Charles Cadkin

On 10/5/2022 at 3:08 AM, Tristan Noelle said:

Here’s a few photos of the kind of clumsy setup I cobbled together for the last short I did on an Aaton XTR Plus. I would do it cleaner this time around. 
 

We ran the Aaton tap into a Blackmagic Analog to SDI converter taped to the mag, then out to my small viewfinder, a Cineroid EVF4. We powered both from a V mount battery and plate on the front rods. 
 

Not just any modern monitor will work though, you need something that will display SD resolution (some Atmos won’t), so check it’s specs.

-Tristan

 

What cable were you running from the Blackmagic converter to the v mount bat for power?

7 minutes ago, Damon Hoydysh said:

Kodak sells 100 ft rolls of 35mm color negative - they do require a few weeks of lead time - and that could be much longer now that the supply chain is strained. Not sure if they offer Ektachrome in 100ft, but it might be worth asking if you're not in a rush. 

Thanks, Damon. I reached out a few days ago and unfortunately they don't sell 100' lengths of Ektachrome.

Thanks. Looks like that is a 400' roll, though. Hoping to get something closer to 100'. Not sure how easy that will be.

Looking for 35mm Ektachrome 100D short ends. Hoping for around 100' feet but willing to buy more or less than that amount. Located in Chicago and would prefer a US seller.

3 hours ago, Heikki Repo said:

I recommend keeping home movies. Having recently digitized 8mm material that has footage of my father as a teenager in the 1970s, footage like that can be a treasure later. Even if there is video.

Agreed. I also recently digitized some 16mm and Super8 from the early 70s that my dad shot and was in. Extremely grateful that he was still in possession of it and not just a poor DIY scan.

I would be interested in some of your negatives and/or prints if you would rather donate them then throw them away.

13 hours ago, Shawn Lowe said:

Hey I’m quite interested! Would you ship to Australia?

I would prefer not to. I imagine it would be too costly.

Still for sale. Hoping to sell for $200 + shipping.

Selling the following sealed film, stored in a cool closet. Expiration dates unknown.

(4) 100' daylight spools of Kodak EXR 200T 7293

(2) 100' daylight spools of Kodak Plus-X Negative Film 7231

(1) 100' daylight spool of Kodak Ektachrome High Speed Daylight Film 7251

Photos

Please make offers. Willing to split the film up but would prefer to sell everything to one person.

Never mind, I found my answer. For those who are curious, I believe the shutter speed is 1/4 second.

I'm beginning to work on a project shooting individual frames with my XTR Plus using the inching button on the handle and I'm wondering what the shutter speed is every time you inch the film? At first I assumed that it may be 1/48 but now I'm wondering if it is slower than that because the camera takes time to get up to speed. Is there any information on what the shutter might be or if it is consistent every time you inch the film?

Very competitive prices. I'll be reaching out with some questions soon.

Thanks for the help, Tyler. That was exactly the problem. I honestly have no idea how it happened because I never took the eye piece off and the pin isn't broken, but it must have slipped into a different position at some point. Anyway, if it happens again I'll know what to do.

I have a potentially stupid question with hopefully an easy answer that I'm just overlooking.

I haven't used my XTR in a few months and when I last used it, it was completely fine. However, I recently took it out to shoot and looked through the viewfinder to see that the ground glass with all frame lines as well as the image that I was seeing were flipped 90 degrees. I've linked to some images to show what it looks like to look through the viewfinder.

It doesn't look like anything has broken or that the ground glass has slipped. I tried adjusting the viewing horizon, which only moves the image a few degrees. I'm hoping I'm just overlooking some basic feature of the camera that allows you to flip the orientation of the image.

https://imgur.com/a/arwUMR6

Looking for a used Canon C100 with the dual pixel af update. US based.

Person to Person, which comes out in about a week and stars Michael Cera and Abbi Jacobson, was shot on Super 16 - http://www.imdb.com/title/tt5247026/

I think I still have an ARRI to Aaton adapter. Let me know if you still need one.

 

Best,

-Tim

PM'd you

Any idea where to get 400' lengths of 3378 or similar hi con film? Kodak sells in a minimum of 2000' and I no longer have the resources to spool down that much film.

I used to own an Auricon Pro 600 16mm optical sound on film camera and shot tri x in it.

I used to shoot high contrast copy film 7363 perforated to regular 8mm. That should be similar to sound track film.

Here are links to my videos about them

https://m.youtube.com/watch?v=yEF11bU3Og4 7363 8mm

https://m.youtube.com/watch?v=6AwC5V1ySkY Auricon

Perfect, that's just what I was looking for. Thank you!

Based on my limited experience and self-taught knowledge, I've always used normal black and white still photography chemicals (d76 developer, kodak fixer, water for a stop bath). The method that I've always done is to go into a darkroom and pull the film out of the Super 8 cartridge (or I think you can open it or break it open to avoid scratching the film, but I've never done this as you're going to scratch it anyway) and then you take your big jumbled mess of film that you've pulled out and put it into your developing tank. You then develop the film fairly normally, like you would black and white 35mm stills.

Develop, stop, fix. The approximate times I've used are:

Develop: 7ish minutes

Stop: 3 minutes

Fix: 8 minutes

Experiment with times for yourself.

The other option, if your developing tank isn't very big, is to fill buckets or similar containers with your chemicals and develop the film in a darkroom throughout the whole process, constantly agitating the film, rather than doing it in the tank. Your film may be more evenly coated with chemicals this way and you can tell if it is sticking together. Either way, however, you are going to get extremely inconsistent results as you are dealing with a large amount of film and attempting to develop it all at once. It will end up looking very spotty. Depending on your project, it can be an interesting look but it also may not be what you want at all.

Your other option, which I have never tried, but have heard about is to use a rewind tank like the Morse G3 (more info here http://www.cinematography.com/index.php?showtopic=9878 ). Basically you load a maximum of 100' of 35mm I believe and put the chemicals in the tank and wind the film from one side to the other, in a specific amount of time, to pass the film through the chemicals and develop it evenly. Based on what I've read it is pretty time consuming and you end up doing a lot of physical work without taking a break if you're doing a lot of film, but you will get a much more consistent result. You can buy a tank on eBay, but they're generally pretty expensive. I've been watching some myself and often a cheap one will pop up.

There really aren't any cheap solutions to developing motion picture film and getting any sort of professional look. The methods I've described above are fun to mess around with and may be right for a project you're working on though. If you've been doing darkroom work for so long, this may be something you'll like getting into. It should be stated that this method is only for b&w, obviously. Color is a bit different.

Edit: I should also mention that this method is for developing tri-x reversal as a negative.

I shot some 3378 last summer and have a good bit of stock. The traditional result, as has been pointed out already, is an extremely high contrast B&W image. This is with D-97 B&W positive processing. You can get it processed in negative chemicals and get much closer to a normal contrast range. I can't remember exactly how I rated the film for this, but I can check back through my tests.

 

One thing to consider is that 3378 is thinner than normal camera stocks. You can feel the difference when handling it. Some camera models might have trouble keeping it flat and stable, depending on how the pressure plate system works. I had no problems with it on a Scoopic.

 

If anyone's still interested in soundtrack as a camera stock, I can shoot some and post the results online.

Would you mind posting some samples of 3378? Stills or video. I'm looking for some professionally scanned footage of hi con. It's hard to find proper samples online. I've hand processed and shot the film with a digital camera before, but can't recall seeing very many high quality scans.

I'm looking to shoot some 3378 on an aaton xtr. Do you anticipate I would have any trouble with it jamming the camera or any other problems? My only experience with the film previously has been with a bolex.

PM'd you Stephen.

Also spoke to Rob at Cinelab about some cores, so hopefully he's sending some my way. If anyone has anything else that I have listed, let me know.

Trust me, I've looked for cores on ebay. The listings that come up are for lots of 60+ cores. I'm looking for 10 max and probably not even that many. Any listings with single cores are extremely overpriced. Places like Urbanski Film sell cores for $.45, but require a minimum of a $20 order (which, again, would be over 40 cores-far too many for me).

I appreciate the suggestion, though.

Looking for:

16mm cores (5-10)

A few extra film cans

Sekonic L-358 or comparable digital light meter

Aaton rods (I can find them in other places, but if anyone is selling, let me know)

Aaton XTR extension viewfinder

Aaton XTR compatible video tap (preferably color)

Most urgently looking for cores and a light meter. I've read that I can get cores from labs but I'd like a few before I shoot just to have in case I have to short end some film and they seem hard to buy in small quantities.