Charles MacDonald

That is getting scary, I have to get my Filmo out before I get completely out of the loop. On the bright side, NCL is doing reversal now, which is great as they are a friendly supplier. The next concern is whether Kodak will still let them order 16mm print film. presumably it can be made by processing the 35mm stock as 2row 32/35 rather then normal 35mm perfs, but will Kodak have the flexability to sell it!

Customer, that leaves only two choices in Canada that I am aware of for "off the cuff" films, Exclusive for reversal and NCL for neg/positive.

DANG!

No, No, No... The lens knows not what camera it is on. it was 50mm at the factory and will be 50mm until you lose, drop or sell it. Now a 50mm Lens is a Moderate telephoto on a 16mm Camera. A 24 or 28 MM lens is a Wide angle on a 35mm Still Camera, but is close to the standard "1 Inch" lens that 16mm Movie cameras used to come with. Your 50mm lens will give you a similar field of View that a 100mm lens would give you on a 35mm Still Camera is that is what you are thinking.

Looks Nice and steady! There is a bit of what looks like flare at the top and the right hand edge of the frame, in the form of a slightly uneven Lighter band. The band stays the same shape. There also seems to be a bit of a base side scratch/Rub mark about 1/3 of the way from the left of the screen, but only at the start and end. Of course there is the loading fog, at the start and end. Is your rig using the 25 ft Regular 8 Spools?

NCL do have a great feel for film. I wish I could afford to give them more business.

Why not just have the negative developed. You can probably tell what you want just from looking at that. Roll it carefully, and you can still get it printed / transfered later if you think it looks good.

exactly, I know I am wondering who can do a CLA on my B&W 240, lovly steady camera but it is running SLOW.

of course if it needs a Clean Lubricate and adjust, another used camera is likly to have the same problem.

I think I have seen hints Kodak works from a 2000 ft master roll in 16mm. (slightly larger to handle the tests and trims.) So every 1200 ft rolls gives them two 400 ft rolls to sell. (or 6 100Ft Spools with leader) Because they like to work to order, I would not expect any discount from buying the film is 400 ft rolls. TV production used to use that size for telecine. A half hour show less commercials.

The Mask is designed to offset UNWANTED density. SO no mater what the density of the desired dye, the film layer will show the same density in the unwanted colour for that layer. A given Hypothetical film might have 40 units of Yellow in the unexposed part of the magenta layer. if the layer is exposed enough that the magenta Dye will adsorb say 20 units of yellow, the mask is designed taht that area will not only have 20 units of mask. The magenta dye does it's thing and the nasty it would otherwise do to the yellow rendition is offset. No mater where in the magenta layer you are, the yellow absorption is uniform.

One point is that the Bleach and fix for the most part are "to completion" steps. The bleach runs long enough to get the silver converted to a halogen - and convert the Cyan dye to the finished (Oxidised) state. The Fixer gets all the halide out of the film and the wash removes the fixer and salts. Doing a "Pull" by speeding the machine up may have issues with the baths, but Pushing by slowing the machine down and therefore also over bleaching and over fixing is unlikely to Cause stability problems.

A committee. ;)

Both methods will give slightly different effects. You can't really "push" in post but you can adjust the exposure of the print. Digitally you can distort the rendition all you like. if you KNOW that you need to push the negative, it is worth considering doing a push when the film is being developed, as you have a chance to pick up more shadow detail at the developing stage, once the Negative is processed, you are stuck with what is on the film.

If you can find an ALDEN 200 loader, it will as the name suggests take up to 200ft loads. Of course the "waste" idea is even better, the film would likely be on a 2 inch core, I always keep a 1 inch core from Kodak Bulk film for that eventuality.

depending on the frame rate and the shutter angle of your camera, you can figure the effective shutter speed. In most cases it will be around 1/50th of a second. So a general approach would be to meter a grey card that is receiving the subject light with the SLR set for 1/60th. An AT-1 is an older camera, so you may have to adjust your readings based on a test roll to see if the meter on the SLR has drifted over the last (20?) years. ?

Superior Bulk film was there and did that. maybe 20 years ago by now...

My old beer and film fridge has this problem from the auto defrost, and the easiest way out is to stick each package of film in a zip bag. The ones from the local dollar store at 6 for a dollar will hold a 16mm -400ft can. They have a zipper pull to open and close. That approach also gives an extra level of humidity protection.

Did the stock get clip tested? Can you get your lab to do some clip tests for you. Film (In general) will get slower, and have increasing fog as time goes on. The effect is more pronounced the higher the film speed. Storing the stock in the fridge or freezer will SLOW those changes. Several folks have suggested over the years that freezing is only safe for factory packed film, as if an open package has built up humidity, you may get Ice Crystal effects. Your 100T and 64D film will generally have less degradation than the faster films, all else being equal (which is not always the case) A clip test means the lab takes a few feet of blank film and processes it to read the density, to tell you how far it is gone. Stock that is a "Bit" off can be used, but as you were told the need is to overexpose it somewhat both to make up for the loss of speed, and also to put your image data "above" the fog. lab managers generally have a feel for how much fog they can get away with and still get aceptable results - which stock can be used to check out lenses and cameras (still works but too far off to colour correct) and which is so far gone you may as well use it as Leader.

First off, the rules of the forum require that you use your real name. it is more friendly that way. Now your question is a bit vague. was sort of advice are you looking for?

This series is the film that is used in a projector. (many theatres have not installed digial projection and still use real film.) A printing negative is made either by using a digital recorder, or more traditionaly by making a copy using intermediate films from the original negative shot in the camera, and a print is made on "positive film" for each theatre. Traditional editing also used this to make a "work print" from the camera negative for the editor to use to find the right place to make each cut. Once everyone was comforatble with the Cut Work print, a specialist would cut the original negative to match.

The folks at Niagara will do this to 16mm! http://www.niagaracustomlab.com/digitaltofilm.html and B&W film factory will do Super 8 but in Black and white. http://www.blackandwhitefilmfactory.com/Kinescope%20Super%208%20transfer.htm Sugest talking to both of them to see if they have ideas.

WELLL -- ALL lab films are used with Tungsten light and a bunch of light control stuff. Likewise they don't tend to have an ASA / ISO rating as that is not the way most of the lab equipment is set up.

There are some very old tanks taht turn up from time to time, from Both "superior Bulk Film" and the Soviet LOMO firm. You have to read the fine print to ensure you find the right hardware for Single/Super 8 rather then Double 8/16mm. There are kits for the E-6 Process that Ektachrome needs. Temp must be controlled closely. Trick with a transfer is keeping the relation between the frames and the sprocket hole constant. and getting enough pixels in use.. have fun, but there is a reason that exclusive film and Frame discrete (to name one pair of labs) have customers.

Colletable film comes up on places like ebay from time to time, you may find a 50 ft spool there. I am assuming you just want a few rolls to try the camera. Which would make your best bet to try and find a spare spool, and wind your stock on it, - rewinding the exposed film on a core or 100ft spool before shending it to the lab. Kodak might be able to supply those spools as part of a film order, but they would probably have to make you a batch of several thousand feet to make it worth their while. The other thought is to ask folks like http://www.wittner-kinotechnik.de may be able to make them as a special order.