Charles MacDonald

probably makes it worse! Hi-Con implies entending the development which in turn will bring up the fog level. Cross processing just adds another variable into the stew. Now while we are at it, We have a guideline of .10 above "normal" being a guideline for film that can be condsidered reduced in Quality. IS their a guidling for what is "normal" and does it vary by Film?

bear in mind that AGFA sold their Still photography divison to a startup called agfa photo that is now liquidating. It is not clear if the AGFA APX B&W stock will continue to be made last I heard.

Kodak sold that business to Allan Gordon some time ago. http://www.athens.net/~macjava/filmpage.html sometimes list some on e-bay. see Item number: 3860642512 for example, at his price, they are considerably cheaper than allan gordon wants for the empity mags

Sounds like an interesting assignment... Can't say I have ever done Movies underwater, but I have done "some" stills many many years ago. :) . Worst thing is that the red end of the spectum goes away first, so you almost always need extra light in more than 20-30 feet of water. You will be at that point as 12 meters is about 30-40 ft. :o I forget the factor but you do loose "any" light rapidly. A bright sunny Florida day looks rather like Dusk at 100 Feet.

The Hospital grade plugs are the biggest baddest plugs you can buy. probaly capable of being run over by an ambulance at speed and still working. I bevive that many technicaians would automatcially use that grade when wiring something that is expected to be treated rough. 117V 60 Cycles (Hz) is normal North American Household AC power. No batteries required!

Bought one of those B&H 200 units did ya? First of all, the 50 ft Magzines are designed to use Double perf film. Kodak has made that a special order item. You may be able to get FOMA B&W in double perf. Second you will have to build a jig to respool the film onto the core out of your magazine. It is a special size. You have to respool the film in the dark, and for best results, you have to wind the film all the way onto another reel, and then rewind it onto the supply core of your mag. Finaly still in the dark, you have to thread the mag, noting that the film goes over the central sproket TWICE. Once you have the mag closed, you can replece the two screws and then turn on the light. You might want to ask the folks at Java Photo in Athens Ga. They recently had some Government surplus Mags already loaded with Old Plus-x. They also sold me some Plus-x double perf film on 100 ft spools out of their frezer which if I read the date code right was made 15 years ago! (but it still gave usable images) They even once said that they had a bunch of reloads for magazines which are already cut to length and wound on the right cores to fit the mags. Thay may have sold out of those by now. BTW by dark, I mean so dark that if you sit for 10 minutes you still can't see your hand in front of your face. You might be able to do this in a changing bag, but their are so many small parts in those mags that you probaly have to have a table to work on. Note that I have _NOT_ actully done this. I took the cover off an old outdated K-12 Kodachome mag to look, and decided that the Filmo magazine camera whould remain in its resting spot under the bench. My regular Filmo 70 is enjoying the lens off the B&H 200

If I understadn what you are sugesting - You want to take the area betwen the perfs, and use that is the left side of your image, and also do as the S16 Folks do and use the soundtrack area as the right side of your image. And make the frame as tall as the space between the perfs so you don't get two large blobs (the perfs) in the frame.? I have two thoughts. (1) The first movie camera I ever played with was my faters Brownie 8 Model 2. (circa 1957) That camera uses Regular 8 film, and becasue of the design actually does put a good image in between the perfs of the R8 format. - so yes, I am sure that it is easy to put an image there. (2) the second thought is that Although I am just strting to play with 16mm negative film, in the coupple of rolls that I have used, I have already seen a code number right smack between the perfs. I forget if this was on Kodak or Fuji FIlm, but was on the negative. When I used older Double X in my Mamiya 16mm Submini Camera back in the early 1970s tha footage numbers were also between the perfs. (the last roll of DXN in I used a subminature camerathe numbers are now in the Keycode style so they no longer take up the entire area. In short, as John says you are wanting to use real-estate that someone else is already camping on. That and the fact that every peice of film equipment uses the perf area as a safe zone for things taht might scratch, and you are fighting a non-winable battle.

Dry Ice?

Would they not use the EASTMAN Fine Grain Duplicating Panchromatic Negative Film 5234/7234 :) to make a negative, and them print on 7302 or 2302? From reading th edata- this should also work for making a B&W release print from a colour reversal original. Only gotcha I can see is if the perf pitch will work, normaly the neg is shortter pitch than the print, but this is persumably made in Neg pitch? I am surprised that I cannot find the clour equivelent in the listing of internediate films. The closest to an Internegative is EASTMAN Color Internegative II Film 5272 / 7272 but as other have said that is directed in making negs from EASTMAN EKTACHROME Film 7240 _ONLY_ :o The only other colour intermediate is intended for Laser recording from Video. :huh:

Some of the suppliers do test each can to avoid ones which have fog or heat damage. You probaly should ask whoever you are thinking of buying from what their policy is. I doubt if you will get much more than a replacemnet if you do get a "bad" can. consider that your effort is worth a good deal.

If you look at a non-zoom lens as you focus it, it gets farther from the film the closer you focus. The Extesnion tube just puts it farther still. Sugestion, Put your filmo on the tripod, stick the smallest tube behinf the normal lens, Rotate the lens over to the "critical focus side" and squint through the little eye piece on the side of the turet. Bring an object like the label of a film box in front of the lens and move it back and forth - close and far - until you can see the writing in the critical focuser. . you should start with the target fairly close to the lens. Repeat with the next longer tube. expect to want to play with the whole set. You will want a bright light to shine on your target.

The Kodak reversal stocks CAN be processed as a negative. It is in the fine print on the data sheet. Note that I have been told there is really not a good way to get super 8 B&W prints from negatives anymore... SO you would probaly be looking at Digital scanning. Developing as a nagative Just MIGHT give you a little more latitude in a scan situation. You would have to override the film speed in an automatic camera as doing it as nagative does change the speed.

Many of the K-3 ARE made to take a 35MM SLR lens, from the screw mount Pentax family. (Pentax, Ricoh, GAF, Cosina Practica and the russian ZENIT) You will find adaptors on the net to use many different SLR lenses on "C" mount 16mm/Video Cameras Movie lenses tend to be of more sturdy constuction, with marking intended to allow one to change the lens settings during a shot, also zooms are designed so that zooming during a shot will not cause any unexpected image movement. As others have mentioned the lenes in a given series are often matched for "looks" so that their is not a colour shift when you swap lenes. Still lenses may "wobble" as you focus as that would not be a problem in making stills. As long as the backfocus will clear the shutter! If you have the K-3 with the M-42 Screw mount - rather then the bayonet mount, you may find it all together more effective to look for some Pentax Super Multi-Coated Takumars. (the smc coating is a real improvment over the preSMC lenes) The only Canon lens I have played with is off a AL-1, and I notice that it rests at an intermediate stop when off the Camera, and I have yet to figgure out what lever on the back runs the stop-down. Your still lenses must be able to run in stopdown mode in order to take movies with them.

KOdachrome looks Nice when shot with anything.. It is fairly expensive/inconveinent to use because there is only one lab left in North america that can still process it. http://k14movies.com/ and the kodak lab in Switzerland. Are you transfering to video? It is an indirect process to get film release prints from Kodachome, so if that is in your plans, shooting negative would be less hastle. Other than that Kodachrome is a great film, and several of the regulars on the forums whould love to see it used more in the hope that more demaind will help keep it alive.

38 Fairinheight is 3 degrees C ABOVE freezing. That is not REALLY cold. If your Camara has not be re-lubed in a while it might get slugish I guess. or maybe what they say is true and the filmo is a better than average cold weather camera. I certainly expect any camera worth the name to at least run to -10 C (with the batteries in a coat pocket if required) The two posibilities if it was cold enough to cause the lubricant to get stiff is that the Part that controls the speed (Govenor) may have be operating at a different point, and may have actually held the speed close to what you wanted. that may sound "funny" OR the camera would run a Bit slow, giving you over exposure. Only way to find out what happened on the beach is to process the film and have a look. You could put the Camera in the refigerator over night, that will take it down to 2-4 Degrees C, and then follow the manual procedure to check the speed. (- If you don't have a procedure in your manual - if you run the camera for ten seconds, it should do 240 frames at 40 frames a foot so it will run 6 feet. You can use some leader instead of real film if you want to mark the start and end and get an accurate measurement.)

Does that imply that a given hypothetical film might have more than one? i.e. Rem-Jet and a dye underlayer?

Most Movies are shot in a studio. Until they invented the HMI lights all studio lights were tungsten. You can shoot tungsten film with an 85 Filter in daylight with minimal loss of speed. Shooting daylight film under tungsten light needs a blue filter which looses at least a stop. When they only were making one film, it makes sense to make it tunsten balanced, hence Kodachrome 40 . and in negative films 50T 100t , later 250T and now 500T NOW the HMI and other lights in the studios are daylight balanced, so more folks use daylight balance film. At least I THINK that is the reason? The related question I have of course is how the folks see anything in the reflex viewfinder if they shoot even 250 speed film in the noonday sun. The cameras MUST have to have a Lot of ND filters. I just ventured out on a dull day with some 250D film and my stop was f11, bright sunlight would have put me off the scale.

You described the position of (3rd 2nd) assistant camera operator quite well. load the mags, swap the film , check the gate, pull focus, pull appature, Run the clapper. The exact distibution of duties does depend on what union you are dealing with and how big the crew is.. The other simalar types of Positions that come to mind are the folks who do "old fashioned" motion control special effects (or has that all be replaced by CGI these days) Optical printer work is also probaly simalar, in that you would be playing with a camera connected to a projector and adjusting the setup perhaps each frame.

I have recently gone up in the world having my first try at using real Colour Negative film in my Filmo... The folks at Niagra Custom Lab in Toronto did a nice job of making a workprint for me on Kodak 3382. That stock is labeled KOD.AK 3382 25. 2005 so I can tell that it was made at Kodak Limited this year. (and I will admit being a bit surprised that it crossed the atlantic instead of just Lake Ontario) Anyway, I used two short ends of Fuji Film to make this test shoot. One is edge printed FUJI F250D 419 110 L34HA2 and has edge numbers starting with FN62 9286 8686 The other is marked FUJI F64D 026 103 P479I2 and has edge numbers starting with FN22 3454 7479 My question is is their any code hidden in there so I can tell when that film was made? I also had a literal 10 foot end of Kodak 7284 which was a couple of years old (2002) that also came out well. The 400 foor roll has been languishing in my freezer for a couple of years and I recently tried to cut it into 4 spools, and somehow had ten feet left over! I guess the four spools are a bit less than 100 ft. The slower film is of course MUCH sharper Charles who is enjoying a learning curve. I was thrilled at how much better the Negative / positive shots cameout compaired to the VNF that I have been using before. It is going to take some self control to go back to shooting Black and white, even though that is far easier on my non-existant budget.

Whne Fuji First started making Colour Neg compatible with the Kodak product they DID NOT have the rem-jet backing. At the time I was playing with using MP film for stills and one of the folks who was also into that actually bought some and sold it as still rolls just so we could take advantage of that feature. The rem-Jet is widly considered to be better to the alternative which is a silver layer that is cleared in the blech. I recently shot my first ever rolls of 16mm Negative :) which included some 8622 and 8662 and they both had a black backing. I don't know how to express my wife's comment, seeing the Workprint of those shots at 24 FPS, Shot with my Filmo, and viewed with a Kodak Pagent - she said wow that is a good as the super 8.. - The last super 8 she saw was Kodachrome 40 at 18FPS.

I was thinking when I was out and about today that if you look at almost any DVD, and start timing the shots, if you ignore the "talking head dialoge" shots, you will probaly find that if a shot does last more than 30 seconds, they editor has sliped in some sort of Cut-away or reverse angle in almost any case. So if the run limit does force you to do a shot as two related takes, their are a dozen ways to work arround that.

http://www.filmotec.de are the folks that curently own the ORWO trademark for Motion Picture film. They DON't this that type on their site, so perhaps it is not current. They have a negative film called N74 http://www.filmotec.de/English_Site/Produc...4_e/n_74_e.html perhaps sending an e-mial to the contact us on the web site might get a reply...

If you want to use a One roll at a time method, check out http://www.geocities.com/gselinsky/ for some good information. If you want to do it commercialy or other wise have a real movie film processor then use the data that John has pointed out.

I will also say that if You can get one in working order the old Keystones are a great little camera. Bear in mind that they are from "before the war" and Yes I have a couple in the drawer that really need a clean and lube. as well as having 24 Frame marked - they were only marked 16, and High speed. For some reason only the A-3 was set up for single perf film, which is basicaly all you can get conveniently. The finder is incredibly small, and has a tiny box in the center which happens to be the area covered by a 3 inch lens. If you can get one with the f1.9 focusing lens you will get better results than the fixed lens. They take c-mount lenses so you can put on all kinds of accesories. See ebay Item number: 7574994759 to see what one looks like. (not my item, just one I found looking for an example. OF course I like my Filmo better! but those run about 100 bucks or more.

They do seem to be a disapering Breed. I was just looking at my Old Spool Collection the other day, Dupont, Agfa, Ansco....all now gone. (AGFA sold part of their business and that part is suposed to close at the end of the year last I heard.) I belive the print stock is made by the part that will continue. Too bad because it is likely the end of Rodinal B&W film developer by that name. Ilford USED to make MP negative, in fact I have 200 ft of 35mm PAN-F in my frezzer which I intend to run though my still camera. If there is demand they might start up again, but their would have to be a strong order to make it worth their while. They were just becoming a new firm after an management byout last I heard. Other folks I know of, besides ORWO, AKA http://www.filmotec.de/ who at least sell other stocks are http://www.KAHLfilm.de/ who at least _sell_ a Colour reversal film. They normaly make it process included but they also have it in "bulk" rolls and it apperently uses an E-6 Process. My guess is that they are having some slide stock custom cut... They list it as CT-18 which implies 50 ASA. They also have some high speed B&W .. Both Regular and Super 8mm and 16mm If you are looking for B&W reversal, you can also get the FOMA r-100 in both regular 8 and 16mm, but not super 8 Beyond that, I don't know if the TASMA and SMELMA(sp) factoryies in the Former Soviet union are still arround. I know that smelma in ukrane was down the recivership road. Fuji apperently still makes Single 8 in a couple of flavors with processing only done in Japan. The fuji usa site indicates that they sell b&W in "some markets" If you find anything else let us know. I ave no money to spend, but would love to encourage more film being made.