Charles MacDonald

This is an area where new things are being found all the time, and the advice is sometimes mutualy incompatible! The two risks are fading and base deteriorization. Most Negative is on acetate base. If you are unlucky it will start to break down with "Vinigar Syndrome" The old metal cans are suspected of acting as a catalist. The new Kodak Cans have a plastic coating to seal away the metal. Their is a outfit in Denmark called DANCAN http://www.dancan.dk/ who meakes special cans out of Polypropoline taht are suposed to sidestep this posibility. They also have a polypropoline cores, all made in blue color to make them easy to spot. I understand that the current Kodak Cores are also Polypropoline these days. (I have some with PP in the recycle symbol ) The related risk is that the breakdown is autocatylitic, so Good Ventalation is required to keep the byproduicts from speeding the breakdown. DANCAN and others have vented cans. They also have a special punch to make vent holes in the metal cans. Perhaps you can find a suplier who stocks simalr products , DanCan only sells in big lots. The alternative is the cans must be sealed (see below) is to use Molecular Sieves which are made by Kodak, and adsorb the gases and extra mosture. Why seal the cans? Becasue the colour dyes may change, and so COLD storage is recomended for long term storage of colour film. If you freeze film, you have ot pervent condensation when you bring it out, and that requires that the can be sealed! Of course the film must be relativly dry if you freese it. I would shun the paper at all costs, The thrid risk to film is something called RE-DOx blemishes, it happens in Black and whit efilm particularly Microfilm and is associated with cardboard boxes. Years ago at work we had to toss out entire collection of carboard boxes, and use Kodak Storage boxes (The same as 16mm 100 ft spools of Movie film come in, and genuine Kodak return reels. (Some of the ones that the lab had used also were impleicate din the redox problem.- The them selves had broken down and gotten brittle) In that project we had to use special plastic labels on the boxes, and we were not allowed ot resuse the boxes that Kodak shipped the film in as you could not remove the orignial label. So some data points, not facts. I would try to use either the Kodak Coated cans, Kodak or fuji cores, (the current white plactic ones) and posibly the kodak seives. Kepping everything in a cool air conditioned place or the frezer. I would get some of the vinigar test strips and freeze any film that showed signs. If the material is valuable you might also want to consult the NARA.gov, Archives.ca, or the Australian Archives. for advice.

Of course the size of the sensor is buried in the fine print and can differ from Camera to camera. The smaler the sensor actually is, the more depth of field, and the shorter the lens focal lenth needs to be to aproximate a "normal" lens. These days it is quite practical to have hi count sensors the size of a 16mm Fame.. I am not sure if you can "see" the sensor in most digital camera. (or HDTV camera for that matter. The technology is quite simalar.

Let me add my agreemnet, many of the filmos are quite beet up looking, (including mine :) ) that looks quite clean and nice., The older ones do require Duble perf film, but that may be on the cusp . The adjestable finding is always interesting as it does not need to have a set of rare expensive finder lenes matching the lenses you are using.

Thnaks Dominiic, Good old ABEbooks has several copies listed, ( <A HREF="http://www.ABEbooks.com/">http://www.ABEbooks.com/</A> ) I will be expecting the postman to be bringing one from California to suburban Ottawa in a few weeks. Looking forward to learning from your wisdom.

The market they are aimed at is different The pro film is shipped at it speak performance and has to be kept refigerated, the consumer film is released before it's peak and will be Ok on average over it sexpected storage life. The MP stocks are probaly closer to the PRO still stocks in this regard. The Normal Pro negaive was alway a 160 ASA film optimised for Portraits. They have offered others including a nice set of News films that went up to 1600 ASA. they also used to claim that the speed was accurate ot 1/3 of a stop.. The Still Pro films are all for C-41 process of course. Read th e data sheets for the exact target market for the vairous products.

Thnaks, I may risk the international boundry.. These days I get nervous tring to get anything across the undefended border. Back a year or so ago, I did try to send some kodachome via walmart, They assured me first that they used Kodak/qualux but when I brought in the cartridge next day, they looked at me like I had three eyes and said something about Movies not being arround for 20 years. I also sent one via Henrrys photo, They sent it to the local Image Check folks who took 2 weeks to decide they did not know what to do, Henrys called me to pick it up, I told them it should go to Kodak Qualux, they said the sent it right away but it came back 3 months later. I would be afraid they would discard the PK-59 Envelope, as Canadian Kodachome does not need a special mailer.. Mailing to Brampton got it back in three weeks, mailed back to me from somewhere in the states. I was surpised it came back on a white taylor reel brand return reel, I guess the Black Kodak return reels are another victim of progress. The mailer with the Canadian Film has a toronto address, but the PK-59, is inteded only for the states so it only has a US address. (I ened up with it by accident, I bought some regular 8 from "international film and they said "with processing" - turns out they meant "with PK-59/"

If the designer is on the ball, they will alow for the strenth of the mount in deciding what lenses to make. I would be a bit nervous in say putting a 1000 MM telephoto on the camera without some extra mount. BUT I have a six Inch Eglet that fits fine, - I would need a bigger tripod to use it! My 16mm Camera is a FILMO, it comes with a turet with 3 c-mount lenses. IT is sold as the camera that Uncle sam sent to war. One site claimed that half the TV news footage shot in the american adventure in Veitnam was done with A Filmo... I don't have any idea if that is true, but I have never had a lens come loose with my wanting it to do so. If it us loose, you would notice fairly quick as the lens would turn in the mount rather than actually focus. a quick tighten would be all you would need. There is no lock, but like any thread mount, (think PENTAX M-42) once tightened, the lens tends to stay until loosened. IN the case of a motorcycle mount or something like that you may want to add checking for tightness, but if the mount is smooth enough that you can take a sharp shot, it probaly does not vibrate enough to loosen the lens. Here is another pciture-- Do the LugNuts on the tires on your car frequently come loose? I am not sating that the Bigger lock in mounts are not NICE, they are! Your best bet of course is to Pick a Camera that you can use, and then find lenes that will fit it. Changing the mount on a lens will cost a lot more than the price of some nice C-mount lenes. (if it is posible in a given case)

Actually rather than risk making yourselfa fine swiss paperweight, why not prowl the surplus stores. The auto industry has apperently gone to digital imaging for crash tests, which is probaly the real reason we lost VNF. The High speed cameras use little tricks like a prism shutter so the film can be exposed without having to start and stop, or at least multi-perf claws so that the load of starting and stoping is spread out on many perfs. THese things are not useable slowed down and so SHOULD be less than a bolex to start.

Hi John, thanks for the Update, YOu inspired me to shoot my last two Processing paid super 8 Cartriges of KMA464P today . The mailers in teh box list an address in toronto, but I recall the last time I sent Process paid Kodachrome, the address was somthing like Box 3500 Brampton Ontario. I also have one PK59 Mailer which I actually got with a Rolls of REgular 8 Cine 25 which I will want to use with a NON-paid (US market) roll at the same time. Can yoou tell me the correct address or where to find it, (MY boss hates personal calls at work)

If it is the M42 Mount, the macro Takumar would work well. A bellows takumar should get you almost into micro

If the spring is wound, and you fire a short burst, the shutter SHOULD stop in the closed position, and the machanism makes a "hack" sound as the stop comes into place. (my make more than one if the stopper slips by and it takes another frame.. - Kinda Klack Klack) Your prevous post caused me to have a look at my Dead Keystone and I happened to do that test today. :> If the spring winds down, it can leave the shutter open unlike A Filmo which actually will stop with some tension on th esping to ensure the shutter closes all times. BTW, The Pull down claw on the A3, A7 and A9 is driven by a wheel just behind the gate, so you can see it running if you run the camera with the door open.. Finaly 16mm Film has 40 Frame a foot, so running some leader through for 10 seconds and measuring how far it traveled will give you some idea as to how close the speed is.

David. Most of the electroinics distributors have 20-30 Dollar Minimum orders. If Clive can make you a cable for 30 Bucks, you will be way ahead of the game. And Did I mention that I find soldering cables one of the messiest jobs in electronics. Unless you are real experienced and LIKE that job you will be better off to either buy a ready made cable or ship the stuff to clive and ask him to build the connection you need.

The keystones WERE made in both versions, The ones I have only the A& has the single perf sprocket. JUst llook as as has been said, if it has two rows of teeth, it requires Double perf. If you try to file the teeth off, the ones closest to the cover are the ones to remove...But be careful becauseyou don't want to take off too much and have the film decide ot turn a corner as it passes the sproket. The guides on the camera were written in the days of ASA 10 Kodachrome, so they are out of date. ALso The camera probaly does not have 24 Frames marked. If you use asa 50 film at 24 frames a second, you are looking at f16- F11 on a nice day outside. If you use 16 FPS you need even less light! That pplies ot any camerwa not just the Keystones. One caution, I have a couple of these and they are 70 years old! (Built in the 1930's) so a clean and lube is HIGHLY recomended before use.. I wentout last yaer thinkingt the camera was fine, and a slightly chilly day was enough for the camera to slow down to about 5 Frames a second by the end of the roll. Mine is now on my projects pile to see if I can clean and lube it. Of the Amature cameras this is the one most like the FIlmo in capability. The whole finder shows the 1 inch lens, and the TEENY TINY red rectangle is for the optional 3 inch (75mm) unit

IN THEORY, It shoulld work Ok an almost any c-mount EXCEPT Bolex, BUT it is real easy to adjust the backfocus on a TV camera so The lens May Not be set up just right. Two other posible problems. 1) I have at least one TV lens that will not clear the shutter in my Filmo. TV cameras just had a sensor in many cases - Often a 1 Inch Vidicon, and so the lens could get away with almost touching the sensor. 2) the BOLEX has that Prisim/beamsplier gismo, a normal everyday lens will need to be checked out and posibly adjusted to ensure that the focus in the finder is right. ALSO I have seen a lot of TV lenses with out diapharms, and I am sure that many more were just loosly calibrated. A vidicon can have its sensitivity controled by playing with the target voltage. So You may want to have that checked also.

Hey another good reason to use Single perf film....

Just to be clear - 100ft loads are normaly on "daylight Spools" (R-90) You can go from one to the otehr, their is an old thread in the forum on the process. Main points, 1) keep ot clean, dust on the film == Black spots on the final product. 2) you have to wind the film on another reel, spool or core, and then REWIND it on the device your camera uses. 3) Dave mullen posted that it takes about 41 turns of a hollywood rewind to fill a 100 ft daylight spool. My guess is about 42 on my Craig rewind. (I have to wait and count the edge numbers to see how close I came.) Arround that count should be close if you are breaking down a 400 Ft core load to daylight spools. 4) did I mention the room has to be super dark 5) did I mention NO DUST BTW Process paid Kodachome used to have a clause that they would not honor the process paid if the film was returned in other than the original length, (I can see where they don't want to pay to mail back a bunch of short tests.) But the edge printing is what indicates if the film is pre-paid or not.

Fuji's data sheet mentions using HMI lights which are the madern version of Arc lights, and therefore are daylight ballanced. Persumably you can use fewer watts worth of HMI lights and still shoot. I would guess that the daylight film would need less corection than the tungsten film under floresents, and also work with the FL-D filter that is sold for still phtography. I agree about the ND filters though, I wish thet there was an ASA 12 Colour neg some times. Tkae the old film out on a sunny day and you are lucky if you can open up passt f-11 with 7245. Fine if you WANT sharp backgrounds. I am still wondering where i can find a Series 4.5 ND filter for under 20 bucks. (thats what the B&H lens takes! )

REmenber that if you re-spool, you have to rewind before using, or the perfs will be on the wrong side. :> If you just need a 200ft (more or less) load, why not just buy some from "stock options" or "certifed Film" or "dr. Rawstock" or such. 100-200 ft lenths are common in ends and generaly are a touch cheaprer than 200Ft + I have had good luck with Certified film.

The FOMA r-100 is apprenetly ONLY for reversal, they use a silver anti-halo layer which will not be cheared if it is processed as a negative. Many films do have a different effective speed when reversed. I wonder if that is the problem? Of course the Dmax may not be as high in some cases.

Kodachrome! Actually any of the curent negaive films from Kodak or Fuji will giive you great results. Are you going to be shooting inside or out? If you do rent the Arri, The standrd Kodachome loads will be short. (100ft) of course that is all that will fit the bolex without the external mag.

My guess is that it is either the lens or the lighting. You might be able to fake it with a mat box and a large appature so that the edges of the matte box are VERY out of focus. A lab COULD fake this as a special effect, by using a mask to burn in the edge of each frame. durent an extra pass through the printer. Of course this is the sort of stuff the Digital imtermediate folks can do using half the keyboard. Nirtate breaking down can bleach the image, but that normaly is seen near the edges fiirst becuase the air can get between the layers near the perfs. I have never hears of it making part of the image darker.

Wait a minute, The story is some big-wig at Kodak said at the consumer electriics show that "Film will be dead in Two years' I suspect that _IN CONTEXT_ that may be close to the truth. The COnsumer electronics folks have taken over as the place where folks buy "snapshot cameras" The corner Camera store which we probaly all rember with fondness, has for the most part faded away. Joe and JIll with their 2 year old child want pictures and so they go to the local "Best Buy" or "circuit City" or "wal-Mart" and they buy a Camera.-- 80% chance it si a digital camera, it might be a "one use" preloaded job . It also may be a 35mm point and shoot.. In a past life I sold cameras to Jim and Jill..(by now probaly their parents if not grand parents) In those days they were Kodak Instamatics and Kodakl Pocket Instamatics, and Olympus Trip 35s and Pentex spotmatics. I was on commison so I used all my tricks to get them to take lots of pictures. Our Buyer was surprised at how OUR store sold more 24 exposure rolls than 12 exposure rolls, unlike every other store in teh chain. I got exeryone to tell folks that they pay less per print with the 24 exposure rols, and explain the caluation. Naturaly we OMITED to say that no mater what size they bought, we expected to see them back in 2 weeks with a full roll. Having more shots available meant that the shutter finger would be more twitchy. ANyway Thes folks kinda went away after 6 months. Our prices were VERY competitive so in most cases we were not being undercut by another store, they just did not take as many pictures. So My thinking is that a new film camera bought by a non-photographer will get used for 2 years and then migrate to the closet.. Certainly that is the story I used ot see when the Instamatic was repleced by the pocket instamatic... 126 Sales went right down, while 110 slaes kept climbing. Today Nikon, and several other players are NO LONGER MAKING FILM CAMERAS. Jim and Jill are not going to see a Nikon One touch at Wal--mart. They are going to be sold a digital camera that uses expensive supplies - but not film. Kodak sells many of the supplies that a digital camera needs. They also are very big in the one hour lab market who are at the moment probaly the best place for Jim and Jill to take the memory card out of their camera to get good quality prints. BUT Jim and Jill are not likely to buy film in 2 yaers. Kodakcolour Max is likly to be a mail order item. "film dead is three years" is probaly not a lie in the context of smapshot shooters.

I recall talking to a brodcast enineer once who decided tha the way to get a GOOD telecone was to build an Excentric into the projector to get a variable pull down. He just sent the drawngs to a machine shop and got what he wanted. The unit he built showed one frame for 3 fields of the video camera, and then the next frame fo two fields, then back to three. He of course had the motor clamped to the "house sync" at the atation. The otehr wway is to use a prisim movemnet like a Movie viewer, or a editing table to present a flicker less image to teh TV camera . Risk is that many fields will contain an image from more than one frame. MY ebay serches did show an Extaman TV projector manual today. ( Item number: 9719605304 ) You may want to chek that out and attempt to findsome documnetation.

Should not matter. If they are printing an optical track, they have to mask off the soundtrack area on the "picture" pass, or the soundtrack area would end up fogged. Likewide the soundtrack is only pronted on the edge of the film, the rest of the sound negative is clear and must be masked off or it would overwrite the pictures. Until Super 16 came allong, double perf was everywhere or so I am told :)

MOST Glossy prints these days are made on RC ppaer which is naturaly glossy and takes on a very shiny gloss just be being dried with hot air. You still can do it the old fashoned wayif you want. As far as gettingthe effect in film, just wind it up damp and let it dry, as others have said you may pull the emuslion right off If you are not careful. This may or maynot create a visable effect on the prints. I would guess. Certainly I would guess it would probaly be hidden on a wet gate print, unless some of the emuslion did pull off.