Charles MacDonald

I recall reading that Fuji used to run Kodachrome at one time in their labs that deal with still photgraphers. They may still have a line that can handle the film. AFAIK, the process is the same as for 35mm slide version, although the tension is more critical for 16mm, and worse for Super 8. I have hard of folks getting their super 8 processed quickly at US Wal-mart stores, and this would be using such a commercial lab. Dwayne's = http://k14movies.com is probaly the only game if you want to deal directly with the lab.

I hate to disagree with a master, Dominic, but since the shutter on the camera is closed while the film is moved to the next frame, the streaks would look dotted if printed as you propose.. Each frame wold have some of the streak from the moving lights but the light from when the shutter was closed would be lost. If the car was moving slow enough this might not be obvious. The "Bullet Time" method whould allow a real 30 SECOND or more exposure for each frame, although you would need to have a "virtual Dolly" as you can't get all the cameras in exactly the same spot. When I tried to get this sort of shot years ago with a still camera I used 100 ASA slide film, and f/16 for one cycle of the trafic lights..

My guess is the warmer light might make the film work slightly slower, in that it does have a slower speed under tungsten than daylight, but I can see no benefit from colour temperature filtration. If it were outdoors in the sun, traditional B&W filters might be called for (yellow to darken the sky and such) The only way filters may be called for is to separate some tones that come together, and that yoiu probaly can only find out from (you guessed it) a test.

Looking at the unit, the base of the shaft does come up a bit higher, but the sproket is conventional with a blank part on the soundtrack area, and 8 "perferation holders" The film path does line up! The black cilinder in the light path is the Prisim shutter. which is geared to the drive sprocket. The unit gives a flickering picture with some travel ghosts, which is adaqute for home movie editing which is the intened use. I have not tried to clean the prisim on mine, - that may improve the apperent steadyness. There was an 8mm version, which from the pictures I have seen used the same case but would have needed differnt gearing, or a different shutter.. The Craig Viewers were simalar but with a larger screen (Sorry John P :) )

Probaly a feature-not-a-bug. If one roll gets tight, it will slip and not snap the film?

!^mm film when you hold it up to the light so the image looks right, has the perfs on the left, and the Soundtrack area (if not super16) on the right. If your camera negative film is wound emusion in, you need "B" Wind, if it is wound enuslion out you need "A" wind. The only common place that uses emuslion out is the a-minima which takes a special "spool"/"core. "normal camera " tend to feed on B wind emusion in film, wither on a bolex/filmo daylight spool or on a core. Some magazines may have enough room to use emusion out film. butr I don't know if the a-minima rolls will fit a standard (like Filmo) magazine.

IN the last coupple of years some of the auto parts places have been selling ac Inverters that run off a 12 Volt battery. Only catch I can see is they may not be right on 60Hz and so the soound speed may be off if th ecamera motor depends on the line freqency to run true. YMMV

The camera manufacturer will know what the tolerance is for the voltage for sure. IN fact if they are careful sorts they may have designed in some voltage regulation in case someone decides to make up a car cord to run the camera from a Lighter socket in a car. (where the voltage can go to 14Volts with spikes..) The difference in voltage you are seeing is probaly just the different chemicals used. A CR123 is a 3.0v Lithium battery. The rechargeable batteries use slightly different chemistry (lithium Ion) and so have different output voltages. IN fact I checking this post, I found a dealrer selling some with a 3.6 volt output! When I was sugesting a test, I would thinking more of setting up a resostor with the same draw as your camera, to see what the voltage drops to under load. All batteries give out a lower voltage when loaded down. Only if the Output would be in spec for the camera would you try them with the actual unit. You could buy a lot of CR123 regular batteries for the price of one trip to a camera repair shop. I did find at least one place selling some that SAY they have a 3 volt output http://www.batteriesinaflash.com/index.php...roducts_id=1189 But Your mileage may vary.

Can you test and simulate the load of the camera and see what they put out under those conditions? Actual delivered battery voltages and battery ratings can sometime differ.

My worry would be getting a version of RA-4 Developer that is both "Hot" for higher contrast and YET manages to have all three curves lined up. I think that getting that sort of thing to work is the workload that takes most of Kodaks enginering talent's time. Other ises you get the sort of thing where Hilights shift one way ,a nd shadows shilt the other, and you can''t get both to show the right colour. Clearing the Developer _Should _ not be a problem. You would need to flush it with a couple of changes of water, and dry the tank between uses. In fact you might get away with less, as the two products would probaly be simalar except fo r the propostions of 2-3 ingreedeints, and so they would be compatibile - ie WOuld tolerate a certian amount of cross contamination.

Better for what? Price, versitility, friendlyness, speed, quality, some combination. You want to process colour or Black and white, Reversal or Negative, do you want to have the film scanned or workprinted or both? If scaned what format and to what media.

When I have goten Slides made latly at Dale, the images have a clear border all arround, which leads me ot belive that they are printing digitaly. They offer a CD with developing which is higher resultion than the CD I can get at the Wal-mart Minilab. I bet the scan for that is also used in making slides and prints. AS far as C-41 prints, the local Minilab seems to scan the negs and then use the same laser output unit as a digital shot. Even their manager was surprised when she found out that they could print one of the rolls from my Half frame camera. The manager said they would have to send it out, but when I brought it in, the part-time tech said that he knew how to print it. I picked it up the next day from the manager, and complemented the tech, she insisted on taking one of my Negs and sticking it in the machine to see how he did it. (she also asked why I had shot half-frame - did I do it deliberatly?) If you were to run ECN2 Neg, and contact print it in a motion picture printer you can get good "One light" slides, which SHOULD be useful for experimenting. I suspect that the Noritsu paper printer, could either be set to make good prints themselves or could make prints for a scan, that had been "procesed".

Probaly that is one of the things that they expect the students to learn by being told to go out and shoot, Changes of perspective can be jarring to look at. I have heard of cruel assignmnets where they give the students one roll of film and tell them to shoot a shory story, then gather the class and let each other pick apart everyone's film. Those who don't have a nervous breakdown have a stong enough intestinal foritude to make movies.. Mind you a wide angle establishing shot COULD be followed by a telephoto close up Wide: street scape, blond running 2 block away. Tele: CU of Blond, who is carrying a bag that says "Brinks Express" DUM DUM de DUM DUM.. Normal: Two guys in dark suits running after the blond who then ducks into a waiting minivan..

If you don't mind using an "off Brand" The last time I checked J and C Photo had doubble perf FOMA (czech) R-100 Black and white reversal in both single and double perf. The Film can ONLY be processed as reversal. http://jandcphoto.com/index.asp?PageAction...ATS&Category=30 Hey look at that, they have Kodak Super 8 Plus x there too! http://jandcphoto.com/index.asp?PageAction...PROD&ProdID=104 is the Double perf Foma. The other place I have got some "old" plux x double perf is http://www.athens.net/~macjava/ But his stock is OLD, I was surprised when I decoded the date code just how old. He does keep it frozen, and such a slow film is not as affected by other factors as high speed stuff. YMMV

The M-42 lens mount was designed for a 35mm SLR still camera originaly, and I think the lens to film distance is about twice the c mount distance. Someone with a lathe could make you an adaptor, but you could only photograph rather extreme close ups.

Just tell the DoP what you want to see, and let them recomend the lenses. :P That is one of the skills that a DoP is suposed to posess, as well as an eye for lighting. Quick view: Wide angles - Under 18mm in 16mm film - make things look father apart distance, and let you get more "stuff" into the shot at any given distance . Can make actors look like they have big noses. Telephoto , brings things up close, things tend to look closer together distance wise. lets you stay away from explosions, but maginfies camera sake if hand held or on a cheep tripod. Normal lens, for everthing else. 25mm is typical in 16mm shoting. Zoom Lens, can sub for any of them, but sometimes does not give as great a picture. watch and listen and you will probaly pick up a feel for it.

Well, they did shut that one down, now says "not a registered user" and "auction has ended" "0 bids"

If his camera is not set up for Super 16, it really does not matter. The extra set of perf will just ride along and the worst they can do is make a VERY LOUD Buzz if he projects a reversal roll on a sound projector. The second set of perfs will be out of the frame in a regular 16 Transfer, or will just print onto the soundtrack area if he gets a conventional workprint. (Those are getting hard to find) IF the Camera has been converted to Super 16, then Yes, part of the image ends up in the former soundtrack area, and so you must use single perf. Charles who has antique Keystone and DeVry Cameras that NEED double perf.

I hav ebeen told that it is a good idea to flag to the lab that the film did run out in the shot, just so that they "might" take extra case to not cut off any of the end of the roll. I really doubt if it helps. Using short ends in a filmo, most of my rolls end with the film flapping. Amazing how fast you go through 60 feet of film at 24FPS. :rolleyes:

I have to agree. (David REALLY knows what he is doing, so I almost always learn something from his posts) Fuji says right on the data sheet that they expect the process defined by Kodak is the one their film should run in. If you have to use that lab, ask them nicely to talk to the Fuji technical rep. I ma sure that Fuji would see it in their best interest to get to the bottom of the problem. I don't know is fuji offers test strips to run in the ECN2 Process, but I would hazard a guess that the Kodak test strips may turn out to be off if the Fuji does not process right. Again the Fuji rep can quickly compare the labs records. If Kodak does supply the lab, I would not be surprised if the Kodak Rep might not be interested, as if the process is a bit off, the same problem may start to show up on Kodak stock if it drifts out of spec just a bit more. NOW the posibility that the stock may have been cooked or other wise damaged has to be considered. Does Fuji have an office in your country? Did you get the film directly from them, or though a third party? IS their a posibility that the film might have been exposed to high temperatures etc.? Can you shoot a test roll (even a few feet) with a colour chart and grey scale and ask the lab to run that to see if the process is still off?

The letter quoted in the onsuper8 site refered to CAT 5053327 Would Kodak offices in europe not sell KMA455P rather then the KMA455 ? (Kodak can't really change one into the other as the edgeprinting is different on the "P" version. They are not suposed to sell the KMA455P version in the USA.)

Hard to guess without seeing the negatives, but could this be static. We are in winter, when buildings get very dry. IF there were discarges, they would look blue and be very random. Just a guess....

1) Did the Vivitar close down all the way? Try puting the lens on auto, set at f-22 and then push the stop-down pin in both quickly and slowly a few times. If slowly leaves the opening a bit larger than quickly, the diaphram may need to cleaned. Unfortunatly this often only effects the smallest (Physical) openings - 16, 22 32... The Vivitar would also probaly pass more light than that big Metor ZOOM, I wonder if that lens is really marked in f or t stops. If they did not compensate, you may have a meter that is off, and the zoom compensated, then the vivitar was "right" and so did'ent. Your lab is using the "new" B&W reversal process, if they have not switched, you would get ASA 50.

The film you have is five years old. That is almost sure to be considered outdated by many potential users.... Still you might want to call the short end folks and see if they can sell you some ends, and if they have a market for the stock you have. In that part of the country, I would not be surprised if an ad in the local "free" Classifid papers (the one arround here is called the Pennysaver) might not give you a lead to someone who really wants to check out a 35mm camera or something..

I worked in a place that sold Zenit's in the late 1970's, they were MUCH less bright than the Japanese SLRs of the time. The Ground glass was also very coarse, such that it was hard to focus back then when my eyes were much better than they are now. :blink: I was thinking more of a modern "plastic Fantastic" all electronic SLR that is not repairable if the electronics break.