Charles MacDonald

You are proably in luck if the manual indicates that the camera can take single or Double perf film. you can relax about that point. If you look inside the camera you will probably see a sprocket wheel or two. They should have one row of teeth on the edge that is farthest from the camera opening. Some cameras have two rows of teeth on the sprokets and so need two sets of perforations on the film to go into. Single perf film will not work in a camera that needs double perf, but your manual indicates that is not an issue. The old advice would be to just use double perf and avoid the issue, but Double perf is not as common to buy these days. Europe is almost a hotbed of Film activity, so you will find a lot of almost "local" suppliers, mostly in Germany. for example http://www.wittner-cinetec.com/ You may also find that the Foma R-100 16mm reversal film is more available than the Kodak brand there.

Of course, It would be very tempting to bump up to 35mm for the conversion, and then bump down, if only to avoid a build up of grain and such in 16mm.

HI there, welcome to the board. Sometimes having your location can help in recommending resources. The Old Cine Kodak units are still popular with film students, and hobby users. They all will take a standard 100ft roll of Double perforated film, many will also take the more common (these days) single perforated film. Do you also have a projector, or would you be wanting to view the finished film on a computer or TV set? Are you familiar with Film processing techniques, so that we can explain the lab processes. So yes, Film and processing are still available, and in fact are rather mainstream. depending on your location there are two or three Film labs that are in the advertisments at the right of the screen that would love your processing business. The trick is to figure out what questions we can answer for you. The search function of this board will bring up a LOT of information. The answer if you want a quick film to show on your projector might be some Tri-x reversal film, or ekatachrome 100D - if you are more interested in aa video output, or live near Toronto, all the profesional COlour Negative films are fair game, (but first we have to figure out if your camera can take single perf film.)

I understand taht the Fomapan is not designed to be processed as a negative, but it is possible to do a reversal process for most black and white films. You will of course be on safer ground using the ones designed for reversal. Making prints means developing a negative and printing onto another piece of film. the classic B&W print stock is 7302. But that may be getting a bit had to find. Labs that do mostly colour may print on the colour stock these days. (although only a few labs anywhere seem to still be set up to make 16mm Prints.) The print stock then must also be processed. for your Idea, of incorporating movies shot a short time ago, the B&W reversal, is probably a good bet. (or use Ektachrome 100D and run an e-6 process in something like a LOMO tank. Either process should be done in an hour or lest - plus drying time. So you could probaly shoot at the afternoon show and plan on showing the film in the evening show.

Needle registration, (because Pin registration is going too far)

I see they have a "viewer" but I wonder if they expect folks to watch the negatives? Could be a an opportunity for for folks with labs to offer scanning. As far a profesional use, perhaps to cover off "dream Sequences" but may get stale faster than a fisheye lens.

It is not "overcome" as much as just in the background. I have only played with printing still colour, where the typical filtration needed is Yellow and Magenta. so the mask is just "there" anyway. The printing material is designed to have a "white balance" such that it is not a problem. remember that the Mask is correcting for dye imperfections so it is not uniform.

one loses less light when using a 85 to shoot tungsten in daylight, compared to using a blue filter to shoot Daylight film under tungsten light. By mixing both daylight and tungsten sources you will be unsing light which is in between. At the finishing stage, the person who does the colour balancing (different job name for film or video finish) will have to try and get the skin tones right. BTW, be aware that if the room is lit with florescent lights that they often give a green cast as the phosphors do not provide all colours equally. There are "fl" filters which have a magenta look to take some of the green out.

Hi Joseph, I think you posted your question in a new thread, and I hope that the answers there were helpful. There are a few places (very few these days ) that will make a print from a negative for you so you can look at it in a projector. But no mater what film you use, it will have to be processed before the images show, and must be kept in the dark (real dark) until it is processed. If someone has not asked you already, this forum uses FULL names.

Actually, I have been told it is technically a _COPY_ of an Auricon movement. Walter did not sell movements to Cinema Products, but they reverse engineered the design.

To be "practicable" you would need to get unperfed 35mm stock, then you perf it as 32/35 and slit it. Some of the print stocks were made as 32/35 to allow two release prints in 16mm to be stuck at the same time in the heyday of educational films. 16mm use designed from the start so you can only get one strip of 16 from Perforated 35. (and one of 8mm if you are careful) as Gerorge eastman was not wanting any 35mm Nitrate film ending up in the home.

Kodak Ektachrome. 100D Some folks in Europe slit and re-perforate some Fuji stocks but I don't believe Fuji sells any themselves.

If you snoop arround Kodaks site they will show you the exact formula to mix the ECN-2 Chemicals. Some of the items required may be hard to come by unless you have a buddy at a big lab who can get you a scoop out of the drum it comes in. Messing arround, I have got "images" at times by using a c-41 style developer. In my crazy youth I was a disciple of a fellow named Dale Nevile. who had a way of mixing colour developer using measuring spoons. The pictures came out, but what do I know, I have restricted colour vision (red-Green differentiation deficency) which made trying to make prints a challenge. (when It is too magenta, but you think it is too Green your second print will always be a nasty surprise) His formula used CD-4 and I think I should have been using CD-3 or maybe the other way around. It has been many years. Getting the rem-jet off is as nasty as everyone says. I was only playing with 36 exposure rolls so I could get away with the photo sponge and lots of water method. Perhaps you can persuade a lab to give you a discount for develop only if you will let them run your film on a slack day...

Snow makes for a challenge to film correctly, it is very easy to saturate the whites, while a touch of underexposure can make it look GREY. You will have to use your light meter and grey card a LOT. very generally, the faster stocks tend to be a bit lower in contrast which may be a big help if you are trying to get shots of folks on a mountain side. You will have to plan what sort of "look" you want to achieve. The Vivid 160T for example will make ski suits "pop" a bit more. while a plain 200T may be more favourable to the scenery. (Both the T films Should be shot with an 85. and as others have pointed out a ND filter will be almost indispensable if the sun is out, even with the 50D or 64D stocks.

Not as Vivid as ektachrome, but still seems to have a touch more punch than the standard fare.

Yes, the original poster had some very old German material so it is up in the air if they used the same trick of FOMA. they probably did not but a 3 foot test strip will conform. I am not sure myself if they Replenisher may be available in the "large" (50 Litre) size, but That would be a challenge to mix up all at once to use in a LOMO tank.

You can use D-76 as a one shot developer or use it in a replenished system... When doing a few films on a non-regular basis, the one shot method is used more commonly. To use D76 replenished you are best to use the Official Replenisher, which is one of the products that Kodak has started to Phase out in North America, so you may have to scratch mix it. Freestyle sales does make an equivalent in their "Legacy Pro" line but you would have to get it from California. (some Photo dealers like digital truth do carry the Legacy Pro chemicals.) If you mean the 50 footers that the old Kodak and Bell and Howell cameras took, you remove the tape and the two screews on teh front, The film is inside on a small core - just wind it by hand. You will proably find it is emulsion OUT. Note that the film is JUST on the core, so you have to open the magazine in the dark. There is a fairly INACTIVE Group on Yahoo, that I keep trying to get some discussion going on.. ;) http://movies.groups.yahoo.com/group/movieprocessing/ You (and anyone else interested) are invited to join.

Generaly... Some B&W reversal film has a silver Anti-Halation layer which comes clear in the reversal bleach - but will get in the way of a negative. Best way to check is to process a few feet if blank film and see if it ends up transparent.

Loss of speed, build up of fog. If their was TOO MUCH humidity - that it got into the cans, you may have sticky film. Best bet as a first step is to ask your friendly lab to do a quick test on some of the rolls. They take a few feet off the end and process it, then check it with a densitometer. This is compared with fresh film and they can then judge what shape it is in. they may or may not charge for this - although they would assume that you will be coming for them for the work on your project...

I am not sure that they have defined a "safe area" The actual "key code" bar code is out between the edge of the film and the perfs, but the "Footage Numbers" seem to come at least half way down the perfs. I would guess that their is some pressure to reduce that, but given the current market I doubt that Kodak and fuji will be making any manufacturing equipment changes soon.

Ultra 16, attempts to record an image so the "left Edge" just misses the makers markings. and so the image will also go on the soundtrack area (formerly the second set of perfs.) by the same amount. The height is constrained to avoid the perfs. Super 16 uses the normal image area and all the soundtrack area. it can use the full height of the frame as it does not go nearer to the perferations than any of the conventional 16mm cameras do. My understanding is the original poster wants to do both and use All the area that the others use. SO they would be constrained to use only part of the hight to avoid the Perfs, but could go as close to the other edge as Super16 does. The can't go more than about half way into the perf area to avoid both the film manufacturers markings as well as the possible damage from the claw in the Camera. The "ultrapan8" format is a variant and uses JUST the area between the perfs but with a half height frame and puts two frames in the area of a conventional 16mm frame by the expedient of using film stock perforated for regular 8 but obviously not slitting it. At least my understanding is that the perforated area is not used.

In Colour - Kodak and Fuji (Kodak makes both negative and reversal In black and white Kodak, ORWO (Filmotec.de) and FOMA. Fuji sells some B&W but only in their home market and it is rumoured to be bought in.

The very first 16mm camera I bought on e-bay, a lunch box like devry, had a spool gauge built in, with a note to check every spool.

the plastic spools are a bit more flexible and so need greater care. The flange my flex and allow more places for light to sneak in. When I used them, they worked fine.

They almost look "not straight" The part of the perforation that shows sticks into the frame more at the lower edge thean the upper edge, and the cut is not clean. I wonder if whoever perforated this was using worn equipment? are the Perfs further from the edge on the outside of the film? (that say Kodak super 8) Are the perfs the same distance on both sides of the film once slit?