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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

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  1. oh and the stuff focus, generally means the lubrication has broken down. someone who knows the tricks has to dismantle the focus and clean out the old lube and put in fresh lubricant, and then reassemble and set the focus..
  2. Ektar was the name Kodak gave to their top of the line Pro grade lenses. the tint is some old lenses is often due to Thorium in the glass. if minor it gives a slight Yellow (usualy) tint to the lens. sometimes treating the lens (carefully) with UV light can remove the tint.
  3. One possible point of confusion is that when the dye transfer process was discontinued, Technicolor switched to making prints on regular Kodak print stocks (or possibly fuji or AGFA stock ) But the credits would still say "Color by Technicolor". The producer may in fact have used one lab for the camera negative and another lab for the prints - "Color by Technicolor, Prints by DeLuxe" And if the movie was so popular that extra prints were needed, yet another lab might have done the work, possibly without the credits being changed.
  4. stick on an 85 filter and you are good to go. small exposure penalty. if you have to shoot daylight film under tungsten, the needed filter has a several stop penalty I believe that the manufacturers could get better grain results by making the film tungsten balanced.
  5. there is the series of Harrison Film Changing Tents - you can find them at places like B&H photo. Biggest one is 48 inches by 28, and 19 high, but will fold away. NOT Cheep. the minilab ones may not collapse easily for storage, but would have solid sides which would be more rugged.
  6. Foma r-100 is a B&W reversal stock. made by foma.cz only other currently made Movie stocks are the Filmotec- ORWO B&W films UN54, and N74. filmotec.de
  7. Split reel to start is "safer" as far as avoiding a spill. but it can be done without. core adaptor is one way. I also sometimes use 35mm film from 100ft bulk still rolls and so I have saved a 1in 35mm core (square center hole, and 1 inch in diameter) which is what 35mm still film 100ft rolls often comes on. a movie core with a 1 inch hole will freely spin on that. the very first time I had to repool movie film I used that mounted on a piece of formica countertop to hold the supply roll. Not sure how much I risked static. A split reel is so much easier to use, if you can get one - mine is a well used on from e-bay. I have an antique 400ft daylight spool that I use for the first wind. although I keep it in the dark. then I wind onto the 100ft spools.
  8. shooting tungsten film in daylight uses up a lot of your latitude in the BLUE area of the spectrum. you may be able to correct, but you might not be able to. Stick on an 85 and all three layers are used in their intended range.
  9. your Fuji is at least a couple of years old, so you should expect some loss of speed and colour shift.
  10. first off, which film are we talking about? I have never heard of any modern film which requires a specific brand of Chemistry, although some old colour processes from 30 or more years ago were like that. Also are you planning to print or scan the negatives?
  11. unless you are talking about a batch that is cut to use an entire roll of film that is 58 inches wide and over 6000 ft long, I don't think Kodak would even think about it.
  12. some labs will just do a test by taking a couple of feet from each roll and developing it. slap it on the densitometer and see what the fog levels look like. That of course will not show how much speed loss you have. BUT the labs often will do this for a good customer at a low rate. (if you are lucky even free) if you have a camera available you might be able to shoot a slate with grey card and grey scale, at box speed. include a number to identify each batch you are wanting to check and leave some unexposed film so they can do a densitometer check for fog as above. if you can load in the dark and cut off your samples in the dark, you might still be able to only use a few feet. talk to them about how they want you to pack the samples as they would probably prefer to splice them by their own methods. your lab may have other ideas of course, you don't want to end up paying for a minimum processing chage for each sample.
  13. The 16mm DeVry I had took C-mount lenses if I recall correctly.
  14. yes, you do have to get the film developed - and the lab then can scan the resulting negatives to create Digital files. (often one lab will develop the film and another will do the final scan.) and yes, if you do want to "push or Pull" the film, you have to make sure that the film for tose shots is on a different roll as the lab can only do Push or Pull on a roll by roll basis. Discuss this with your lab to see how many stops they can push or Pull, and what extra costs are involved. Normally the lab has to re-thread part of their processor or change temperatures or both to make a push or pull, and so the fees will likely be higher, and the specially handled rolls may be delayed. Film is generally good for a small amount of exposure error, and the general wisdom over the years is to overexpose rather than underexpose when dealing with colour negative. As always, the closer to accurate exposure, the more latitude you have to "fix it in post". while in the old days the lab was sometimes set up to provide sample images shown at various printer settings as part of the "daily" images returned between shooting days. that would again depend on the lab as to what they could supply you with the next day after the film is processed. you might want to check out some of the textbooks on production from the pre-digital age , as current film based production tends to be a hybrid between film and digital.
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