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Robert Ante

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  1. Nick, Thanks for the imput. I'll give it a try. Tyler, You are correct about availability of 100D. I no longer buy directly from Kodak since I no longer get a discount and I don't need the "rush" service, I buy from various retail outlets. If one seller doesn't have it, another probably will...along with free shipping. Not that it means anything, but I have been shooting S8 since 1971. Back then there were many cheap cameras with meters programed solely for Kodachrome, and only Kodachrome. Nizos, Beaulieus and Leicinas were very expensive. If my memory is correct, about that time my Nizo cost about $400 at Olden Camera in NYC. A Zeiss Ikon Movieflex cost almost as much as a VW bug.
  2. No, Tyler, Super8 is not just Super8 that will work in all cameras. As for my question, I was thinking of using a ND filter but decided this will not work. I can just forget these cameras for D100. I don't know where you get the idea that all Super8 Ektachrome is all sold out. For a brief period in December but available now. Besides, I already have a nice supply. The little Bolex has a nice lens. Same with Canon 310XL. They were never meant to compete or replace a regular sized camera. You are misinformed with regard to the finder and shutter systems of the Beaulieu. The relex system is a mirror, but the shutter is of the guillotine type...the only Super8 that I know of that has this kind of shutter. The replex system of the Beaulieu allows any C mount lens. Other cameras must allow for light absorbed by finder and lens. Because ASA is set by an external dial, it is not determined by detecting notches in cassette, like almost all other cameras. Perhaps that is why you believe that all S8 cameras can use film of any speed. But not all cameras can detect all notches, although the better ones can detect more. Nizo, Leicina, Zeiss Movieflex among others. These and 4008ZM are cameras I am familiar with and use. For me, nothing beats the ergonomics of the Nizo. Except for the off-on switch. I prefer the Beaulieu and Zeiss approach.
  3. Has anybody used the new Ektachrome D100 with either the Canon 310XL or Bolex 350. I would like to to casually carry about one of these almost pocketable plastic cameras but with a cassette of Ektachrome at $50 a pop I want to be sure of what kind of results I can expect before venturing forwar. I read on one list of useable/unuseable cameras that D100 is unsuitable with these cameras, but I learned long ago to be skeptical of lists. Shot a roll with Nizo Professional and results were very good, even hand held. A Beaulieu will be my next try. Nonetheless, I am fond the these little Canon and Bolex plastic babies. I would appreciate any advice or comments.
  4. Sam, I know how you feel. Unavoidable obstacles have put me on hold for about five years. However, ready to resume quite soon. If you prefer film, you seem to have all you need and cost would only be for feeding camera and processing. If you prefer digital, go that way. There is the cost of computer with graphic cards and programs to handle digital, plus sitting at computer starring at screen for hours (I do use digital for certain projects), so digital is not without costs. Can you do your project one or two 100 ft rolls at a time over a longer period to make film cost less painful?. A lot of remarkable films have been made that way. Depends on what you enjoy doing. If you do decide to sell, follow advice of above folks.
  5. Getting back to the topic. I shoot film (16mm &Super8) because, relative to digital, it’s permanent. Digital is great for certain purposes. And of course now commercial theaters project digital, even if original was shot on film. A feature film on a cd weighs a lot less than a bunch of 35mm print reels. On the other hand, storage costs are a lot less for film than digital for archival purposes. A great deal cheaper. That is the reason Hollywood contracted with Kodak to guarantee film production. Digital is transferred to film. Rapid changes in digital technology is both blessing and disaster. Cameras made 75 yrs ago can still make movies. What ever happened to High 8, VHS, Beta. How long will digital cameras use memory cards? Technology moves forward, but does not obliterate the old. I have movies I tool 50 yrs ago. I have floppies, digital tapes and disk drives with inaccessible data.
  6. Thank Thanks. Urbanski was who I had in mind. Great service!
  7. For a variety of reasons, for the past 5 or 6 years I have not been very active in film making. Just a few rolls sitting unedited. Now ready to re-enter. I used to buy from a fellow who sold film cement, film cleaner, various sized reels and storage containers, etc but I misplaced name and telephone number as well as website. When I search the web I only find sellers of camera equipment and accessories, which I certainly dont need. So, my question is: where in the USA do you buy such supplies? I found filmforever.com overpriced. I prefer to buy projection reels and storage supplies from a reputable dealer rather than e-bay.
  8. About 6-7 years ago I was able to buy a brand new Filmo as war surplus. Packaged in box and wrapped in oiled paper, Camera came in fitted very strong wooden box with lubricant and various pieces of hardware for routine maintenance. The lenses are labeled “television“. Can’t be more specific because not home now. Shot a test roll that came out well. Working on various projects has kept me from using camera, but intend to start in about three months. I believe its compactness will be just right for project. When I get home, I will get details of lenses and ask for opinions. Oh yes, camera cost less than $500. Later got a new surplus Singer 16mm projector for $300. An unusual event for me, I normally buy high and sell low.
  9. Well Nick, I am expecting a processed roll of Ektachrome 100D in the mail on Monday, shot with my Nizo Professional. Next roll will be with my Zeiss GS8. (My two favorite Super8 cameras). The surest exposure should be with my Beaulieu, since settings are all manual. Again, in the manual I have for the Nizo 561 (which I no longer have), on the next page (after giving the same kind of info regarding BW and tunsten balanced film on preceding page) it states for daylight balanced films to use the sun symbol. Maybe a typo that was later fixed. I bought that camera new when it just came out. Nizo also cautions against using an external meter, since built in meter takes into account the light absorbed by lens and finder.
  10. Nope. The Nizo manual specifically states that when using daylight balanced film, turn the nob to the sun symbol. I caught this error because I was giving my daughter one of my Nizo cameras and thought I should read the manual. That's why I said that the manual is confusing. However, right on the Ektachrome D100 box, in four or five languages, it warns to NOT use the Sun symbol, but the bulb symbol.
  11. From my experience viewing silent films that were projected on the original nitrate base have a brilliance and clarity that outshines safety film. Such films were shown on rare occasions at the Museum of Modern Art many years ago. Probably against the law now The silent films, especially from the 1920s in the US and even into the thirties in much of the world, had a fluidity of camera work (with some rareexceptions) that was not regained until the Italians after WWII. Just a passing note, but many of the earliest restored films in the US were not restored from negatives or movie prints, but from photographic prints of each frame used for copyright.
  12. I have a working Zeiss Ikon GS8 camera...except! Except that aperture apparently stuck at f64 and will not budge. I don't want to force it. Could this be a simple repair of attaching something that's loose or is meter or diaphragm most likely kaput. Or is the camera too quirky for anybody to work on in USA? Or too expensive to repair? Zoom works, film transport works, speeds work. everything but exposure aperture. I do have a working GS8, and enjoy using it. For me, the best camera design after Nizo. But just do not enjoy having a piece of equipment laying around in non-working order. Any suggestions regarding repair.
  13. The manual for this camera is confusing. For daylight balanced film and BW film, turn the indicator to "bulb" symbol.
  14. Thanks David. As I remember, if Sovcolor was based on Agfa color, the Soviets didn't quite get the hang of it. So all is not lost for a film originally made in Sovcolor. Started to see a film of Prince Igor made about the same time, again with pretty good color. Interesting that the credits say nothing about restoration. The Stanley/Cameo theater was quite an experience. During news reels, audience would boo Eisenhower but cheer Stalin. Later, the theater became an XXXX Adult theater.
  15. Watched a 1954 Russian film of Boris Gudunov on youtube. Film had very good color. Seems to me I saw this film in about 1955 at old Stanley/Cameo theater in New York. I remember that the film I saw at that time was in dreadful Sovcolor, so colors looked as if they were applied as a pastel gouache or poster paints , showing little detail. Since I know next to nothing about movie color film processing and there are plenty of knowledgeable experts on this forum this is my question: Could the negative containing what I would call "neutral" information that was used for the Sovcolor print also be used more recently for a more realistic color print process? I can not believe that two films of the opera would be shot in one year. The credits say nothing about the film stock or prints.
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