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Charles MacDonald

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About Charles MacDonald

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  • Occupation
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  • Location
    Stittsville Ontario Canada
  • Specialties
    Real Photography. - I am an old A/V Geek at heart
  1. Great, I hope this means that Film stock will also continue to be available for "Other" than the major studios.
  2. Err, I am sure there was some "Prior ART" But I have to wonder 1) why the specification of the focal length when the Image recording size is not mentioned. (negative or Sensor as needed) And for that mater why they specified 320 ISO when it is getting hard to find 320TX. 2) f5.6 and be there is a long time photography standard.
  3. I have a related question, so pardon for resurrecting the thread. I did get a charger with the camera I bought on e-bay, and that is the most likely source to try and find one I would think. My question... I have a Scoopic with the Original style battery, which was recelled previously. It seems that folks are recelling these with NI-MH batteries, and sure enough the vendors in China have cells the perfect size.. My concern is the charger. The unit that did come with the camera Lights up when Plugged in, but I only find a couple of volts on the battery terminals. Perhaps this is normal without the battery connected? IS there a schematic diagram available for the charger? Does the charger have to be modified to use the NIMH cells.
  4. Presumably the .3000 pitch film was eitehr produced in error, by using the perforating dies used for Positive film, or more likly made to a customer order, (High Speed cameras tend to use .3000 for example) .... The fact that it has been reported that the film was just marked UN54 rather than the "Keycode" style edge numbering fits with the special order theory. Stock purchased through the official channels SHOULD be the right pitch for normal movie cameras. It is nice that there is a choice, and also a 400 speed film. I am still hoping for a Quality 50 ISO B&W stock to emerge form somewhere.
  5. Are you talking about using C-41 to process Movie Film? the rem-jet is part of films intended for Movie use in ECN-2 Anytime I have tried to run some in C-41, I had to use the chemicals on a one shot basis as the rem jet is difficult to get out of the solutions, and will soak into the image layers.
  6. is that price for 16mm perforated stock? or just 16mm unperforated. I was under the oimpression that Wittner was sliting the stock from larger size (ie 35mm) and perfoarting it themselves.
  7. Freezing extends the life of film. (assuming that the film is factory sealed, and the data sheet allows storage at that low temperature. apparently some films don't like to be frozen) BUT the higher speed films tend to be affected by things like Cosmic Rays, and so they will fog over time no mater what the temperature. as far as the safety of film, my understanding is at is almost edible. You want to seal the cans to keep the mosture out, and to rpotect from condensation. I like to use Ziplock style bags to add an extra layer of protection. That should keep things under control until out open the can in the dark and inhale the WONDERFUL AROMA - Fresh Film!
  8. lenses don't know what size the film (or sensor) is. It is best to just think of the coverage of a given focal length. I recall that the ASC manual had some charts showing lens coverage, but it is not hard to get a feeling for it. Set your zoom at a given mm seting and that is the coverage of any lens that size on regular 16. the fisheye lens is just used in the very center of its field on 16mm so the Fisheye distroion does not show (much)
  9. The lab might not want to take a risk of your splice breaking when they run the film through the machine. :)
  10. The two stocks (16 and 35) are the same. (UN54 is of course different than N74) The times in the Massive developing chart are for still use, movie use is often adjusted to slightly lower gamma.
  11. 500 Stock has quire a bit more grain than the slower stocks. Older stock that has been exposed to heat and humidity can have more grain than fresh stock. without a frame caprture from your project is it hard to say if your grain is more or less than typical.
  12. I don't believe that there are many 3 perf projectors outside of film labs, so you would likely have to make your master negative as 4 perf. That means a foot and a half of film a second. say you end up with 12 minutes, that is 1080 feet. Use 1100 for figuring. http://www.niagaracustomlab.com/digitaltofilm.html has a listing of costs for going from digital to 35mm negative, sound negative and final print. It looks like the cost on there list would be 2.63 a foot plus the charges for the sound lab to make the sound negative. so you could pull it off for about 3-4 thousand dollars. I am only figuring based on their price list so by all means talk to them, and your local labs, The making of the master negative is a bit of a specially so some of the post houses may do just that part. Likewise the sound nagative may also have to come from a specialist. (and perhaps require licence fees if you need a dolby track) Some post houses can probably write your digital data out directly to print stock, but you would be back to square one if the print were to be damaged. NCL shows the price of the print once you have your negatives as under a thousand bucks each. I don't think that it would be practicable to go directly from a 3 perf neg to a 35mm print. and you would still need a soundtrack.
  13. I currently have a couple of K-3 Bodies. The one I posted previously with the mount somehow being about 1mm too small to take the lens. I got a couple of the Russian Prime lenses, and they don't fit either. I then got another camera, (so yes it would have been cheaper at this point to buy a refurbished one from Du-all) which takes both zoom lenses, and one of the primes. (The other is obviously for a different camera as it interferes with the works unless set for close-ups. I shot a 5 foot test on N74 which I have in my film to be developed pile in the darkroom. (5 ft so I can use a still tank ;) ) Which should let me see if the camera is working. The unit sounded like a camera and the film transported well. (with all that out of the way) The reflex mirror in both cameras have many scratches. The camera that has the working lens mount has so many scratches on the mirror that it looks like there is a Newfoundland fog to look thorough the finder. Are the mirrors replaceable and would that require a major service? Or should I start building a nice set of soviet era bookends.
  14. My guess is that to do a Proper Super 16 conversion, it is normal to recentre the lens. on the new larger frame, while ultra 16 the centre of the lens stays in the same spot. a LOT of custom work would be needed to move the lens over, and it would proably put the conversion cost well over the economic value of the finished camera.
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