Bernhard Kipperer

Wanted to let you know about the newest updates: I replaced the introductory video 5 on automatic time lapses with a completely new version, as the feature was extended in the meantime: The new pre-delay enables you to delay the start of the actual time lapse by a defined duration. For example you can start the pre-delay in the evening before going to bed, Cine Assist will wait patiently and actually start recording many hours later, recording a beautiful sunrise as a time lapse. All fully automated and without your supervision! I also added a new video 6 on additional features you can reach via Cine Assist's menu. Check out my website if you are interested and want to learn more.

Great news for all of you who love to use the Leicina Special: My Cine Assist 1.2 camera control module now officially supports this camera too! Thanks to a small adaptor you plug into Leicina's special socket, Cine Assist can be connected the same way you would do it with any other supported camera as well. Besides all the features Cine Assist already offers for other cameras, an additional one was added too: T-Mode support, which means that Cine Assist can control the expsoure time of single frames, depending on your prefered settings. Whenever you do an automatic film-out from your PC, you can select the exposure time to be used for each frame, giving you much more control of the required amounts of light and the look of the final images. You can find all the details and the full list of Cine Assist's features on my website: http://www.filmcurl.com Feel free to come back to me in case you have questions or would like to request additional features!

For those of you interested in such things, here's a scan of a few frames of the film. You can see it was made in 1972 (square and plus symbols) and it appears to have been manufactured in Chalon France, as it says Safe°ty.

When you click on photo gallery on the left, the first photo that pops up (the can) for example is one, also the 5th and 6th from the top. Yeah, Cine Assist is awesome, helped me alot when shooting film already, also made certain things possible I couldn't do any other way or made other stuff much easier to achieve. You know, I have components in stock and also one module ready, so if you are really interested let me know, it could become yours! ;)

Thank you! I did not scan it myself but sent it to Ochoypico in Spain, not sure what exact scanner they use. But if you want to compare it to results of the same film shot as photos and scanned on my usual film scanner for stills, you can find a few on my website http://www.filmcurl.com

This just arrived yesterday: :wub: Can't wait to shoot one or two of them soon. I can only know for sure after developing, but those films may be 5 years younger then the ones I have already. I checked one roll in my darkroom yesterday and it is neither sticky, nor does it smell like vinegar like the others sometimes did, no rust anywhere on the can, everything looks very much like "mint condition", just wow!

Haha nice, yeah it looks a bit funny!

Thanks a lot! :) I was mostly trying to get as much light in as I could for most of the shots, glad you liked them! By the way, I just remembered, the last two takes were shot at 8fps, that's why the tractor at the end moves rather quickly. I wonder if anyone noticed that so far? The sun was going down quite fast and I needed that extra exposure time that 8fps vs 24fps gave me. The rest is 24fps as mentioned.

Thank you! I am looking forward to my next vacation as I will for sure shoot some more of that film!

Thank you very much! I was first trying it with B&W chemistry, just to see if any of the films still give any usuable results at all. It was not clear how they were stored over the last 5 decades and when I opened one can, I noticed a distinctive smell of vinegar. Another one had parts of film layers stick to each other, so I did not expect much from it. But when the B&W shots came out really nicely, I started to think about color and to look for any way to get my hands on ECN-1 chemistry. But all I could find were some datasheets with some times and temperatures. I could not get more information on some parts mentioned there, like the developer for example, and couldn't find out how to mix that myself. So I just did the next best thing and used a normal C-41 kit but had to think about temperatures and times, as those films were not pre-hardened and at 38°C / 100F the emulsion would just wash off. So I checked with C-22 films that were used around that time and also found additional datasheets of the actual 7254 films and went for 20-22° C / 68F- 71F. Coming from the 3:15 mins of C-41 I extrapolated to 12 mins and that worked really well. Still I had to expose my photos for quite a long time, sometimes even more than a second, which ruled out using the films for motion. But then recently I was lucky to get a lot of light during vacations and just gave it a shot. I metered for ISO 1.5, shot at 24 fps with around 1/60s and fully opened at f1.9. That was just enough to get some of the results you saw above. I think it is still underexposed somewhat and of course hitting the focus correctly at a constant f1.9 was also not easy, but I am extremly happy having achieved both color and motion without the right chemistry and film that was made in 1972. By the way, I also already trying to get its predecessor 5251, but so far had no luck. If anyone knows someone or has such film still, please let me know.

As some of you know already, I have been experimenting with several rolls of Eastman Color Negative 7254 ECN-1 stock from 1973 and 1972. First I used it in a still camera and developed it as B&W as no chemicals for ECN-1 are available anymore, later I created an adapted process that actually gave me quite nice color results, one such photo was actually recently picked by a photo gallery in my home town Graz and is shown here for the next few months, you can also see it on filmcurl.com if you like. But all these photos still required quite long exposure times. Few months back I was finally able to shoot it in my Krasnogorsk at 24fps as a motion picture stock with only around 1/60s of exposure. Check out the few first test shots I developed some months back and had sent off for scanning: https://vimeo.com/301944378 More to follow soon when I get time for it!

Very interesting. I really have to develop some of it this week, didn't have time for it yet. Do you assume it will show more details on the edges after developing it or is what is printed on it now all there will be? Because then I might just look at the stock itself in my darkroom and look for any numbers like 5366 or such on it.

Being very interested in the technical side of things I always like to guess which films were used to shoot certain movies. Thanks to shotonwhat you can find a lot of answers, but this becomes even more interesting to me when it comes to the Beatles and their promos and movies, as I am both a huge fan of the band as well as really like the look of 1960s films. But generally there is almost no information available for this at all. Apple Corps released the Beatles 1 Blurays with all the promos of their songs some time back and I know that they went back to at least some prints, it is mentioned in some ads they released around the time. So I tried to contact anyone via the beatles.com website's email contact form, thinking someone could at least tell me who knows some details, but all that gave me was a reminder that I cannot get in contact with them like this. (Seems very odd, why have a contact form if it cannot be used to contact someone??) So here we go, second try: Does any one of you here have any ideas which companies or individuals were involved in that project? I would really love to find out some details like What films gauges were used? To my knowledge Strawberry Fields or Penny Lane was 35mm, whilst Something and all of the Let it Be movie was shot on 16mm Any idea which film stock was used on different shots? We found out some time ago on this forum that Let It Be was shot on Eastman Color Negative 7254, but what about some of the other promos? Did they ever go back to the original negatives, do they even still exist or did they just tried to find the best prints available and clean them up? I cannot be the only one interested in this :D so does any one have any ideas?

Haha, ok. So I will try B&W chemicals then. Thanks Simon!

OK, thank you! But that is a real pity, especially since I bought that can to get Color Negative!! I checked and 5302 is mentioned to be released around 1988, so do you really think it's that one? I wonder how that 1988 film would end up being wrapped up in a 1963 newspaper and a 1962-1968 can? I really doubt the seller tried to cheat, because all he ever mentioned was that the can is sealed (which was true). No-one mentioned what film was in it nor that there was any in it at all... Anyhow, so would you propose I'd rather develop test shots in B&W chemistry then? At least this way we'd see the actual edge codes. I mean, are you really sure it is NOT some strange color but actually B&W stock (no matter from what year)?

Ah, very interesting, Simon! See attached a picture of the film piece I cut off, for reference I put it on a perfectly white paper, so you can see the difference in color.

After having successfully developed 1972 and 1973 Eastman Color Negative 7254 (ECN-1!) at home over the last few months which I shot in my Krasnogorsk (developed even in color, with an adpated C-41 process!) I was able to find a can of 400ft of its predecessor, 5251. Both films are of course ECN-1 still and I bought them purely for experimentation and for the fun of finding out how much of an usable image I can get from these with different processes. The can of 5251 I just received today however really confuses me, maybe some of you already have some ideas, before I investigate it more myself. I did not shoot any and did not devlop anything yet (will do that on the weekend), but I opened the can in my darkroom and looked at the film with infrared goggles (I use these often, they do not even fog new and fast film, so definately won't affect ISO 50 film that I assume by now has around ISO 1 or less). Anyhow, the tape around the can did not look like Kodak originally put it there like that and sure enough, the film inside was wrapped in a sheet of a newspaper, haha. This one was from 1963, so maybe that's when this film was bought, in case I can develop it successfully, the edge codes will tell me more... The film looked really clean at least with the IR goggles, not sticky and did not smell. I cut off a short piece and looked at this in normal room light and here is what confuses me: It has negative sprocket holes as expected, but it is creme-white (instead of orange, or brown or black, or any other color I've ever seen on negatives in any stage) and also already shows edge printings that appear to either be feet numbers or any other codes used to indentify which machines made the strip in Kodak's factories. What is going on here? First I thought it might be the seller just sold me white leader film that turned creme-white over time, but wouldn't that have positive sprocket holes? Or this is a strip of an already developed negative, which is why I can see the edge codes already, but why would anyone put it back in the can and tape it? Then I thought maybe 5251 did not have any remjet yet and also no orange masks yet, which is why it is neither orange, brown, black or such. But how come I would already be able to read edge codes before developing anything?! And if it was just fogged a lot over time, shouldn't the negative be very dark, for sure not creme-white! I guess I have to eventually spool through more of the film in the dark and look for clues and also just shoot and develop it in a few days from now, but still this all seems very strange.

Just to let you guys know, there's a new video on the website, showing you how to do standalone time lapses. You can set the delay between frames in hours, minutes and seconds and chose how many frames to expose, then leave. Cine Assist takes care of everything itself, no PC or smart phone is needed.

For all of you interested in Cine Assist 1.2 I have added a FAQs section to my website. In case you want to learn more, just let me know!

Thank you! The modules I have sold so far were shipped exactly as shown here and on my website. I would like to eventually put them in custom-made boxes for sure, but still have to find a good offer to keep those costs down. Each module is based on a board I designed and all the other components I manually assemble myself too. Also the software and firmware both on the module as well as the PC and Android apps were developed by myself. Additional boards are on their way from the fab to me, by the end of this month more modules will be assembled and ready to ship.

I proudly present to you the new camera control module I built myself, Cine Assist 1.2 hoping that this could be interesting to some of you here, it already help me quite a bit! It was created mainly with Super-8 cameras with electrical remote sockets in mind, but can also be used on various other cameras as well. Once attached to your camera, the small board offers a new set of possibilities: Start, stop or delay your film recording automatically Remote control your camera with your smart phone Record independent but still synchronized live sound Autonomously output digital data onto film Filmmakers can use the module through 3 different interfaces Direct control with on-board switches, feedback on OLED display Bluetooth remote control with dedicated Cine Assist Android app PC control with the Cine Assist Windows application I have uploaded videos in English and German covering the features of Cine Assist on my website http://www.filmcurl.com so you can find much more details there, if you like.

It actually gave quite interesting results when used in a still camera, some even look really pretty, plus there was the challenge of getting any results at all, since this is still ECN-1 and no chemistry can be bought for this anymore. First some tests with black and white chemistry, then trichromy color with 3 color gels, then finally direct color in an adapted C-41 process at lower temperature and longer times. Besides "normal film use", it can be really fun to experiment with odd material. I got another 400ft of such a film and repsooled it into 100ft reels for my Krasnogorsk yesterday... :lol:

As shown in another thread I am currently experimenting with a 16mm negative from 1974. The can was quite rusty and hard to open but I managed it eventually and the first few pieces of the film I shot and developed looked and smelled fine and were not strange in any way. On later pieces I saw after developing and scanning that the film was yellow on the areas of the edges, I thought it might have been some sort of fogging... Then last week, when I cut off a piece in the darkroom, the negative was sticking together on its original roll, making a sound like removing sticky tap from plastic, but once taken from there it would not stick anymore. Besides that all still looked and smelled normal. Now the recent piece I cut off yesterday also had a slight vinegar smell, this is the first time I noticed it on this film, I wonder why the smell was not there a week earlier. I keep the film dry, cool and in the dark. Could it be that the negative only sticks together on the edges and the yellow I saw in the scans was fogging that happened when I peeled the negative from the reel and it was fogged by static discharge or such? I could at least not see any sudden light flashes in the darkroom whilst doing this. If the negative shows first symptoms of vinegar syndrom, will this also "infect" other films that I run through the same camera at a later point in time, or is it only dangerous to have other films close to the infected one?

Which chemistry kit are you using? I just used the normal Tetenal E6 kit in a Lomo tank and followed the times and temperatures exactly how specified in the Tetenal documents. See here, page 8 for example, to get the part of the English user manual: http://www.fotofachversand.at/pdf/Tetenal_Colortec_E6_Datenblatt_Anleitung.pdf

Nice, I like it. Which camera did you use?