Richard Tuohy

Hi Dan, for one thing the interpositive is intended to have the same gama as the original camera negative, whereas the regular projection positive will have a projection gama. That is a massive difference. Yes, you could make an internegative from a projection print, but it wouldn't be nearly as good (by a long shot) as an internegative made from two stages of intermediate film (interpos and interneg). cheers, richard

When I bought my sbm the lens that it came with had a light meter in it. All the functions of the meter are on the outside of the lens - including the meter scale. That meter can be used for auto exposure. The lens doens't have a normal aperture ring with f-stops. Rather, the aperture is set by the place of the needle in the light meter scale. To use the lens on manual you limit the range of the auto exposure to zero (which would only make sense if you knew the lens). I tend not to use that lens, but rather an old som-berthiot (spelling?) compact zoom. I do have a pentax to c-mount adapter which (when fitted to the bayonet adapter) means I can mount pentax lenses on my sbm, but I must say I don't think using 35mm still camera lenses and adapters is generally useful. The focus is all wrong when you do that due to the space that the adapter takes up. I wouldn't count on doing that at all. If you don't want to use the Vario-Swittar but rather want to use other bolex c-mount zooms, then the SBM with a bayonet adapter is great. If you want to use several different prime c-mount lenses, then buy a Rex 5 instead of an SBM. In my opinion the SBM has some nicer features over the REX 5 like the improved filter slide and the film door closer - but these are trivial compared to the question of whether you want to use the vario-swittar bayonet lens, or bayonet adapters and other c-mount lenses. I repeat, I really dont think you should consider using 35mm lenses a viable option. And without that, there is nothing wrong with c-mount lenses rather than the very limited range of bayonet lenses. richard

Hi Clark, the 518 is in a lot of respects all the camera one really needs. However you are talking about old equipment and it sounds like the light meter has drifted. Forgetting indoors for the time being (which isn't really possible without lights) does the 'f'-stop scale visable inside the viewfinder still respond to changes in light? For instance, if you point the camera at the sky, then point it at the ground, is there a significant change in the f-stop indicator? If yes, then your meter is still sensitive to light, but has drifted. If not, then your meter is completely broken. When reversal film is under exposed, colour defects seem to get enlarged. If shooting under tungsten lights, I'd expect a red tinge to be apparent on under exposed footage. But I suggest you don't worry about the red cast until you are able to get correct exposures with this camera. As for using a hand held meter - this is doable, but not straightforward. Read the info on my site about callibrating a meter to a super 8 camera: http://nanolab.com.au/bracketed.htm As for the filter key, the key should be insterted when filming under tungsten lights, and left out when filming in daylight. You could consider buying an external 85b filter for the camera, but then you would need to leave the filter key in all the time as well, or else you would be filtering twice. good luck - keep at it, and shoot a careful callibration test, richard

Actually that technique only works with cameras with ground glass viewing systems. Practically all super 8 cameras don't have a ground glass and rely on an aerial image. As such, you need to follow the steps I lay out on the following page: http://nanolab.com.au/focusing.htm cheers, richard

and further, the reflex viewfinder system costs the light path some light and the f-stop markings in the viewfinder don't take this loss in to account. Thus if you try and use a hand held meter with a super 8 camera the results will almost invariably be under exposed by a stop or two. Read my page on calibrating a light meter to a super 8 camera: http://nanolab.com.au/bracketed.htm

James that was a very decent thing to do! richard

My advice would be to shoot one roll only as a test. And make it reversal film as this will tell you a lot more than negative about what your camera is doing. As for the internal filter vs external filter, yes, the internal filter may have faded or be dirty etc.. Again, do a comparative test on your test roll. Here is a link to some other advice I have on shooting a test roll: http://nanolab.com.au/bracketed.htm richard

Yes, you can shoot on manual. But you have to shoot a test roll first - which is best done with reversal film and projected. You need to find out just how much light is lost by the viewfinder, and also the shutter speed of the camera. You can then work out a 'factor' for adjusting the asa of your stock that takes into account these two issues. Here is a link to my site where I discuss this more: http://nanolab.com.au/bracketed.htm cheers, richard

Yes, except that you need to make the first dev time in d19 8 minutes for Plus-x 7265 (new plus-x) if shot at 100asa. Old plus x , old tri-x and new plus-x shot at 50 asa can all be prcessed with new tri-x at at 6 min.

hi there, 30 seconds per film is too much. Here is what I do. I dissolve 1 x 1 galon bag of d19. I then divide the mixed developer into 2 bottles of 1/2 gallon each (1.8 litres each). This is the first and second developer. I process 2 films at a time in a lomo tank. The first tank gets 6 mins of first developer from the first developer bottle. The next use of the first developer bottle gets 6 min and 5 seconds. The third use gets 6.10, etc.. Actually I normally have a lot to process so I process the second tank using the developer in the second developer bottle (which as yet hasn't been used as a second developer) for the first developer of the second tank. This gets the same 6 minutes. Then, with the third tank, I use the dev in the first dev bottle again for 6 min and 5 seconds. In my opinion it is possible to process 6 tanks worth of 2 films each using a gallon of d19. The first developer gets used 5 times, whereas the second gets used 7 times (once as a first developer, then 6 times as a second developer). If you are using 1 litre quantites of d19 you can do the same (noting that you shouldn't use a developer that has been used as the second developer as a first developer). Add 5 seconds after every use. You will find this is adequate. cheers, richard

Right, so it reads all possible s8 cartriges up to 250t. That is fine. The auto/manual dial isn't the exposure compensation device I was refering too. There may still be one though. On my 674 it is located below the lens and is a coin or screwdriver operated control with '+' and '-' on it. Not to worry if you can't find it. When you get the zinc-air batteries that you will need, you might need to put a little ball of tin foil in the compartment with them to take up a bit of space. Also, if your camera is like the 674, the light meter stays on when there is film in the camera. So when you finish shooting, take the film out to save the batteries (this may not be so with yours, you can check to see that). There are tips on my web site about shooting super 8 you might like to read. cheers, richard

The Kodak kit pre-bath is pretty cheap too. Sure you get a lot, but it doesn't cost much. Usually if you dunk film in the kodak pre-bath, then are able to flush the film with running water the rem-jet will wash off easily. Anyway, what temperature did you have your prebath at? It would be more effective if it was at temperature (I'd use the e6 first developer temperature you are using). But you can easily remove the rem-jet after the processing. Yes, you will end up with some rem-jet in the chemistry. When I have cross processed ecnII films using e6 chemistry in a Lomo tank I do so as the final use of that batch of chemistry. Then, after processing, you can pretty easily scrub the remaining rem-jet off using a soft cloth. I have often done this by putting the rem-jet film in a bucket of warm wather, then slowly pull the film into a second bucket with the back of the film rubbing against a cloth as it goes. Can be a two person job. You can also do this after washing off the first developer and before going on with the rest of the process. You can do this in the light and it wont affect the film at all. This would save getting rem-jet in the rest of the chemistry. You can then filter the first developer by putting it through a very fine cloth. That works fine too, especially if you are talking about bucket processing and aren't after a hollywood result. As for cross processing ecnII film in e6, I found I got the best results by under rating (ie 'over' exposing) the ecnII film by 2 stops (ie 200t I rated at 50 asa) and then push processing the e6 process by 2 stops. This is necessary to get contrast out of the ultra low gamma ecnII films. It gives a nice golden hued result.

I have a chinon 674 from the early 1970s. This camera can take any possible super 8 stock. Further it has the very useful exposure compensation dial. This allows correction of drift in the light meter. More often than not I think Chinon cameras had such an exposure compensation thumb wheel. This means that even 40/160 chinons (which in my opinion would be later Chinon cameras, usually from the sound period) that have this dial can be easily adjusted for any super 8 asa. My bet is that the 672 you have is able to read any s8 stock. The limitation to 40/160 tended to come about later after 40 and 160 asa had really established themselves as the available speeds. But if you have the 'sound' version of the 672, then maybe not. but even then, if it has an exposure compensation thumbwheel (the '+/-' control) then it would still work on auto if set correctly. If you are able to take a picture of the inside of the film compartment (concentrating on the film gate end of the film chamber) then we might be able to see the film speed detector device and confirm some of this. You might be able to find it yourself ... Is there a little 'stair case' shaped device visible in there? (chinons of this period usually used the stair case shaped detector). If so, then it reads many or all speeds. cheers, richard

If you manage to buy one will, make sure you tune it before use. The space for the films needs to be 9 to 9.5 mm and even all the way around. To do this, shave the hubs with a chissel or pack them with plastic tape. email me if you want to discuss that. richard

Wanted for a good home is some kind of 16mm optical sound recorder. Needs to work, but doesn't need to be in show room condition. This home doesn't have a lot to spend i am afraid, but it would be well loved! richard

Hi there Ira, That tank looks like a morse G3 tank. Perhaps the russians made a copy. Was it indeed a LOMO brand tank? I have never come across a lomo rewind tank. Does it have the LOMO symbol on it? Anyway, I have never used rewind processing gear. I note you have also asked this question in the movieprocessing group. No doubt there are morse users there. Also trawl through all of Martin Baumgartens material accesible through the movieprocessing pages run by George Selinsky: http://www.geocities.com/gselinsky/ If you shoot your plus-x at 50 asa, then whatever times you hear for tri-x etc. in these tanks will be correct. sorry i can't help good luck with it richard

Sadly this isn't correct I am afraid (I hope its not too late for your processing). New plus-x 7265 is an anomoly among bw reversal films in this regard. Old Plus-X, Old Tri-X and new Tri-X (7266) reversal films can all be processed in d19 using a lomo tank with a first dev time of 6 min at 20 c. New plus-X reversal (7265) however which is rated at 100 asa requires a development time of about 8 minutes in d19 (that is what I use and would be a good starting point for you) if rated at 100 asa. If rated at 50 asa it can be processed the same as the other stocks. If you process it at 6 min (or your standard dev time for bw) it will be about 1 stop under exposed. I often recommend to my customers to rate the stock as 50 so that it can be processed with other bw reversal stocks without pushing in d19. Just why new plus-x is like this is unclear (at least to me). Processed in D94 (the old kodak recommended reversal developer for MP film) it also needs to be rated at 50 or pushed one stop. Processed in the new D94a it is rated as 100 and can be processed with the new tri-x. Curiously, old plus-x isn't affected by the change in developer/bleach from d94 to d94a. cheers, richard

Two more things to note. If the cartridge says Kodachrome 40 then it can be processed. If it says Kodachrome II then it can't be processed by Dwaynes (who are the last kodachrome processor). There is a lab in Canada that MIGHT get a black and white neg out of it. But if it doesn't have extra footage of some great event its not worth it. Further, you have to assume that the kodachrome is very old in there and might well just give you a clear strip of film when you develop it. At best you can expect a very thin and red image. Yes, as said above, you can take super 8 cartridges in and out of the camera. All you loose is about 6 frames of film. But the footage counter is reset whenever you open the film door. There will be a footage counter on the camera somewhere that counts up (or down) to (or from) 50. There is 50 feet of film in a super 8 cartridge. good luck with it. rt

I too think that is an appropriate warning, especially the bit about the sense of humour! There are of course super8ers who swear by hand held metering. I invariably recommend the internal meter however. I just wrote a page on my web site this subject: http://nanolab.com.au/bracketed.htm However, I also see a lot (a lot!) of dud results from people using Beaulieu camera's internal light meters. Maybe it is the result of the local beaulieu service agent ... not sure. Certainly I believe it is possible to get consistently correctly exposed reversal super 8 film using a hand held meter. It does however require a carefully bracketed test roll to calibrate the meter to the camera, as well as fair bit of practice and thought. But it is a good skill to acquire. The photographic principals aren't different with a super 8 camera. Its just that they apparently weren't designed around the idea of using a separate meter and so the particular transmission losses etc due to the non-mirrored reflex and internal light meter systems haven't been factored in to the camera's f-stop markings. Also the shutter opening angles aren't necessarily what the cine settings on a normal light meter will assume. Add to that the fact that most super 8 shooters shoot reversal film which itself is much less forgiving. cheers, rt

Hi Silver, loading cartridges yourself is probably best left to people who are already familiar with super 8. Super 8 film is readily available in cartridges. It is hard to recommend where you should buy it though without knowing which country you are in. cheers, richard

this isn't correct I am afraid. See the above posts. In a nut shell, the reflex system accounts for a 1/3rd stop loss of light. The 135 degree shutter accounts for another 1/3rd stop difference from the 180 degree shutter a normal hand held light meter will assume. Thus the correct compensation is 2/3rds of a stop. For example, a normal cine meter set to 24 fps will give readings based on a 48th of a second shutter speed. The 135 degree shutter means that such a reading will be 1/3rd wrong. A 60th of a second is closer to the actual shutter speed. But then the reflex viewfinder loss of an additional 1/3rd stop means that an effective shutter speed of 1/80th is required. This accounts for the 2/3rd difference between what a normal meter will read and what you should set the camera to. I find it better to compensate with the asa rather than the shutter speed. Thus with a 100 asa stock I set the light meter asa to 64. You are right in saying that with negative film it is better to err on the over exposed side. richard

Hi there, if you want to save money and time and other people's time on the shoot, it is imperative that you shoot a test roll of both stocks. Don't consider this an optional extra, but as an essential component of what you are doing. It will test the camera's meter function on both stocks (which is absolutely critical) as well as give you some idea of what kind of results you will be able to achieve. You will need to get some tungsten lights for shooting the 64t inside. Naturally, when using lights, you won't want to use the camera's internal 85 filter. With the bw the internal filter will probably be disengaged automatically. In any case, you won't need it. Except that it does offer a little bit of nd. My advice with the bw is to let the camera do its thing and see how it looks in the test roll. good luck richard

Hi Alex, there is a 'footage' conter low down on the eyepiece end of the camera (if I recall correctly). From memory it is in meters, so 15 meters = the full cartridge. As with all super 8 cameras, if you open the door of the camera part way through a roll, the footage counter is reset. There is also a transport indicator inside the lens that bobs up and down when you are filming. When the cartridge inside the camera is finished (ie fully shot) the transport indicator should stop ticking. It will tick with no film in the camera. I hope that helps. Enjoy your quarz. cheers, richard

This is indeed correct. When using a camera with a ground glass focusing screen, unless the distance or other optical components have been damaged or altered, anything in focus on the ground glass will be in focus on the film. Even if the eyepiece diopter is set wrong, this remains the case. And if the diopter is set wrong on such a camera, your eye is powerful enough to pull focus onto the ground glass anyway. Quite right, I mentioned collimatry with relation to the RX issue, but of course its nothing to do with that. Slip of the brain. Its a back focus issue. The RX lenses focus a different distance from the rear of their c-mount lens to other c-mount lenses simply because the bolex reflex system incorporates a prism to split in coming light to the viewfinder. This prism requires the different focus distance.