Christian Flemm

On 4/21/2024 at 6:54 PM, Mark Dunn said:

On my 1600 the flipper is held in place by spring tension and it's attached to a shaft running through the stack of switches that make up the selector. If yours is actually loose it suggests that something has come detached.

My speed selector (what you're calling the flipper unit) is held in by a couple of metal claws screwed to the barrel of the selector which dig into the wooden underside of the table. I wonder if the disc is a modification.

It would help if you could post a photograph.

Dear Mark,

Please see a folder of three photographs here:

https://drive.google.com/drive/folders/1rTdQDtAZ7KW_OAM2vrAibu4GY4TTlIOG?usp=sharing

My unit is a six plate ST 1901 with two mag sound heads.

Best,

C

Dears,

I recently moved my old Steenbeck into my new apartment and noticed upon powering it up that the speed control flipper had become loose, causing the newly-untensioned flipper to freely slide around from one speed to another. While this hasn't issue hasn't impeded the machine's functionality, I nonetheless took a look under the hood and noticed that the metal disc that holds the flipper unit in place had become loose from the industrial adhesive that was applied to it at factory.

To fix this, I'd like to re-adhere the metal disc to the flipper unit, but am curious as to whether anyone who has (or hasn't) encountered the same issue with their machine may suggest a particular glue to solve the problem, or suggest an alternate solution.

Best,

C

The manual for the Arriflex III actually details the capacities of the available magazines as 200ft and 500ft; and says that "The 60m magazines, as well as the 150m magazines...are identical to those used with the," Arri 2C.

So, I guess I have my answer.

On 3/13/2024 at 11:09 PM, Robert Houllahan said:

I would suggest 3D printing a cover with a 4-Pin XLR that could be fitted over the existing Arri motor terminals and cutting them down to flush with the motor casing and then soldering on wires to go from the two terminals to the XLR.

Ended up cutting off the male end of the original cord and rewiring the severed end to an XLR. Then, via an adapter, XLR to D Tap. Works great. Thanks again Rob for your advice.

Dears,

This may seem a particularly daft question, but as I have a shoot coming up and am in the process of cutting down 1000ft film rolls into 400ft+ rolls for my mags, I'm wondering exactly what the true capacity is on the 2B/C's "400ft" mag.

I notice when running the camera that the footage counter goes up to 500ft; however, today when I popped a ~450ft roll into my mag, it felt quite tight despite otherwise fitting. I'm writing wondering whether I should be wary of loading so much film into the mag, or if I will be fine (as Arri would not label the mag as having a 500ft capacity if it could not run that much film).

Best,

Christian

Dears,

This question has been asked on the forum before, but seemingly everyone else has had the luck of having an XLR port in their Arriflex motor. I own a IIB and need to devise a portable battery solution, however my 24fps motor has only the obsolete, two prong connector (I've attached a screenshot below of Visual Products' page ... despite being a variable speed motor for a IIC, mine has the same connection).

I understand that the motor needs 16V, but that 12V batteries seem to work fine. Further, I own a V-mount battery and would love to adapt the motor to D Tap, but any solution would work. I would appreciate some advice on where to start. Is it worth using the old plug directly to a battery brick? If so, what is that plug type called? Alternatively, how could I have the motor adapted to accept D Tap?

Best,

Christian

Hi Rob,

Processing as reversal either industrially or by hand won't be an issue here in Berlin 🙂. However it is/was my understanding that B&W films with strong anti-halation layers, or B&W films that do not have a clear base, reverse quite poorly. Given that I won't be scanning the material, but developing it for immediate projection, I'm trying to determine whether I can use this material to create a strong projection positive.

As for shooting, I'd be running it through my Arri 2B. I was more curious as to whether you / anyone on here found it strange that the base is so thin. Though I'm not as well-traveled with ORWO material, I've never handled acetate material this thin.

Thanks again for your input.

C

6 hours ago, Robert Houllahan said:

Maybe not related but still there are only a few ways to make B&W film stock so definitely cousins.

I would rate it at 20iso and not shoot in low light.

Hi Rob,

Thanks for the recommendation. To be clear, the only reason I was curious as to the stock's lineage was to determine in advance how suitable it would be for reversal processing. The base being as clear as it is is a positive sign, but as I mentioned above, the acetate base is also incredibly thin, similar to polyester-based stocks. Any thoughts on this?

Best,

C

Hi all,

Not to piggyback off of Rick’s thread but if he’s all out I have some rolls of Fuji material in 35mm that I’d be willing to part with. Please PM me for me info.

Best,

Christian

On 2/26/2024 at 6:22 AM, Robert Houllahan said:

How old is it?

I used some Kodak Plus-X 16mm negative in 2019 that had expired in 1962 and it came out great, shot in full daylight and I rated it as 20iso.

Howdy Rob,

I’ve also only ever had good luck with old Plus-X. I hand-processed a roll of Plus-X in Super 8 for a friend not so long ago; the cartridge expired sometime mid-70s but came out good as new.

It’s not clear how old the ORWO stock is. Still I’d guess it’s no older than 1980. The native ASA of the stock is 80, so we have bulk rolled a six still canisters and are testing 80, 64 and 50, as well as those same speeds with +1 push.

For anyone following this thread, ORWO told us that NP55 is not at all related to UN54.

Best,

C

Dears,

I'm currently testing a batch of ORWO NP55 motion picture film in still rolls in an attempt to determine how best to expose and develop this long-expired film stock. Ultimately the film will be shot as motion picture.

When loading, I noticed the film's acetate base is so thin that the highlights of my friend's ceiling lamp were well-visible through the stock. Any ideas as to why this is the case? I've never held an acetate-based film which felt so thin, similar to polyester.

On another note, any old timers or ORWO historians know whether the NP55 emulsion is related at all to the modern UN54 emulsion? I am curious to try NP55 as reversal.

Best,

Christian

Dears,

Might anyone take the height of their Steenbeck for me? I’m building a table into my wall and would like for it to be the same  height as my Steenbeck.

My 16mm Steenbeck, a late model with six plates and a single viewer, is in pieces in a friend’s cellar, so I am unable to access it at the moment.

Last I checked, the working area was 80.5cm off the ground, with a thickness of 1.7cm. Though this was a 35mm Steenbeck.

Anyone care to kindly doublecheck my crazy request?

Best,

Christian

 

1 hour ago, Michael Carter said:

Christian https://www.facebook.com/profile.php?id=61550960594311

Michael, would you care to send me photos some other way? I’m not on any social media and cannot access your Facebook link.

54 minutes ago, Michael Carter said:

Two spiral developing tanks for 16mm movie film, 100 each. One Uhler, 10,000 ha ha

You’re a funny guy, Michael! And you’ve definitely made good use of your printer.

I am interested in the Superior Bulk developing tanks. Care to send some photos, either privately or here?

Best,

Christian

Dears,

I am offering for sale three beautiful Kern Switar lenses (10mm RX, 16mm AR Switar, 25mm RX) for your 16mm Bolex, movie camera, or MFT digital cinema camera. The lenses come with head and tail caps, have recently been serviced, have smooth focus rings, and are functioning without issue.

I am preferably shipping within the EU, and local pickup is also possible in Berlin. If you are located outside of the EU, let's talk and see whether we can make it work.

Lenses are available for the following prices:

Kern-Paillard SWITAR 10mm RX 1.6 C-mount Wide Angle Lens - 600 EUR

Kern-Paillard SWITAR 25mm RX 1.4 C-mount Lens - 350 EUR

Switar 16mm F1.8 AR C-Mount Lens - 175 EUR

The lenses may be purchased all together for 1000 EUR.

Buyer pays shipping. Please DM me for more information as well as photos.

Best,

C

I’ve got one free of fungus and scratches. Feel free to make me an offer.

mediumintimacy@gmail.com

Friendly bump :)

Dears,

I've been using a small Meopta tank to hand process approx. 5ft of 16mm film at a time, but lately have been noticing a flicker making its way onto the film material, whether I'm processing as reversal or negative. Here are two short tests, the first of which is in Tri-X reversal, and the second of which is in Double X negative (digitally flipped from neg to pos). I'm wondering if this is a result of over-agitation in the first developer (in both cases) or whether someone has a better idea.

The scans were produced on a homemade scanner, but I use this machine regularly for clients and know that it is not a factor in the image quality here (which was also apparent during projection).

Best,

Christian

Hi all,

I recently purchased the Fomapan R100 home developing kit to run 100ft/30m of double 8 reversal material for friends. I’ve got two rolls lying about and am wondering whether the chemistry will be completely exhausted after initial use or if I can prolong the first developer time by 15-20 seconds to run a second roll.

Can’t seem to find any answers about this online.

Best,

Christian

On 7/18/2023 at 9:07 PM, Frank Wylie said:

I think you are looking for "Superior Bulk Film Company"; they were in Chicago.

Hi Frank,

Good catch. My mind wasn't in its right place while typing.

Best,

C

Hi Richard,

Thanks for the note. In the time since Mark's original response I figured that both the bleach (yes, dichromate and bottled for us by Andec) and second developer were weak. I'm happy that you are confirming my suspicions! Since, I've mixed new developers and am ready to get back to testing. As I said, I've run reversal many times before but have never had something like this happen as I've not been sharing chemistry, so I really appreciate your experience in problem-solving!

Again, thanks for the super informed, detailed reply. 

Best,

C

Hey Mark,

Insufficient second developer, you'd say? I had 2L of first developer on-hand. Thanks for your feedback.

Best,

C

Dears,

First time in a communal darkroom, but I've been hand-processing 16mm film in my own space for awhile now. A friend gave me a roll of ORWO UN54 to be processed as reversal, which I ran in a 100ft LOMO tank. Results were unexpectedly disastrous (uneven, dense) and I'm puzzled as to what could have gone wrong. Please see the screenshots here...maybe someone on here with eyes more wizened than mine could point to the problem(s)?

I know that the film was overexposed in-camera, so if anything the results should be quite clear rather than dense. I tested the first and second developers yesterday evening and had no issues (in C4 chemistry, UN54 is suggested to be run in the first dev for 5 mins, and in the second dev for 3 mins, which I did), and apart from an issue with the developers I've no idea as to what could have happened here to get such nasty results. Fix was alright too (when developing I fixed the film for two minutes as prescribed...maybe not long enough?), and bleach certainly wasn't exhausted as it came out of the tank still yellow. Could this have been a re-exposure issue? 

As for the black gunk all over the film, my guess is that it's leftover remjet from a friend, who had just finished processing a roll of color neg in the same tank just before me. I think we simply didn't clean the tank carefully enough.

Best,

Christian

Hi all,

I'm in search of any 16mm amateur lab equipment manufactured by Super Bulk Film Co. (Daylight tanks, contact printers, drying racks, etc.) - please feel free to DM me with offers if you have anything for sale.

Additionally I'm on the hunt for a Uhler tabletop contact printer.

Best,

Christian

Dear Reader,

If you are in possession of any 16mm experimental films, you reside in the United States or Europe, and you are interested in selling, please dm me.

I'm open to any offers, but am particularly keen to acquire more structural films made in the United States in the 1960s/70s.

I've a large print collection and may be open to a trade, if that is of interest.

Best,

Christian