Daniel D. Teoli Jr.

Yes, you can buy time...by hiring hands, so to speak. Unless, hiring people won't help in what you are doing. You got lots of irons in the fire. Very impressive. Is all your parts biz for film cameras? Is it holding steady? i was thinking film camera biz would be declining.

Modern scanners sound very reliable. Thanks for the info. I had thought they had more issues with heavy use, since you had mentioned you pay thousands of $ per year for tech support. Tech support must be for imaging questions and not so much in the repair dept.

Are there any film archives that give out decent res material for free? When I say decent res, am looking for something that does not look too pixelated on big screen TV. <><><><> NYC 2016 (Red or orange filter ~ Kodak monochrome sensor.) D.D.Teoli Jr. Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Leni Riefenstahl 16mm...much of my life revolves around it. It is by far the largest part of my Archive, while being the least exploited media I have due to the expense of the scanning operation needed to benefit from it. So, it is a love-hate relationship with it. Without 16mm, a lot of our history would have been lost.

Nice! I like old print ads print and commercials. I have a small collection of TV commercials. AOL Lite software? You must mean AEO. What else are you scanning in Australia?

The Girl Most Likely Arcade Clip 1958 D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive You will also see a 'strength tester' machine aka 'electric shock for health' machine. Makers promoted them for different purposes, but they did the same thing. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Once in a while, vintage 16mm oil derrick films of L.A. and vicinity come up on eBay. But they are very $$. This was only a 300-footer and went for $1225. And only part of the 300 feet was oil well footage. (Guessing about 150 feet of oil wells.) One of the oil wells was in the middle of the street in West Hollywood!

They even had some in Beverly Hills... Source: rarehistoricalphotos.com Not anywhere as prolific as oil derricks. But L.A. and vicinity had lots of gasholders as well. Gasholder Clip The Big Combo 1955 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Didn't know that...Thanks! Forum won't let me upvote any more today. It put me on a diet. Many of the 35mm trailers are scope trailers. Unless vintage stuff.

Rocky Mountain Express - 70mm Imax Film Trailer | eBay Imax trailers seem to be in the $200-$400 range per trailer. Was reading about Perry's 70mm scanner he is building. I wondered what a trailer would cost in 70mm to run on it for development tests. I have a few 35mm trailers I bought, and they are not very expensive, generally speaking. Unless it is something rare. 35mm trailers can go as cheap as $1 + SH. Generally, they are $5 - $15. China breaks up IMAX trailers and sells each frame singly for $15 to $20 each!

Interesting project! If something is too big for you and you get a steal on it, hire a pro mover to fetch it for you. Good luck!

They said the parts were 50K Euros alone. There are some smart people out there. Too bad the scanner companies can't make a decent still film scanner for $1500 that does a better job than what they got now, which is only half-ass for res. They should at least make a flatbed scanner that could duplicate the old drum scanners in IQ. And with all those brains you would figure the person would do other things with their time than scan people's negs. I guess the same thing could be said about me. While I don't have the brains, at old age I've cut back on my still photo work due to health problems, to concentrate working on archival material done by other people. Well, at least he gets paid for it! https://www.photrio.com/forum/threads/scan-of-grain-texture-at-11000ppi.202522/ I didn't know what ppi was...so looked it up. PPI (Pixels Per Inch) refers display resolution, or, how many individual pixels are displayed in one inch of a digital image. DPI (Dots Per Inch) refers to printer resolution, or, the number of dots of ink on a printed image. I looked up dpi for printers and this is what I found... The maximum DPI of a printer is restricted by the hardware it's using. For instance, while inkjet printers can have a resolution ranging from 300 to 720 DPI, laser printers can go anywhere from 600 to 2,400 DPI. So, I wonder if those thousands of ppi the author claimed would be lost in the relatively low-res printers we got? <><><><> Successful Homemaking 1948 DDTJRAC Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

I always like these kinds of shots. This one looks somewhat easy to do, as it has a transition and is not seamless. I like the seamless transitions from in and out or out and in with no change of the scene. Spike Lee had one in Do the Right Thing. In and out of a window, from what I remember. They had a commercial a while back coming in and out of a sunroof in the car up in the sky. I like to rewind and rewind to see the transition to find the seam. The best ones are flawless and you can't tell. Done by real artists. Roscoe Dickerson did the one in Do the Right Thing. Digital makes it easier to do. Roscoe did it with film. Roscoe Dickersen ASC and wife

Arthur Edeson - The Lost World Casablanca Casablanca China Clipper The Conspirators Arthur Edeson October 24, 1891 – February 14, 1970 All photos from the internet / Fair Use Arthur Edeson's Film list: A Gentleman from Mississippi (1914) The Dollar Mark (1914) The Deep Purple (1915) Wildfire (1915) Hearts in Exile (1915) The Master Hand (1915) His Brother's Wife (1916) The Devil's Toy (1916) Miss Petticoats (1916) The Gilded Cage (1916) Bought and Paid For (1916) A Woman Alone (1917) A Square Deal (1917) The Social Leper (1917) The Page Mystery (1917) In Again, Out Again (1917) The Stolen Paradise (1917) The Price of Pride (1917) Wild and Woolly (1917) Souls Adrift (1917) Baby Mine (1917) Reaching for the Moon (1917) Nearly Married (1917) The Road Through the Dark (1918) Jack Spurlock, Prodigal (1918) The Savage Woman (1918) The Hushed Hour (1919) Cheating Cheaters (1919) The Better Wife (1919) For the Soul of Rafael (1920) Mid-Channel (1920) The Forbidden Woman (1920) The Three Musketeers (1921) Hush (1921) Good Women (1921) Robin Hood (1922) The Worldly Madonna (1922) Inez from Hollywood (1924) The Thief of Bagdad (1924) The Lost World (1925) Stella Dallas (1925) The Talker (1925) Her Sister from Paris (1925) One Way Street (1925) Waking Up the Town (1925) Just Another Blonde (1926) Partners Again (1926) Sweet Daddies (1926) The Bat (1926) Subway Sadie (1926) The Drop Kick (1927) McFadden's Flats (1927) The Patent Leather Kid (1927) The Gorilla (1927) In Old Arizona (1928) Me, Gangster 1928 A Thief in the Dark (1928) Romance of the Rio Grande (1929) The Cock-Eyed World (1929) Girls Gone Wild (1929) The Big Trail (1930) (70mm version) All Quiet on the Western Front (1930) Waterloo Bridge (1931) Always Goodbye (1931) La Piste des Geants (1931) Frankenstein (1931) The Man Who Came Back (1931) Doctors' Wives (1931) Those We Love (1932) Fast Companions (1932) The Impatient Maiden (1932) Strangers of the Evening (1932) The Last Mile (1932) Flesh (1932) The Old Dark House (1932) The Big Brain (1933) His Double Life (1933) The Constant Woman (1933) A Study in Scarlet (1933) The Life of Jimmy Dolan (1933) The Invisible Man (1933) Here Comes the Navy (1934) The Merry Frinks (1934) Palooka (1934) Mutiny on the Bounty (1935) While the Patient Slept (1935) Maybe it's Love (1935) Dinky (1935) Devil Dogs of the Air (1935) Gold Diggers of 1937 (1936) China Clipper (1936) Hot Money (1936) Satan Met a Lady (1936) The Golden Arrow (1936) Ceiling Zero (1936) They Won't Forget (1937) Mr. Dodd Takes the Air (1937) Submarine D-1 (1937) The Go Getter (1937) The Footloose Heiress (1937) The Kid Comes Back (1937) Racket Busters (1938) Swing Your Lady (1938) Mr. Chump (1938) Cowboy From Brooklyn (1938) Each Dawn I Die (1939) Kid Nightingale (1939) Secret Service of the Air (1939) Sweepstakes Winner (1939) Wings of the Navy (1939) Nancy Drew... Reporter (1939) No Place to Go (1939) Tugboat Annie Sails Again (1940) They Drive by Night (1940) Castle on the Hudson (1940) Lady with Red Hair (1940) The Maltese Falcon (1941) Kisses for Breakfast (1941) The Male Animal (1942) Casablanca (1942) Across the Pacific (1942) Thank Your Lucky Stars (1943) Shine On, Harvest Moon (1944) The Mask of Dimitrios (1944) The Conspirators (1944) The Time, the Place and the Girl (1946) Nobody Lives Forever (1946) Never Say Goodbye (1946) Three Strangers (1946) Two Guys from Milwaukee (1946) Stallion Road (1947) My Wild Irish Rose (1947) Two Guys From Texas (1948) The Fighting O'Flynn (1948) Source: Wikipedia I will be honoring Arthur Edeson, along with Mike Wallace throughout with my work for 2024. Mike Wallace May 9, 1918 – April 7, 2012 DDTJRAC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Chautauqua in Arkansas, 1919 Photo: LOC The Chautauqua Movement grew out of the Chautauqua Literary and Scientific Circle. As its members and graduates spread the ‘chautauqua’ idea, many towns, especially in rural areas where opportunities for secondary education were limited, established “chautauquas.” Chautauquas had a degree of cachet and became shorthand for an organized gathering intended to introduce people to the new, great ideas and issues of public concern. “Independent assemblies,” those with permanent buildings and staff could be found throughout the U.S. by 1900, but were mainly concentrated in the Midwest. After 1900, the “circuit chautauqua” became the principle expression of the movement. At the height of the Chautauqua Movement, around 1915, some 12,000 communities had hosted a chautauqua. Many of the lecturers and performers were contracted by chautauqua agencies, the most notable of which was the Redpath Agency in Iowa. The quality of the offerings varied from Vassar-educated lecturers and Shakespeare to animal acts and vaudeville farce. The Chautauqua movement nearly died in the mid-1930s. Most historians cite the rise of car culture, radio, and movies as the causes, but there were several other important yet subtle reasons for the decline. One reason was the sharp increase in fundamentalism and evangelical Christianity in the 1920s; the bland, non-denominationalism exhibited at most chautauquas couldn’t accommodate these impulses. Many small independent chautauquas, however, became essentially camp meetings or church camps. Another seemingly contradictory influence was the rise of the liberated, educated woman. Chautauquas functioned for many lower- and middle-class women much as elite women’s colleges did for upper-class women. They were training grounds from which women could launch “real” careers. When professional and educational opportunities increased, women’s interest in chautauquas dwindled. Finally, the Depression itself made chautauquas economically impossible for organizers and audiences. Today, chautauquas are experiencing a small renaissance. People are discovering that lifelong learning is one of the keys to living a happy, fulfilling life. Throughout North America, existing chautauquas are thriving and ones from the past are being resurrected. Source: www.chautauqua.com <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Not a movie talked about much. Miracle Mile 1988 brings you back to L.A.'s Wilshire / Fairfax district 35 years ago. Miracle Mile Movie Trailer 1988 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive The old May Co. is now the home of the Academy Museum. Internet Photo - Fair Use Here are some old photos from the Miracle Mile Water and Power Associates

That is your best bet...test. See theory in practice. Share your tests with us when you get them done.

You probably will do better by adding a photo.

Ummmm...that is nice! Is that the original film or your copy? Very pristine, looks new. Do you do any scanning in your dept Frank or are you all film? If you do scans, what type of scanner do you operate? What sort of material do you have on Bay State Film? Looks like you can find out as much about them as can be found out about Cine Art aka Hollywood Film aka Hollywood Featurette...very little on Google. Do you know anything about Cine Art, Frank...that is my pet interest. Cine Art produced lots of shorts in the 20's - 40s. Cine Art film - NSFW Tons of stuff on Houdini at eBay. Good luck!

The Acting Genius of Maggie Smith - Clip From 'The Prime Of Miss Jean Brodie' 1969 D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive 4 actors in the scene. Everyone acting their part to perfection. The amount of work needed to edit an actual feature film, on film, as opposed to digital must be mind boggling. I cut up lots of other people's films and have to go back and forth to split second the edits for comparison...but it is all digital. I can't imagine the work needed to go back and forth with one edit compared to another when doing film. I did some actual film editing in Jr. College at LACC back in the day. Didn't particularly like it. And now that I got old, too much concentration irritates my stomach ulcer. In any case, I do lots of basic edits now, so making up for all that lost time doing film edits. Edits, acting, along with camerawork, make or break the film. But just having the best equipment won't guarantee the best result. Talent is the key! ...an archer is known for their aim and not their arrows. <><><><> Cine' Kodak 1931 DDTJRAC Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Before magnetic tape, they used magnetic wire. $295 was a lot of $ back then. I just scanned some projector sales literature from the 1950's. Some of the projectors were very pricey. DDTJRAC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Interesting...Thanks!

Baia ad 1948 - DDTJRAC Perry had made a film trimmer something like this to cut custom size leader. His was just more robust than the Baia. Look at that crazy fade attachment! Don't know how it worked, but came with a cable release. Been finishing up scanning gloss catalogs / paperwork. Still have about 10 inches to go. Will start on matte black ink soon. They have to be flatbed scanned by hand or the matte back ink fouls the sheet fed rollers and everything gets ruined. So far, this year have scanned 20 + linear feet of paper. I still tons more to scan, but it still was a big help with freeing up a little floor space. When you have no space for shelving...the floor is your shelving. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

They used to just bang that stuff out. They didn't think anything of it. Those are the witness marks on the lab head to show it has been run though the various color dyes. The lab tail had the same. Yes, Bob Pace and Frank Tartaro, in NYC were some of the last of their generation of dye transfer printers. Pace used to print for Irving Penn when he had a lab in NYC. Lots of interesting printing material from back then. This is a Kodachrome print. It was an early 'Type R' material for direct from slides print. It was plastic coated like a Cibachrome print. DDTJRAC I think most of you would have been happy if Kodak still made 16mm Kodachrome for cine' shooting. I've got some old 16mm Kodachrome from the early 1940's that still looks good. Even some from the late 1930's. The earlier Kodachrome had fade issues until they changed the formula. Kodachrome was gorgeous stuff! Kodachrome 35mm slide 1950s - DDTJRAC The dyes Kodak used for dye transfer were also improved over the years. I had tested Kodak dyes for light stability from the 50's 60's 70's and 80's. I had asked the dye transfer forum at Yahoo for scrap samples of work prints from the latter dyes in the 1990s to test, but never got any help. Kodak stopped making dye transfer material in 1994. Dye Transfer print 1950's - 6 months of sun DDTJRAC 1980's vintage dyes Kodak used were pretty good. Almost as good a lower end inkjet print. But not as good as an archival pigment inkjet print. I also tested carbro prints for fade resistance in the sun. They seem very good, but can't find the test samples. When I closed down and moved the storage locker, lots of stuff got lost. I don't want to test the carbro prints again. They are $$ if you can even find some and hate cutting them up. Well, if you can't reproduce Technicolor, use some Technicolor films in your film projects. Work them in some how to keep the process known. Like have a person into film running some Technicolor shorts on a pair of rewinds and show some of it. Cinecolor is another process they used, mainly of cartoons of their day. tons of processes that have evolved. That is what I'd do. Just like textured 3D roofs...most everyone in the know of how Technicolor worked, is in the graveyard...or near to it. A photo forum was trying to recreate the early autochrome process. They couldn't do it. Lots of history has been lost.

Keep at it, you will find some. England has lots of film collectors selling stuff on eBay. I would love to buy some of the 16mm from England, but shipping generally kills it. Same with Canada...crazy shipping. They have interesting titles we don't see here in the USA.