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Derick Crucius

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Everything posted by Derick Crucius

  1. Michael, when you processed the 7363 as negative, did you find that it still had the yellowish tint to the stock? I just processed this and although still wet and hanging to dry, I found that it still had a bit of the yellow base color to it. Did you use hypo? I used hypo for mine in a rewind tank at about 6 1/2 minutes. Processed as neg for 13 minutes in D76 (the Morse requires 2x the standard dev times, so I hear) Any input is appreciated! -Derick
  2. Hey everyone, a little late to this thread (by a few years). I just picked up a beautiful Rivas splicer and wanted to know if its at all possible to use non perf tape with it? I have like 9 rolls sitting in my desk drawer. If not, Is the single perf tape anywhere or do I have to stick with the double perf tape? -Derick
  3. Thanks Simon, does it matter if I send the negative tails out or heads out? Also, this all gets a bit more confusing working with b&w reversal. In that instance, the base should be towards the lamp with emulsion facing the lens. Im guessing the perfs should be facing the opposite direction than where they would be when splicing, meaning the face the projector?
  4. Yes its 16mm, my apologies. Thanks so much Simon!! Its much appreciated. Would it be the same orientation for a work print as well, or is that A-wide making it different? If so what would the rule be for that? Thank you in advance. -Derick
  5. Hey everyone, Im going to be splcing my negative for print and wanted to ask a quick question. So from my understand, camera original & negative film should be b-wind (emulsion out) for printing. My question is, what should the orientation be for the perf when splicing on my rewind bench. When splicing, should my perfs be facing me or outwards? I know this is probably a novice question, but I want to be sure Im doing it right before sending off to the lab. Any tips or advice about wind and orientation is very much appreciated. Thanks in advance, -Derick
  6. Hey all, Im looking to buy a Rivas or a Hollywood 16mm tape splicer. I have a ton of perfed tape and this is something Id like to acquire for my workprints. It doesnt have to be in the best comestic condition as long as it works well. Im hoping for a reasonable price tag, if at all possible. If you or anyone you know is looking to get rid of one of these machines cheap and fast, please let me know. Thanks in advance, Derick
  7. Hey Everyone, Im selling my Bolex H16 Reflex camera body. It has been full serviced, so no need to send it for any type of repair. The prism was replaced with a bran new one when I sent it for a CLA. Camera comes with: -Pistol Grip -Flat base adapter -Filters -Single frame trigger Asking price is $550 + shipping I can send more pictures on request
  8. David, my apologies. For this specific question Im referring to working with color negative, not reversal. I should have specified that this is an entirely new inquiry. Mark, thats fine. I also have press tapes if I need to use them for whatever reason.
  9. Thanks everyone, ideally Id like to make a projection print in 16, so when I say dupe I mean print. CIN meaning color internegative. The reason I ask if I could make an IN of a timed work print is because Id like to experiment with scratching and paint on the film, and if I were to do this with the negative, the printed image wouldnt be accurate to what I set out to do. Can this be done and would an IN of my cut print yield a good quality image when striking prints for future screenings? How about for scanning? Id like to also get these scanned for festival entries or to release on the web, but Id like to have a physical print to project as well when the opportunity arises. I could splice my negative to match my print, no problem. I have a hot splicer though so Id be using cement. Thanks everyone
  10. Thanks so much for the tips, Mark & David. Honestly Im just trying to figure out the cheapest way to work with what I have stocked up which is expired color reversal and b&w neg. Your advice is incredibly helpful, thanks a ton. Heres just one last question. If I were to shoot on color neg, would I be able to get a timed print, work with that, and create a CIN from that for dupes instead of ever having to cut the camera original neg? Id like to try to take a negative cutter out of the equation, again simply for costs. Id splice my own color neg, but the orange mask makes it hard to get an accurate representation of color. Would a CIN of my workprint degrade the image quality cvs working with the original negative? Best, Derick
  11. Thanks David, I would be using reg 16. If I flipped the dupe would there be any change in image or anything like that?? What would be the difference in image, if any? I could scan the negative separately, but I wanted to have a digital representation as well as a projection print, for the off chance that I may be able to screen the film as a print versus a DCP. I jus wanted to get any advice before I begin splicing a project to what whats possible and what I should steer clear from. aesthetically Id prefer not to use a&b roll, I want the film to have a raw and rough feel to it, so splice markings and other artifacts are welcomed. If I were to get a print of just the b&w negative, what would render the best quality for splicing? Perhaps I should keep this project only reversal based and use Tri-X? I just have a ton of 7222 laying around that I want to use.
  12. Hey all! Ill try to keep this question quick and simple. Im an experimental filmmaker and like to process my own film. I want to try to splice some 16mm color reversal together with some hand processed b&w neg. To achieve a positive for the b&w in my print would I have to get a timed print made of the b&w stock and splice that to the color and then make an internegative from my finished cut? I am not dealing with a&b rolls, this would be a single strand piece. Im fine with splice marks and such. A second question, say I cut my camera neg to the color reversal. If I were to have this scanned, would my b&w be positive in the scan or a negative? Im trying to keep costs down as much as possible so Id like to work with originals. Thanks in advance! -Derick
  13. Ok great, is it a 2 bank splicer? What condition is it in? I guess i'd have to see it before making an offer. -Derick
  14. Tyler, awesome! How much are you willing to part with it for? Do you have photos?
  15. Hey Everyone, I'm looking for a 16mm film synchronizer, if anyone has one they would be willing to part with cheaply. I don't need anything fancy, and a 2 bank is fine. Just need something that works. Let me know if anyone has one they would be willing to get rid of. Best, Derick
  16. Thank you very much Simon! This information is all very helpful, and honestly it could be any of these issues. Its good to know though so I could start the process of elimination. I did forget to mention that the film I was working with was spooled down from a 400ft roll, and quite honestly i think I might have put too much film on the spool, not sure if that could have been a possible cause as well. As long as its not the spring I'm good, I could deal with a ruined roll of (expired) film. Normally my camera purrs quite nicely and runs pretty well on full wind, although it does seems to slow down just a tid bit on the last second of the wind, but if i'm not mistaken this is pretty common amongst Bolex spring wound h16 cameras? Thanks for the information, Its very much appreciated. Best, Derick
  17. So I ran a test roll through my camera 3 times and there wasnt a single issue with the motor slowing down, although all of this was indoors at room temperature. I have a Rex o fader on my camera, Im not sure if this could have caused the issue when I was doing fade ins/outs while shooting. Perhaps it got stuck when I switched the camera to run continuously? Or maybe it was just not loaded properly? I dont mean to stress, but I just want to get to the bottom of it so it doesnt happen again during a shoot that is a bit more important. Has anyone seen this before? -Derick
  18. Thanks Jon. Id say that could be it, buts its always ran great. Hard stops at 28 seconds at 24fps every time. Barley slows down...so this is the first instance that Ive had an issue like this. Perhaps the spring is getting weak.
  19. Hey everyone, So today I was shooting with my Rex 4 and something strange happened. As I was running down a full wind, my camera started running really slow mid wind, almost like the little engine that could. Now before everyone says to get it serviced, I want to cancel a CLA out. I just had it serviced a month ago, so lack of lubrication shouldnt be the problem. So ideally Id like to rule that out. Could the cold weather be the issue? It was about 30 degrees out, and once I had the camera back indoors it seemed to run smoothly. But the camera was not loaded when it was running smoothly again. Another thing I wondered was could the problem be because maybe I mis-loaded the camera? The film did run through to the end. Im kind of baffled because all seems to be fine now, at least until I load it up again. Any advice or insight is very much appreciated. Thanks in advance! -Derick
  20. Thanks Dom! I have a box of Zeiss lens tissues presoaked in lens cleaning solution, would one of these work?
  21. Hey everyone, So I was filming today, and as I was switching lenses on my turret, my finger touched the prism and there seems to be a little smudge on it. Can anyone recommend a safe way to clean it without causing damage or scratches? I heard a proper high quality lens cloth can work is lightly rubbed against it. Not sure what else to do. Thanks! -Derick
  22. Hey Rob, I sent ya an email. Looking forward to hearing from you. -Derick
  23. Thanks a ton Mark & Rob! Its very much appreciated. Rob, what are your rates for optical sound per foot? From my understanding, don't I need a dupe of my negative with the negative sound track prior before striking a print?
  24. Hey all, Can anyone recommend a lab or person who deals with optical sound or mag strips for 16mm? Ideally Id like to have my digitally recorded audio track converted to an optical sound track on my 16mm print. Thanks in advance!
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