Richard Tuohy

I assume you are going for a 'cheap as chips' film? Good for you. I would be very interested to know if this film still processes o.k. Mag stripe was discontinued long ago. I too however purchased 4000' of VN print film (7399) because it was cheap!

Any way, I'm not sure I follow what you want to do. I certainly think you can put striped film through a non sound recording camera as though it wasn't there. I will say that the mag stripe is ONLY relevant if you either intend to project camera original with a sound mix recorded on the stripe, or you intend to shoot with single system (ie direct onto film) live sound. You say you don't want to do the latter so the only sense in which the stripe is relevant is if you want to project the camera original with mixed sound post recorded onto the stripe. Projecting edited camera original has the same look more or less to projecting a work print -except that you have taken a lot more care not to scratch the film! Given a 'cheap as chips' film, I think that you will have no serious (even no noticable) problem with recording a mixed soundtrack onto spliced camera original. The only issue is covering the track with tape. You can project a work print that is only single sided spliced. A normal tape splicer only splices one side at a time. I don't know what other people do, but I double side spliced my work prints only right at the end when it was all confirmed. If you are using a normal CIR roll tape splicer, splicing one side will leave the other side (with the stripe) free - only, I can't remember whether the stripe was on the emulsion side or the back). In either case, it could quite well be possible to tape only the non-stripe side. Further, I see no inherent difficulty if you want to double side splice in covering the track with the tape, and then cutting a small strip of the tape off with a scalple to reveal the magnetic stripe. That's what I would do!

Richard

If

Hello all,

I am at my wit's end with processing FOMA R100 B/W reversal. I can process severl other B/W stocks quite adequately, but Foma seems to always produce a very odd washed out and 'solarised' effect, a little like there is a step in the characteristic curve of the stock - blacks and dark greys working out, then a jump to light greys ...

I have tried everything I can think of or that others have suggested. The frame lines and film edges come out a nice dark black so I think I can say that the film is not foged or otherwise damaged, and that the reexposure and the second development are working fine.

I know this stock has a strong anti-hallation layer (the reason it cannot be processed as a neg) and that it is a silver rich stock. As far as I can tell the issue must have something to do with one of these.

I have tried long rinse times, long bleach times ...

Could my problem be the effect of the film being x-rayed in transit to Australia ... I don't know what xray exposure would look like ... but I assume it would be an all over foging. Any one know the effect on reversal stocks?

Could my problem be to do with something in the water I use ... something that affects FOMA but not Kodak or Kahl (ORWO)?

I have a quantity of this stock in my fridge, I am desparate to find an answer.

Can anyone help?

Regards,

Richard T.

Thank you all.

Yes, real problem is that my fingers are too large, and that I need to thread in total darkness sometimes because I spool down from long lengths.

In any case... I shall 1. Curve the end, 2.fold over about an inch, and 3. Use my index finger as a guide (I can insert my finger sideways into the spool) 4. get my small handed assistant to do it!

Regards,

Richard

Anyone know an easy way of threading daylight spools? Maybe my fingers are just too big! Especially a problem in a change bag. Any tricks?

Richard

Hello all,

I am interested in trying cross processing of some 7240 VNF-1 reversal. In part I want to try this because there is no colour reversal lab in Australia and I have some stock. But I also have an idea for a film for a flower-festival in my town. I would like to intercut some positive and neg footage of colourful flowers, preferably such that it becomes increasingly abstract whether the footage is pos or neg.

7240 is a projection contrast stock, so I will get I presume a projection contrast colour neg without the orange base of ordinary neg. Is this so?

Further, should I shoot at 1/2 the asa rating (say shoot at 60 asa) for cross processing?

Further, (and for a different project) what would a print look like? I assume printed on normal (high gamma) print stock I would get a very contrasty efect?

And what about telecined?

Any advice would be welcome.

Richard

I am looking for a working elmo trimatic c300 camera. I only need the body - I don't mind what back it has.

Hello,

I was under the impression that VNF stocks were all inherently low contrast to facilitate telecine. Now I'm not so sure. I know that VNF-1 is a slightly different process (though similar) to E-6, but what is the practical difference to the finished processed film? Are VNF stock projectable?

Hello,

I have two Bolex cameras. Both don't work! With one, the top (supply) spindle is too stiff to turn freely when the film advances - and thus the top loop collapses.

With the other (a better camera) the bottom (take up) spindle 'drives' (ie rotates) only slugishly and intermitently when the camera is operating - and thus the film ends up in a jamed unspooled mess. Are these lubrication issues? Please help.

Regards,

Richard T.

(Australia)

Recently purchased 10 rolls of quarz chrome super8 from the wide screen centre in london. I have just processed one in my Lomo tank (D-19 developer). Very Very poor results. Virtually no image. No blacks (or even greys or even pale greys). Frame line and edges washed out. Is this fogging due to age? The expiary was 1992! There was also a delay of a few months between exposure and developing. Could this be an issue?

Richard T.

With regards colour temp filter for the R10, to disengage the internal filter you need to slide something into the slot on the top of the camera. I use a cut up piece of a CD. There is also a button inside the camera compartment that can automatically do this if the cartridge is not notched (the filter notch is below the film opening on the cartridge).

Richard T.

Thanks for that John,

I see. I realised it was not panchromatic, but that explains why no asa! I will have to do tests.

R.P.T.

G'day,

I want to try some experiments with using Kodak's BW print stock (7302) as a high contrast (and very slow!) camera stock. I have heard ASA ratings from 3 to 12. Actually, one thing I want to do is cross process the stock as a reversal which would efectively double the asa. Kodak don't seem to have the asa of this stock listed on their web site.

Anyone help?

Richard T.

Hi there,

D94a I believe is usually mixed up from component powders. It is possible that it is supplied in the Kodak reversal processing kit - but that would be a more expensive way of doing things. Personally, I use D-19 which is available in a 600g bag from Kodak. This is a good contrasty developer (which is what you need for B/W reversal). Have a look at 'movieprocessing' - a yahoo group (start at 'yahoo.com' and then search for 'movieprocessing'. There are links there to great home processing websites.

As for other equipment, a small digital scale (very cheap) is very useful. Also thermometers and mesuring jugs. Also you need a drying rack for your film - make one, or use a clothes rack!

As for VNF - this stock is NOT e6. The proper VNF-1 chemical are only available in large volume. It can be processed in a modified e6 process. Martin Baumgarten is the person to search for for info about this. He has posted lots of first class home processing material.

Regards,

Richard T. (Australia)

Ultimately David I aggree with you. I have always really had an Ansel Adams attitude to exposure, developer, thermometers and room temperature and the inclination of ones head, etc.. I have the privelege of being in a small town that still has a community film group which provides a great context for having my own films screened. The town love us which is really nice. I want to keep this group going as long as possible. The group is varied, however, and comprises a lot of non-photographically minded people. Thats why I am looking for a solution to this post k-40 exposure issue. By and large, however, most of the other people in the group won't notice a slight increase in exposure. Its not what they are about. Since I order and buy the stock for the group, however, I would prefer if I could supply something to them that I felt suited what they were doing. But oh well. Another factor here in Australia is that currently there is no E-6 laboratory for movie film lengths. We are used to posting stuff o.s., but we are also used to not paying for the postage! (it being pre-paid with kodachrome) Again, Oh well. I am thinking of home processing the 64t for the group if necessary. At least then I can under develop as required if people's stock needs to be pulled to 40asa. Anyway, I thank you for your response.

Ricahrd T.

Anyway, wasn't E-160T obsoleted a few years ago and replaced by E-125T? The problem already existed.

Well yes and no. While E-160 went a few years ago, there was still a colour stock that such cameras could use - ie. k-40.

I don't think it's reasonable that Kodak only release Super-8 stocks that can be read by the most basic cameras that only expose correctly for 40 and 160 ASA stocks.

Yes, fair enough, neither do I. BUT there is a difference between ONLY releasing stocks that certain cameras (some quite sophisticated, but failing in at least this respect) and having available ANY stocks that such cameras can use.

It needs to be remembered that being able to use an internal automatic light meter is a useful option for many experimental film makers.

G'day,

Kodak's new 64T presents a problem for non-smpte cameras - ie. cameras with internal light meters that do not respond to the full range of asa notches on super8 cartridges. Unfortunately recently I supplied 6 such cameras (very nice Bauer 107-xl cameras) to people in the super8 group in my town. This camera only has two settings for film asa - 40/25 and 160/100 (at least from memory it is 160/100 - is this true?).

Well the pro8mm 100D stock may provide an answer... or does it? The 160/100 setting is 160asa tungsten without internal filter, 100asa daylight with internal filter. If the 100D stock was used outside (in daylight) but with the camera filter out - ie in the tungsten position - how would the internal light meter respond? Remembering that these cameras have only two asa settings, not four, is it the case that these settings are actually 40 and 160 and only nominaly 25 and 100 when you take into account the loss of light from the internal filter? If so, and I think it is so, then 100D does not solve my problem - with the internal filter out, the light meter would be set to expose the 100D film at 160asa. Am I right in this?

Regards,

Richard T.

With the pending loss of K-40, the Kahl Ut colour reversal stock is of more interest. But what is it like? Is it a 'VNF' (low contrast, raised blacks etc.) stock or is it for projection? Colours? Grain?

As a 50asa stock, it may have a use where a non 'smpte' is overexposing the new t64 ectachrome.

Richard