Daniel D. Teoli Jr.

Throughout the year I back up periodically to DVD or Blu-Ray optical disc. In January of the new year, I back up the previous year's material to DVD M-Disc or Blu-Ray M-Disc. If it is digital and important...put it on M-Disc. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. Social Documentary Photography

Shot in 3-Strip Dye Transfer Technicolor 'Annie Get Your Gun' Clip 1950 There's No Business Like Show Business D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Judy Garland was to be the original Annie Oakley and started to shoot the part in Annie Get Your Gun on April 4, 1949. She was fired from the film on May 10, 1949 and replaced with Betty Hutton. Garland was abruptly fired from playing Annie Oakley in the MGM production of “Annie Get Your Gun” for excessive tardiness, overweight, drunkenness, and “instability.” The day Judy Garland’s star burned out | PBS NewsHour <><><><> 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've got a few of them...in the film Archive. But they are not Hollywood productions. They are 16mm reels on how to shoot film or make movies. Some of them are how filmmaking was done for the nightly news. Others are on editing. I will have to find them to get the names. I've only been able to inventory about 55% of the film Archive so far. I still have maybe 1,600 reels to do. Here is one I have to scan called 'Constructing Reality...A Film on Filmmaking.' When / if I evet get a scanner, I will put it and the others online. eBay photos I also like films about projection...anything about filmmaking from back in the day interests me. I had 3+ feet of old American Cinematographer mags. Sadly, most of them got rained on from a leaky roof in the storage unit and were ruined. I was able to save a few inches of them, but I have not scanned as yet. There was lots of interesting time capsule film related material in them. Maybe 1970s or 1980s vintage. Too bad. Facts About Projection D. D. Teoli Jr. : D.D. Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Murder On The Screen D. D. Teoli Jr. : D.D. Teoli Jr. : Free Download, Borrow, and Streaming : Internet Archive How Motion Pictures Move And Talk D. D. Teoli Jr. : D.D. Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Facts About Film D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive Threading The RCA Projector D. D. Teoli Jr. : Free Download, Borrow, and Streaming : Internet Archive I didn't scan these. I bought them all on a DVD for $6 from a film collector and broke them down. My favorite way to acquire historical material is high quality scans for cheap. But I seldom find anything like that. In my case I usually have to buy the material and make the scans myself. In any case, these projection films are very hard to get and pricey if they do come up for sale. So, I am happy with low-res...instead of no-res. <><><>> 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

Nope, nothing. I used to be the family photog. Maybe starting at 8 or 9, taking photos at Christmas and holidays. That is what eventually got me interested in photography. We had flashbulbs then flashcubes on the old brownie back then. When I was maybe 14 a friend sold me a beat up (probably) stolen Minox spy camera for $12. I took some photos with it and was shocked to find out how $ it was to develop and print. So, I got into photo developing to try and save money. Then I moved up to a 35mm Kodak Retina I bought in a pawn shop. Over the years from various moves and storage lockers a lot of the early photos were lost. But if I find some, I will send a few in. Here is an early one I shot when I was 17 and just getting into photography more seriously. Los Angeles Diner 1971 Photo by Daniel D. Teoli Jr.

Greta Garbo I don't have firsthand knowledge about this photo, but I'm guessing it was a carbro print. Carbro prints were used before they came up with the dye transfer process. Carbro prints were similar to dye transfer prints in the fact that they both used color separation transfers in registration to form the final full color image. Source: Internet / Fair Use <><><><> 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

Have had Energizers and Duracell both leak. Lots of leaks, many new batteries just in storage. When I was young batteries leaked all the time. Then for decades they perfected batteries and they seldom if ever leaked. Now leaks are back all over the place. Looks like they need to reinvent the wheel. What about you...any leaks?

"Sadly, most clients can't afford a full scene to scene/shot by shot restoration." What are the costs for full restorations? Are you talking frame by frame? Or do these software packages fix most problems without going frame by frame?

Interesting to see your setup once it is cleaned up...or not. Good to archive the process...warts and all. What is PTFE? | AFT Fluorotec ...had to look it up

The forum put me on a diet and said I am too liberal with the likes. So, no more likes for today! Are these programs intuitive to use or do they need lots of training? Too bad you have to rent them each month. Filmworkz Phoenix Brochure D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Filmworkz Nucoda Brochure D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive

Yep, same thing as you. But not using Resolve. I'm using Movavi. I can do short clips with the stabilizer, but that is about it. And the finished stabilized product does not seem that good anyway with that software. Guess we need higher firepower!

Beautiful! What did you use for color restoration. That is impressive. Would Lasergraphics auto restore for faded film do as good or has it to be done my hand?

Very interesting work. You are quite an engineer. What liquid do the big boys use for wet gates? Does it have any negative effects on film? (Just getting back to the thread, so it may be answered later on.) In the old days we used a formalin (formaldehyde) stabilizer as the last dip with color prints. I'd sometimes skip it for test prints. Later on, when looking at some old tests prints, I saw they had faded badly. Looks like the formalin dip made a big difference. I wonder if all this wet gate chemicals will affect film longevity down the road.

Thanks for the rundown Tyler! Did BMD lose interest in their scanners? Their price point is good. Couldn't they just upgrade the imager or is the whole machine a mess? Impressive work you did to get the scan on that film. Was the sound done with the Film Fabriek optical reader? I remember you said it had problems with sound.

70mm Neumade Tape Splicer ~ Model 70-SS - BRAND NEW! | eBay The seller has a wide range of film related items for sale.

Any news or interesting developments with the film scanning industry for 2024? <><><><> Gunsmith Of Williamsburg (1969) VHS D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Fascinating film on how a flintlock rifle was made back in the Colonial days. 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

Photo: Solomon D. Butcher via L.O.C. Back in the day, if a gal didn't have a broom or it got worn out, she had to make one or have hubby make one or buy a new one in town. It was her job to keep the house clean and she had to do it with whatever tools she had. Once a tool becomes worn out it is not efficient to use, it wastes time and energy. Sometimes hubby was off trapping for months on end and a drive to town was a major undertaking only done a few times a year or less for those in the wilderness. It was up to her a lot of the time to make do with what she had at hand. So, when she got a new broom or apron it was a big deal, versus having to make one. And getting a newfangled stove was like hitting the jackpot, compared to cooking over the hot fireplace in the summer. A stove made it easier to bake bread rather than using a Dutch oven in the fireplace. (Dutch oven = cast iron pot with lid.) And she would have to bake bread almost daily. The rich families had 2 stoves. One for winter cooking indoors and one for outdoors summer cooking. They could even have a separate summer kitchen building. If not rich, the stove would be moved outdoors for summer cooking. That is where the phrase 'Pa stoved his back' came from. Pa would hurt his back moving the heavy cast iron stove outdoors. Before washing machines, I've read a woman could spend 6 hours with her hands in the wash water doing clothes by hand when it was wash day. So, it was a most welcome present getting a washing machine for a Christmas. Nowadays, the gals would be pissed if they got a broom or washing machine for a Christmas present...but not in the old days! We take a lot of things from granted now. When electric lights first started to replace gas lights, electric wall sockets were not widespread as yet. Maytag was one of the early washing machine makers. Thor was said to be the first commercial electric washer sold in the USA. You could even power some machines with a water motor. Ads from 1909 - 1917 Daniel D. Teoli Jr. Advertising 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

Thanks for the history. I was corresponding with a fellow that worked there. Then he went silent. But I got some more history from him about the Borrowdale Company. I have to organize it and put it with the photo at the Internet Archive. Some of the email correspondence... I worked at the Borrowdale company on and off for close to twenty years. The entire camera was built pretty much from scratch and then delivered to the customer. The camera in your pic although large was far from being the largest. Forty feet long and over 2 tones was not unusual. Through the years I’ve been tossing things. Even recently. All I have left are 2 very large lenses That Stan told me I could have. I use them as book endxs. I’ll look a bit but I don’t think I have anything left. I can lead you towards someone who may have more information. The company was run by the mother and father along with their three sons and one daughter and the daughters husband. The daughters husbands name was Stan Pentecost. They had a daughter named Linda. She married and her name is now Linda Coyne. https://www.spokeo.com/Linda-Coyne/Illinois/Homer-Glen/p2015021510161137832148309453272 She may have pamphlets and other material related to Borrowdale cameras. If you have any questions about the cameras that were built by Borrowdale I’d be happy to answer them if I can. Yep that’s an old camera. Bob Borrowdale in the pic. Second back is for enlargements. Had a roll down Mylar curtain to hold different size films. I installed that camera in Alberta. Borrowdale went on to make microcircuit cameras also. Their last cameras made were vertical cameras that were for color film. Manufacturing plant was at 340 W 83rd St, Chicago, IL 60620. From what I remember installation was not included in the price. Delivery of all cameras was done by Borrowdale employee’s. Borrowdale had their own tractor trailer truck. Some printing companies didn’t have docks which would add to the installation cost. Often the equipment would be installed several floors up. Center and side rails would be attached to the bottom of the elevator brought up to a higher floor then slowly lowered while pulling the rail in. Once the rail got past the center weight point the elevator would be stopped till the rail was completely pulled in. Several times riggers would be hired to bring the equipment through the windows of high rise buildings. Block off the streets in a major city like New York. An old camera like what is seen in the picture could be set up in a room in about 4 days by 2 people. Then carpenters would come in and build a wall between the front and back of the camera (C) leaving about 6 inches of empty space between the camera and wall. This open space was covered with black cloth. This allowed the camera to move while squaring it up and not have any vibrations from the wall. Squaring the camera was an important part. What is not seen in the picture is a second door that had a piece of frosted glass that had clear spots going horizontally and vertical. Its these clear spots where you would put your loop to check focus. So with the vacuum door open and the glass door closed you would use a 5 foot long aluminum round pole with a dial indicator on one side and the other end round to check if the planes were all parallel. Glass door to Lense plate. Lense plate to glass that copy is at. Glass door to back vacuum plate. This would all b done after the rails had been leveled. Leveling and squaring 1 day. Then its time to take pictures to check size. If you look closely at the sides of the rails there are strips of stainless steel that had been previously marked at the shop where 100%, 200% and other sizes would be. On the side where the copy is held there are several strips for each lens. Also on the side where the copy is held, at the very bottom of the rail if you look hard you’ll see several small one inch blocks of steal that have grooves in them. When a percentage has been verified by taking a shot and measuring this block would be positioned and each time the camera operator wanted that percentage he would move the camera to the block and engage a small plunger that would hold it in place. Not seen are two 1/8 inch airline cable that goes from the back of the camera to the center rear case. To move the camera parts on the rails the operator would turn these round disks that are connected to the cables. The cables do not move. I do not know what A was used for. If you have any paperwork about the camera it may say what its for. B & C. Open the glass door that can not be seen and open the vacuum door that is shut and shoot to the larger vacuum back. Enlargement. In this particular case they took a vacuum back like the one seen closed on the rear case (C) and put it onto a piece of ground flat aluminum (48x72). You can see where they’ve run hose to supply vacuum to these lower slots that have been added to the ground plate. Where the operators hand is at in this picture there are a serries of levers that are associated with what different size film you would use. On this extension back you can see the airplane cable that goes down to the turning handle. The cable does not move. There is a serries of pullies that are attached to the handle. Also seen is the plunger that would be used to relocate and lock in enlargements that have previously been established. Yes D was used for halftone screen. I believe the control (E) is where the mylar curtain would be. Used to hold film that didn’t match the vacuum slits that were put into the vacuum back. F was light and shutter timer. At G was a vacuum gauge to show when the copy board was pulled into place against the front piece of glass. Just above the letter G was the handle that was turned to move the copy board. To load copy the glass is moved to a 45 degrees and then opened. Copy is loaded, the frame that holds the front glass is then closed, vacuum turned on and the ass is brought to a vertical position. What can’t be seen here is on the backside there is often a frame to hold glass, possible a glass negative on the other side. To use the other side, the copy board is opened and the vacuum blanket is removed where a white piece of plexiglass could be seen. Close the copy board and rotate it around. 180 degrees. Put your glass into the adjustable frame that is always connected to the backside of the copy board, close the black curtain so only the size of the glass is showing and then set up the lights to shine from the back. In the picture the lights are set at the back. This only for the pamphlet. The copy in the picture is not for rear lighting. In real use the lights would be swung around front. Also, with the vacuum blanket removed you could put a negative onto the white plexiglass and shoot from behind. Hmm, wonder if that makes sense? Lighting was done by pulse xenon lamps. I’ll move forward on the camera with more information. But before I do it should be noted that the entire structure that is up in the air is being supported by the rear leg assembly. The entire camera sits on this. It is not bolted to the rear leg. It just sits on it. If that rear leg were hit the entire assembly would fall. Their reasoning for this was that it allowed the camera rails to move (bend) and by not being bolted it would help with the copy board staying square to everything else. The Borrowdale plant had a complete machine shop where all the parts were made. The rear case (C), vacuum backs and some other parts were made of cast aluminum and were forged elsewhere. Everything else was made in house except electrical parts, bearings, shutters, and other parts that were readably available. The camera was made, assembled, tested, painted all within the plant. Their were several other companies making graphic arts cameras. None of them were as beefy as Borrowdale’s. As time went on the others they found ways to make their cameras much lighter in weight. As an example light gauge sheet metal instead of 1/8 inch aluminum. On the vacuum backs Borrowdale mounted a 3/8 aluminum plate that had been slotted to match film sizes. It was then machine flat. Other manufacturers mounted perforated sheet metal over their vacuum backs that had been machined flat. As with ours there were channels in the vacuum backs that matched film sizes. Although lighter, long term durability, accuracy and repeatability sometimes came into play. Motor drives were an upgrade for the camera. Instead of hand cranks and metal tapes on the side of the camera 1 inch ball screw was used. The cable and hand cranks were not put on and instead the lens board and copy board each had their own screw. On one end of the screw a encoder was mounted and on the other end of the screw a pulley and motor were mounted. A digital display was used to read the information from the encoder. Shots were taken to establish a couple of sizes and the rest of the sizes were then established using this information. Limit switches were mounted accordingly so you couldn’t run the copy board and lens into each other. Other limit switches were added for home positions of the lens board and copy board. This allowed for accurate sizing besides the customary 100%, 200% enlargements. If you needed 225% enlargement you could do it with one shot and know you would be focused and sized correctly. Brian

Daniel, matching diffusion from lens to lens is tricky. It does not depend on debates; it depends on tests. You don't shoot a project on speculation; you shoot it on facts. You get the facts by testing. In the USA we got B+H. It is a simple matter to buy all sorts of diffusion filters to see what work for the project before shooting it and return the unneeded filters. Do you have such a source in Germany, where you can try different options? Good luck! <><><><> Cine'- Kodak 1941 DDTJRAC ~ Eastman Kodak Archives 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

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You got any Coronet or Encyclopedia Britannica films? If I can use them, I'd gladly pay media mail and packing. You can sell rewinds on eBay. They bring pretty good $$.

DDTJRAC - Click to View <><><><> 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

Here...this is a good example of throwing the exposure rules out the window for some projects. A film by Clara Law...The Goddess of 1967 (2000) 'Goddess Of 1967' (2000) Dance Clip D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Highlights blown and shadow details lost, but still fantastic! And maybe even more fantastic because of the exposure.

Burned out / no shadow detail depends on the subject matter. The image has the final say, not the clipping bars. That being said, try to get as much detail as you can in the raw image and finalize it in post. Some scenes with a huge dynamic range are near impossible to get no clipping. <><><><> Found photo. Steve Wozniak, John Sculley & Steve Jobs DDTJRAC - Vintage Computer 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

'Biloxi Blues' Christopher Walken Matthew Broderick 1988 Clip D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive Chrisopher Walken plays a drunk sergeant threatening to shoot Matthew Broderick. <><><><> 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

National Bellas Hess Archive 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