect this one. Hopefully I can find someone willing to take on modifying the shuttle.
  3. Thanks for the reply Frank. It’s good to know those are both likely from Oxberry. I tried reaching out to them directly to inquire about the shuttles on their price list. Unfortunately I haven’t heard back. Your assumption is correct. The intent is to shoot standard 16mm, not Super 16mm footage. I’m trying to find a single perf shuttle or modify the double perf one I have to open up more film stock options. It’s looking like finding a camera tech to have the registration pin and take down pin removed from the gate is the best way forward. This animation stand is definitely somewhat of a F
  4. I’m trying to solve an issue with an animation stand camera, and I’m hoping some forum members might have insights that could help. I have a 16mm single perf shuttle from an Oxberry optical printer, and a 16mm double perf shuttle from an Oxberry animation stand + camera that I’m trying to restore. I’d assumed the optical printer’s movement would be compatible with the animation camera, but it turns out that’s not the case. There’s a slight difference in the height of the “fork” on the Oxberry movement that prevents it from fitting into the camera fully (shown in the first picture below).
  5. Thanks Tyler. I've tried contacting Kirby a couple times and unfortunately gotten no response. I'm hoping somebody out there has a used 16mm plate they'd be willing to part with. It seems like a fairly esoteric item these days so that might be a long shot.
  6. I'm looking for a 16mm registration plate for a Metric 3001 ultrasonic film splicer. I recently acquired one of these splicers in good working order that's set up for 35mm, and I'm trying to find a registration plate for 16mm. Metric's website is still live, but attempts to contact them have been fruitless. Anyone know where I might find one? Thanks
  7. That’s the one. I was introduced to it during a workshop back in November and have been mildly obsessed with it ever since. I sent you a Dropbox link to those files in a direct message. Let me know if you have any trouble retrieving them.
  8. I considered manually punching tapes as well. When looking for tools I came across this paper-tape repair kit that looked promising, but I wasn’t able to find one (or anything similar) for sale. Looking back on it now I think the process of punching tapes manually would be too tedious. You’d also have to find tape with pre-punched transport holes. You’re right: the digital controller uses LEDs and sensors to read the tape instead of pins like the electromechanical one does. It has more memory too so it reads the tape all at once instead of progressing through it one scene at a time. I
  9. It ought to be straightforward, or at least I thought it would be when I started down this road. There's not much information out there about how the various control systems interact with the printers though. In my case the easier problem to overcome was the lack of a tape punch. From what I can tell about the micro controller setup Video&Film solutions built, they've replaced the need for paper tapes but the control module still tells the machine what to do. Replacing the control module altogether would be ideal, but would require more information about the printer/controller theory
  10. Hi Richard, I’ve been working on a similar problem recently (trying to control a Bell & Howell Model C printer) but have been coming at it from a different direction. I wasn’t able to find enough information about the controller itself (pictured below) so I focused on finding a way to make program tapes. What type of tape readers / control modules do you have? I’ve managed to make (and successfully load and run) RGB and FCC program tapes on the printer. Here’s a brief rundown of how things work. Equipment wise the setup consists of: A Santec GNT-4606 paper tape reader / punch found
  11. I'm not sure about the scope of your project, but since you're in Vancouver it might be worth looking into Niagara Custom Lab + Frame Discreet in Toronto. The added cost of shipping across the border and the .72 CAD/USD exchange rate are factors to consider.
  12. Hi Jessica, Check out the results Process Reversal posted on their site from a 2013 tinting & toning workshop: http://processreversal.org/images-from-tinting-toning/ Based on their samples and some experience I've had toning black and white stills, I'd say that iron toning is the best way to achieve the blue you're looking for. Photographer's Formulary makes a powdered kit that's not too expensive. You might even be able to find it locally. Mono No Aware has some cyanotype workshop results on their site you might also find interesting. The big difference to point out thoug
  13. I came across this teaser for a documentary by Alexandre Favre called Bolex: The Last Employee and thought the readers of this forum might appreciate it. https://vimeo.com/150185992 The contemporary footage was shot using a Bolex modified for super 16, and the audio was recorded on a Nagra. The historical footage and commentary is interesting. Particularly the bit about small camera assembly lines being staffed by women, who were presumed to be more agile than men. The level of precision and craftsmanship that went into these machines is pretty inspiring. I'm looking forward to see
  14. There are quite a few film options available from Kodak, Adox, Foma, and Wittner. Maybe take a look at some Super 8 film samples on Vimeo and decide what kind of look you're interested in. Personally I'd recommend starting with Kodak's Vision 3 50D for daylight and 500T for low light interiors. Both can be ordered directly from Kodak. Pro8mm also sells these films repackaged with prepaid mailers for processing and transfer. I've never used their services, but it seems like a convenient way for beginners to get started with Super 8. Keep in mind that the 2143 XL's internal light meter
  15. Thanks for the advice everyone. I considered running it without the screw and just being careful when loading to make sure the bottom loop looks right. Ultimately I’d like to get it back into top form though. It’s great to hear about a reliable tech like Jean-Louis / aka “Mr Bolex” . It’s even better for me that he’s in Canada. @Robert, I’ll definitely PM you about that screw. Thanks again everyone.
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