Leo Anthony Vale

The Kodak literature says that '302 can also be used for making mattes and titles. I suspect this is the reason for having it availiable with acetate base.

Just checked print films on the Kodak site. The only acetate print film Kodak offers is 5302/7302. the color print stocks are all estar base. maybe LuckyColor.

While the entry says thata Cine-Xenon is "A 6-element double gauss lens for film projection." Not all Cine-Xenons are for projection, the list there does seem to be projection lenses. A Cinegon is a retrofocus or inverse telephoto. The front section is negative, thus not symettrical like the double gausses. That allows it to have a long back focus, which enables it to clear the camera's reflex mirror. A 10mm Xenon would have too short of a back focus to do so.

They're auto exposure and have only two ASA settings 100 and 400. So the only control you have is if using 400ASA film, click the ASA setting to 100 for back lit scenes. If I had a better computer set up, such as a 35mm scanner, I'd shot black and white neg and make anaglyphs. I'd probably be able to print out the correct size for stereo cards.

They were the color TV sets of the Victorian era. One of the extras on 'Day After Trinity-the Atomic Bomb Movie' is a "gray" anaglyph short about the Nevada test site. Clean anaglyph. It turns out that some of the most frequently seen footage of the A-tests with various types of buildings were shot in stereo. The shot of the swaying trees is particularly good, the trees are off in the distance with dust clouds stretching to the foreground. At one time I was hoping to make stereo cards using a Nismlo. But couldn't find a lab that made the size prints I needed. I didn't have a dark room nor access to one. I did shot slides with the Nimslo. Counting and mounting the stereo slides was tedious, particularly cutting the transparencies. Also 3-d DVDs are now supplied with GREEN & MAGENTA glasses. The color doesn't come out quite as bad as with red and cyan, but I'd rather they did the 3-D version as a "gray".

I could not get the enlarged pictures. I got smaller ones instead!!! I liked the rocks(?) best. No clue as to the size. Initially thought they were h

At home I have Xeroxes of 50s ads from the SMPTE Journal for the Series II Speed Panchros. The ads specically state the Series II cover a 31mm diagonal, which is the full aperture. Incidentally, the "history" sections on the Cooke sight are full of errors about dates. I attribute this to a writer being given a bunch of brochures, clippings and papers about a subject which he is unfamiliar with. Here's an exerpt from an unfinished eMail intended to be sent to Cooke, but never got finished: "Your history section states that the SP SeriesII came out in the early 40s: 1940s Bell & Howell 1940s The Series II Cooke Speed Panchros for cinematography were distributed exclusively through Bell & Howell in London and Chicago. The Series II lenses were developed for higher definition in wide screen presentations and to cover standard format 0.723 x 0.980 inches. By 1945 they came in focal lengths: 18, 25, 32, 40, 50 and 75mm. The 100mm, f/2.5 Deep Field Panchro was released in 1946 Yet outside sources such as the SMPTE Journals state that The Series II Speed Panchros and the Kinetals were introduced in 1958. The SMPTE Journal had papers describing these lenses. Certainly the "Series One" were Filmo-coated in the early 40s and going by lens lists in ASC Handbooks the uncoated 24mm was replaced with a coated 25mm. There were no 18mm cine lens for 35mm cine in the 40s." Stating that the Series II lenses were developed for higher definition in wide screen presentations is a dead give away that these were lenses from the mid-fifties. Since most of the Series "One" came out in the 20s They would cover the Silent Aperture, Though the corners might be soft. I might wonder a bit about the Filmo-coated 25mm from thr 40s. E.Tisse bought a new set of Cookes from B&H for his Parvo, when he and Eisenstein left Hollywood for Mexico.

reversal stocks are inately less grainy than a similar speed negative. the larger grains are exposed, devolped and bleached out. leaving the finer grains which are "exposed" and developed.

http://www.widescreenmuseum.com/Widescreen/wingup1.htm The photos at the bottom of the widescreenmuseum page are panavision's demo to show their superiority to B&L C'Scope lens. Older anamorphics are focused by moving the neg and pos cylinder elements together. This causes the squeeze to change. Newer anamorphics focus by means that do not move the cylinder elements. peter haas, who's a regular on the KonvasOrg was at Fox at the time and says these photos deliberately exagerate the mumps. See if you can find his posts in the Konvas archieves their & in the Google group 'rec.arts.movies.tech' . The problem would show up in the square fronts when focused close, but shouldn't be as bad as the Panavision anti-CinemaScope demos. The round fronts use newer focusing, the front spherical lenses act as a variable dioptre. as in Hawks and Technovison. yours in TohoScope,

Old Kodak literature mentioned that KII had a different type of acetate base than the professional stocks which shrunk more. It also mentions that KII is/was long pitch. This PDF for K40 typeA states that K40 has short pitch. Which explains the edge numbers. Note the two sizes it was availiable in. The 1200 footer would be for the Auricon Super 1200. Kodachrome would have been the most suitable stock for optical tracks. Ektachrome would have been too grainy. http://www.super8.nl/k40.pdf A kodak eulogy for Kodachrome: http://homepage.1000words.kodak.com/default.asp?item=2388083

Except that Sienna Miller is persona non grata in Pittsburgh.

After the US Government took over the Agfa-Ansco plant in NY state during WWII, the military had them come up with a 35mm Anscocolor reversal MP stock. Agfa-Ansco was part of IG Farben and also had a German military intellegence section. Also, Kodak had to keep manufacturing ME-4 Ektachrome and chemicals long after they had introduced te VNF Ektachromes because the it taks forever for the military to change over its labs from ME-4 to VNF and "The US Military is a rather large buyer".

They also added edge numbers. But don't know if they eventually went to Key Code. I once had to set up some NatGeo KII with single sytem optical sound for Xfer. The footage had INK EDGE NUMBERS.

No. The frame height of 35mm Scope is slightly less than 1.85/1 vistavision: .700/.715" vs. .723". They're practically the same, & prints would have been shown at the same screen height. For practical purposes they both have the same DOF. 'The Innocents' is full of deep focus CinemaScope shots & was probably shot on Plus-X or an Ilford equivalent. The height of 1.85 FFdigital would be about the same. If you screwed an iscorama attachment on to your FFdigital for digital Technirama the extra height ought to give you the about the same DOF as 5-perf 65mm.

I'm a bit late on gettin this out: http://www.nydailynews.com/gossip/2009/07/...growing_up.html He's not just explosions and people running in slow motion. he's a STAR MAKER

You betcha. http://shop.lomography.com/zenit/fotosniper/img/cover.jpg When it comes to taking snap shots, I realized there are two types of shooters: firing squads and snipers. Most folks seem to be 'firing squads', having the victims stand still. Me. I'm a sniper, watching and waiting for the perfect candid. Which is why I find low end digital cameras useless with their long lag times between pulling the triger and firing the bullet.

So just how much footage of Soviet moon landings exist? The official party line was there was no Soviet moon program to cover up an excedingly diasterous explosion of their moon rocket.

You make it sound like deep focus is an abberation, instead of an artistic, stylistic choice.

IMDb sez 35mm "Hawk Scope". Kinda screams 35mm anamorphic.

Of course not, he was a pro-slavery bushwhacker. He murdered pro-union civilians and scalped dead Union soldiers. he was a hero to ex-Confederates and wore KKK robes when he robbed his first train. More of a Sawney Beane than a Robin Hood.

This one is so obvious: 'For All Mankind'. It has the best quality NASA Apollo film footage. The films are stored in a vault in Texas and may not be removed by Act of Congress, unlike the video tapes. So Reinhart set up an optical printer in the vault to make blow up I/Ns. It's a composite Lunar voyage using footage from all of the missions with some gemeni space walks tossed in. With a score by Brian Eno. So much more poetic than all those talking heads in that Ron Howard talkumentary. Also contains a couple of '2001' references from the astronauts.

Provided it shots 48 fps. :P

If not for the A-bombs, tens of thousands of back engineered US built V-1 cruise missles would have rained down on Japanese cities killing more Japanese civilians than the Bombs did. http://tanks45.tripod.com/Jets45/Histories/Loon/Loon.htm Air frames by Republic Aviation, engines by Ford. Where have I heard that last name before.

& the German divisions of Ford and Chevy made trucks for the Wehrmacht. Of course they had no real choice. If they didn't do it volunteerly, they would have been nationalized, which would have caused stock prices to drop. Standard Oil had the world monopoly on aviation gasoline, so the luftwaffe had to buy it from them. As a happy consequence, no Standard oil tanker was ever sunk by a U-boat. In a communist state the state owns the corporations, in a fascist country the corporations rent the government.

not to nit-pick too much... But 'Solyaris' is a direct transliteration of the Cyrillic letters of the title. Lem's original novel was in Polish, which uses the Latin alphabet, & is titled 'Solaris'. So if you insist on using the exact Russian title, you should also refer to 'War and Peace' as <<Voyna i Mir>> & Ivan the Terrible as <<Ivan Groznii>>. ---The real El Pedante