Charles MacDonald

I recall that there were BOTH A Tri-x Negative and 4 X negative depending on the time period. There was also XT pan negative, primarily intended for Background plates (think it was about 50ASA.) I did shoot one 100ft roll is still camera rolls back around the time it was discontinued.

yes, I have an Conon Xti, with a "small" (APS-C) size sensor. it takes part of the image out of the center of the lens, so I have to use a different Focal length than if I use a film Camera or a Full Digital to get the same part of the subject in the image shooting form the same spot. In that regard the XTi came with a 17- 50mm lens while the film camera uses a 28-70 so they both have about the same range. BUT I can put say a 200mm lens on the XTi and that lens is still 200mm, and the camera will list it as 200mm on the metadata. To get the same shot with the film camera I would have to use a slightly longer lens. If I put a 200 mm lens on my Filmo with a c-mount adaptor, it will still give me a similar image to a 8 inch 16mm camera lens. (8 Inches at 25.4 mm is 203.4mm)

should go farther I guess. If the adaptor does not fit several c-mount devices, and if it only goes in a few threads is it not a c-mount. Also THERE IS NO CONVERSION OF FOCAL LENGTH when you move a lens to a different type of Camera. A 50mm lens for a 35mm movie camera will be 50mm on a 16mm camera, a Video Camera, a 35mm SLR, a Digital SLR, or an Instamatic. This whole business seems to have gotten started with the small sensor Digital Camera with the lens marked as "equivalent focal length" so that a 13mm lens on a teeny sensor acts like the equivalent of a 50mm lens on a 35mm SLR. If you have a 50mm lens and put it on a 16mm camera it will work like any other (slight telephoto) 50mm lens on the 16mm camera.

http://en.wikipedia.org/wiki/C-mount sums it up. perhaps your adaptor is not a c-mount?

It is part of the edge print. On the current Keycode coded films it is a part of the emulsion code. on print and some reversal films it is actually shown as a year. On Pre-key-code stock they used a series of Symbols which repeated over a 20 year cycle with a few Expections. http://motion.kodak.com/motion/Tools/Post_Production/Keykode/id.htm has the table of years for "Modern" film near the bottom of the page.

As long as you don't forget it is there and open the camera! Time to keep film is a bit different depending on what sort of Movie making you are doing. If you are using a Panavison unit, you are probably doing a "full blown" feture type production where you might have to intercut shots made at the start and end of the shoot a couple of months apart. Fred is talking to Joan in a shot done on the back lot, but Joan replies in a shot taken in front of Toronto City hall standing in for some other building taken in a two week location trip. (Toronto always stands in for some other location) There you really have to be fussy about keeping things stable. Now you have a roll of B&W in a Bolex, you will shoot the rest of it probably in different light anyway. The very least the action is not be inter-cut with your first 50 feet. That takes a lot of pressure off. Kodak says that they plan on Movie film being used in 6 Months from the time they ship it, but there still films which use the same technology have a 2 to 3 year best before date. So yes, Use it within the year, even if only to get your camera back. I actually was doing a small test recently where I took a roll of 7222 out of my Fridge and shot a few feet in an Very old 16mm Auricon camera just to see if the Camera worked. I shot and processed the test in October but according to the date code (KA) the film was made in 2004. see

If you are dealing with your local lab, they probably know of anyone looking to sell ends locally. The short end guys like film emporium tend to prefer working on a quote basis. The stock they have probably changes all the time. If you know what you want give them a call and ask what they have - the more open your requirements the better chance that they will have a suitable match. I think there is a short end guy locally in Vancouver BC, so check the BC film commission site. E-bay is a bit of the wild west, but I have seen most of the short end places selling stock from time to time. Just don't look for "vintage" stock.

Many of the larger stills labs used to use continuous C-41 processors. The iflm was spliced together and run as a roll though the machine, and often the entire batch was then printed into paper prints before the splices were cut and the film returned to the indicidual customers. Often the machine are capable of Both 35mm and 16mm as "Pocket Instamatic" size 110 film is or was 16mm wide. The labs may be a bit concerned with cross contamination with unusual films. was the film intended for e-6, or for some special process? Big labs like Dwaynes, Fuji or Dale in florida may still be running these machines.

There used to be 1600 and 3200 Still colour stocks, grainy but workable - mind you they may have been a bit optimistic in the speed rating department. Even Ilford Delta 3200 B&w still film basically has a push built into its processing instructions. Major problem with any of the faster films is a tendency to build up fog much quicker than slow speed films, resulting in much shorter dating, while the specialised mature makes then stay in the warehouse longer, resulting in more waste.

The empty cartridges DO come up from time to time. and sometimes surplus stock comes up that is from the last decade and is still usable - Fellow in Georgia under the name Java Photo seems to list some Plus-x B&W that has been frozen for years from time to time on e-bay. The cartridges were designed by someone very cleaver, and do things like draw the film over the same sprocket twice, they need double perf film which is generally a special order item. They are very complicated to reload.

Fridge is always safe, as long as the film is well sealed against humidity. and has not picked up moisture from use. I have seen Yeas and Nays about using the freezer. Film should only be frozen if it is still in the factory sealed package to avoid frost effects. I have seen some posts that implied that "some" films "don't like" being frozen. Only data sheet I have seen that says to store at 4C is from FOMA (http://foma.cz/ )

The kodak web site has a diagram of what they call A wind and B wind film. Most 16mm cameras expect "B" wind and emulsion in. (exception being the a-minima and probaly a few others.) I think your description has the film in the right orientation to go in a camera, but studying the diagram will allow you to have the onfidence you are right. I find that I can feel the position of the perfs with a thumb nail if needed, and slightly damp fingers can tell the enusion side, (only on the VERY end of the roll.) With the single perf film, I don't think you can manage to get the film "backwards" and still have it in the right wind.

Surprise with my first 16mm roll of Orwo. I got a couple of 100ft rolls of the ORWO in 16mm to try, and they were packed in 100ft 35mm cans. Curiosity had me open the pack in the darkroom, and I found the 100 ft roll was just on a core, rather then a spool. No harm done, but I am not sure I can wedge it into my Filmo without re-spooling. Whould be a nasty shock to someone opening the can in the light and expecting to find a daylight spool.

The formulas are a bit different. Both of them used to be on the Kodak site, ECN in the Z1 manual series, C-41 under Professional products. The Colour developing agent is different, so the colours will not be the same. The bleach is different so you would have to watch for retained silver and or colourless Cyan Dyes. Kodak and Fuji will of course disclaim any promises of dye stability. On the bright side, I have home processed still negatives on ECN-2 using a unofficial developer based on C-41 so they are possibly close enough that it should work. (maybe) The other way will be a disaster as C-41 has no idea what to make of the rem-jet backing on ecn2 film.

So you shot 250D in Bright sunlight, and had to overexpose by one stop to get a reading that your camera could support? and your question is basically if folks would ask fro a one stop Pull, or if the film latitude will let you get away with Normal processing? (with a slight Financial Bias to avoid the lab charges for Pull process? Am I interpreting your question correctly?

Yes, I was thinking of the special long term storage cans. I know the CBC for example is gathering all their film clips and placing them on cores in specialy made colour coded cans. http://archives.cbc.ca/info/archives/archives_en_20.asp?IDLan=1 These are also ones from DANCAN. http://www.dancan.dk/ (Looking at their site just now there "French metal" cans look just like what you were asking for... They have one at 360 mm in diameter about 14 inches. But they are flat sided unlike the Kodak cans, some of their 35mm cans (the HO series) look like clones of the Kodak cans.

I am not sure if I am interprreting you but the 100 ft spools normaly come with some extra length of film, to allow for what oyou use in threading the camera and also for what is fogged with loading in daylight. This is perfectly good film in most cases if you can use it without damaging it in loading and if the lab does not trim it beofre processing. (I do recall getting a roll years ago where Kodak had perforated the type number on the leader protion to prevent it from being used, but I don't believe this is current practice.)

I know I came across some larger gold cans on e-bay. Kodak does sell some 16mmX800ft rolls so they must make them. The ones I bought must have been for 800ft film on a core as a 800ft reel just does NOT fit. they are not in the Kodak catalog, but perhaps your lab can get them though their contacts BUT why not use plastic? they are available in inert materials, no rust, and there are even some with a "post" that holds the core so the film is not resting on the edge of the can.

It is one of the lowest priced of the Pro meters. It does not need batteries, as it is based on a silicon solar cell. The dial has a "cine" scale for convenience. It is probably a good "first" meter, which will act as a good backup when you have to need to step up to a 1000 dollar meter.

and the 3000 in the label indicates that it was intended for a high speed camera.

The better the quality of the Telecine, the more expensive it is as a rule. You have 8 hours of footage. One thoucght wold be to do a "workprint" one light transfer with teh Keycode showing in a window. Edit that, and then go back and cut the negative more or less to match, - then get a GOOD transfer at that point. Ship it all to NCL in Toronto and get a film workprint, and borrow a flatbed and work with that. Again conforming the negative and working from there.. Good fast Cheap, pick any two.

I think I have seen on a datasheet that Kodak lists times to process TXR as a negative. Processing a negative film as reversal can have mixed results, but in this case the maker has tested it both ways.

The Plastic filters are quite popular in the stills realm, most notably under the Corkin name. They are probably not a scratch resistant as glass, and some would question how clear they are because of that. I have no personal experience to pass any judgement.

Brian, your posts never seem to be self promotion. And I for one always read them carefully as they often touch on many topics. I enjoyed reading the booklet you transcribed. Is that the first mention of the now Ubiquitous D-76? (Ubiquitous in still Photography anyway), also the mention of the filter to control contact reminded me so much of Varigram, Polycontrast and Multidrade Printing paper, I wonder if this is the start of that technology?

and the only information to go on on a can with an end is the stock number and length. (ie 7219 250Ft)