Charles MacDonald

Useful data point, I have a roll of UN54in my FIlmo which I was planning to try when I get a good idea for a subject, Your sample looked a "touch" over exposed in a couple of spots and I was wondering if I should start out at ASA125, BUT if you did overexpose it a bit I will have to try at 100. I am also thinking that I might just ask for reversal when I send the test to the nice folks in Toronto. BTW, A 100ft roll on a core, JUST Fits a Filmo on a core adaptor. I loaded with a spool for take up.

Interesting, I have been trying ti use it as a still film, and the film came out of the tank with an almost frosted appearance. Also it seemed to develop much more (High Contrast) with the times I use in still Developer for 5222. Curious if the negatives in standard MP process "look" normal.

You Know, I have used the filmo for some time but never noticed HOW FAR that cam moves the finder! My habit of to always set it at infinity after each use so I seldom see the front of the camera except with the parallax disengaged. Always amazed with the engineering on that camera! AS far as the door the mechanism is all in the open with the door off. The diagram that was already posted shows the major parts. It does engage the body in several places. I have one parts camera where the door is a bit bent and that one will not lock in place on a body. Would not hurt to lube all the sliding places on the door with a small drop of oil and wipe it off the next day. Does the knob turn feely when the door is off the camera? There is a military manual for the HR version. that will sometimes show up online.

Those winding cranks are made is several parts, perhaps it can be re-assembled. As for the finder yes it is severely bent. Might be easiest to steal a door off a dead camera. or see if you can make a shipping claim

NO, at least as far a PRINT film goes... 16mm prints normally use that area for the "sound Track"

The Scoopic was intended for the TV news types. {Scoop Pictures get it} It is designed as a quick grab and go camera to get shots of a traffic accident or a building on fire, or even some politician kissing babies.. :) The zoom lens and the built in everything are part of the design goals. to zoom covers most needs, and yet is fairly fast. The camera is very straight forward to load. the grip is well designed to make for steady hand held shots. It died out at the same time as the CP 16 and other news cameras, replaced by the betacam. which has many fetures that are sinalar to the Scoopic. back in those days many films even intended for 16mm would have been more likely to use a bigger camera (perhaps even shoot on 35 and reduction print at the intermediate stage.)

BUT don't confuse that with Super 16! Super 16 modifies the camera to use the space originally alocated for the sound track for MORE image area. It used MORE of the film surface for each frame. Cropping to get a wide screen on an unmodified camera uses LESS of the film surface for each frame.

It would not add any more grain than the super 8 neg already hs, but of course that would be more than you would get than if you shot 16mm directly. Printing up would be an optical process, and likely would require the print to be made frame by frame.

The EXP and Vison stocks all use the current process, ECN2 but the film does deteriorate in storage, More so if not refrigerated. The faster stocks are more sensitive, the 50D probably is safe if it has been in the fridge, even the first vison 500T may have a lot of dmin. A lab can take 10 feet of the end of a roll and process it for you, and tell you how much fog it has picked up, and sometimes they will even be equiped to use a sensitometer to run a more through test. Any roll that the lab says is toast is probably not a great buy, and few sellers will offer a refund under that situation..

Unfortunatly that is my interpretaion - with any reprieve being stock that is still in the warehouse. And I can imagine that folks who like the Ektachrome for slides will be figuring out how to get 35mm X 400Ft rolls spooled down for bulk loading in their still cameras if the Movie stock lasts longer than the Still stock.

Well, it is proably in the ASA 3 to 6 range like 7302, as well as being balanced for a DDB lamp running at 90 Volts (nice and red) as found on a movie printer.

Yes, that is what I thought, so he needs a Print film not a REVERSAL film. I susposed the Double perf 16mm might be more convenient for a few applications. I figured that you were quoting that based on the availability as one 3000 ft roll rather than the usual 2X 2000 ft rolls for the regular single perf Film. Only a few years ago, release prints in regular and super 8 were very common. You probaly could do a hevey mod to a 16mm contact printer to use the supper8 Print stock to make a super8 p[rint from a super 8 negative, I have seen this alluded to in one web site from europe.

Not using the filter does use up some of the latitude in that the Blue record will have a higher exposure than it otherwise would. Shooting with the filter also means that both the day shots and the interior shots will need similar colour corrections. This is not as big a deal as it used to be where the printer lights had to make big changes when such a scene change would occur. All in all it is easier to use the filter.

The Ektachrome would work if you were starting in 16mm, if you already have your project on Super8 Negative, the ektachome would give you they nagative image if used to do the Blow up. BTW, As far as I know the ECP is Many times slower than any normal camera stock.

The logical stock would be the normal colour print film, 2383/3383 or the Fuji equivalent. that film requires the ecp2 process. (Eastman Colour Print 2) Perhaps the lab that will process it can provide you with the stock, as it traditionally comes as 2 rolls of 2000Ft in a can, and sometimes there is a more than one can minimum order. Only a few places bother with it, as 16mm prints are seldom made anymore. (the TV and educational markets have moved away from film prints.)

As far as the Auricon cameras they actually record sound on the regular stock, they were intended for TV news in the day. But I also imagine that the inquiry is about using the sound stock to record pictures. I also wonder where the "edge" print is on 35mm sound negative these days, the digital track info is on the edges, and between the perfs - and the anlog track is still on the edge, - the picture area may be the only "safe" place to put the makers information.

Firstly, I am assuming that it is an all liquid kit, partial mixing of powders is a problem. Most of the liquid chems are packed with a shot of nitrogen in the top of the bottle to keep the air under control. It is exposure to the air taht causes problems. Many photographers will use small glass bottles and re-pack the remainder of stock solutions to exclude air

You can't really light a very large exterior area - particularly on a student budget. 500 is almost enough to shoot with Practical lights in many places. "Hill Street Blues" was one of the fisrt projects taht took advantage of the (320 ISO at the time) faster films to use regular office lights instead of studio lights. The same wattage (Number of Lights) will cover a larger area if lighting for the 500, OR the same light will let you use a smaller aperture - which gives you Greater Depth of Field - which may or may not suit your story.

When you say "sheet film" I think of little bits of film 4 by 5 inches. you really need UNPERFORATED 16mm. I wonder if that is not a possibility for Kodak to do if the order would be a few cans each containing couple of 2000 ft rolls. Articles in the past have indicated that the normal production method is to start with unperforated 16mm stock and to perforate it with either 16mm perfs, regualr 8 perfs or Super 8 perfs, and then if needed slit it into super 8. In this case the perfs on the side that Kodak perfed in the first place would basically be at random, and may overlap the regular 8 perfs. The regualr 8 tri-x reversal stock is made this way. I have not used any recently but I believe it does not have numbers or Keycode. It is possible that Kodak has already perforated their entire planed production of the film for the current batch. their current finacial situation may add to their reluctance to accept such a special order.

The winding key on a filmo disengages when it is folded flat as the shaft turns as the camera runs. when the flap is upright it should engage the shaft. You can pull the key out to examine it.

Depends on what you mean by "backing" Generally only the colour negative stocks come with a the REM-Jet black backing. B&W stocks typically have the anti-halation function Primarly provided by being coated on a grey base. although they may also have a dye undercoat that is removed by the processing chemicals. Colour reversal film many have dye undercoat or a silver layer that is removed in the bleach step. Are you attempting to obtain a flare in your shots, or are you woried about processing?

Whel, Kodak's manuals say that the tape is good enough for freezer storage, so if your Electrical tape is well sealed all the way around the can, you should be good. I am sure that next time you will automatically include the zip bag as part of your package, just to keep from biting your fingernails. ;)

If you use the HIGH insert on the Sekonic 398, then you must use the High index on the meter. to get your settings. how much light you get on teh film depends on the lens setiings, and perhaps the need for a ND filter.

why would you want to rewind it? Just take it out (in the dark preferably) and send it to the lab. If all else fails you will hear the end of the film flapping. Often it will make a Click when it comes out of the supply spool and the camera noise will change when their is no longer film in the gate.

The Only real difference between "clasic" or standrd 16mm and "super16" is that for Super 16 you use the area of the film that would hold the sound track in a normal 16mm print. The camera and the mag must not make any marks on the film in that area. Cameras original designed for regular 16mm often had a film guide that touched the film just between the picture and the sound track area, as a scratch or mark there would not be a problem in classic 16mm production. If the camera and mag is "clean" for super16, then using just the standard 16 area is not an issue. Super 16 typicaly recenters the lens to be in the centre of the new wider frame.