daniel mahlknecht

yes, abouth 35 years old, you can download a piece of it at www.dapalmerfilm.com/download/oldfilm.mp4 I'm sure that if I treated it a bit more precisely result would have ben better still I didn't expect to get anything at all. It sure was reversal film, color or b&w I can't tell. daniel

I developed a jear ago a double8mm film, that a friend of mine had found in his fathers old camera. What I got was a totally black fil, but against strong light I could see that there there where pictures on it, but no chance to project or even scan them. now a a month ago I found the film again, and instead of throwing it away, I put it for abouth 2weeks in a fixingbath, and in the end it really became translucent, and I could telecine it. On the film was my friend at the age of abouth 12 jears, and now he has 47 jears! (i had developed it wizth ordinary b&w foto neg developer, and got therefore a b&w neg, I don't know what te material originally was) maybe someone is interested in things like this :) daniel

I usually develop this old superexpired films in my LOMO tank, using ordinary b&W neg or even paper processing chemicals. What you get is an sometimes more or less good b&W negative (from every film, also colorreversals or color negs), then I telecine it and make it to a positive on the computer. IOviously I do this only for fun as you never know what you will get, but its fun fto me and sometimes results are surprisingly god. as there do not exist official developingtimes for the films in combination whit these non apropriate chemicals i yust take the longest time for an other photoneg and then develope it a little longer. I only once developed a film where it did not work (a very old b&w double8 film) I could see the pictures, but the film did not become transparent, so there is no way to telecine it. remember YUST FOR FUN daniel

I recently finished my first feature lenght fiction film shot on HDV. Now Im sending it to festivals. as I have no money for for a 35mm blowup, i must provide the screeningcopies in an electronic format. I found one festival that acepts also 6mm Digital. I have no idea what this is, but as the other formats are only for SD resolution (Beta and Digi-Beta) it might be interesting. does anybody know abouth it? thanks daniel

Hi, i have now finished editing a 80min movie on final cut pro 5. it was shot with the FX1 and i editet it in dv . now I'm recapturing the footage in HDV. with 90% of the clips this works great, but some clips can not reconnect to the original editing. I also tried to capture these clips manually, but it doesn't wan't them, they get splitt into different pieces. I couldnt find no timecodebreakes or dropouts on the tapes. maybe someone knows what to do. thanks daniel hi, i found the problem, in the clip settings the "create new clip on start/stop" was selected, and this made the confusion for the computer. :)

the projector I mean should have a capstan drive and take 240m spools. I don't think the LS1 and LS2 have this. maybe it is also only a legend daniel

hi, I have heard that AGFA built a super 8 projector that is as good if not better than the Elmo GS 1200 does anybody know something abouth it? thanks daniel

Hi, last summer, in august I sent 20 rolls of film to the FUJI COLOR Photex GMBH in Willich Germany, as they provide processing for single8 films (they send it actually to Tokyo for processing). Normaly the film will return in abouth 4 months, still I haven't got anything yet. In the past the service worked wonderfully and there is still hope as sometimes it takes more than 4 months still I'm getting a bit nervous, as this is the footage of a fiction I've shot and i wouldn't want to loos it. (i sent two paccages of 10 from different postoffices so I don't think it got lost on the way to them) Does anyone know if they still provide this service? I had tryed to contact them, but I got no answer (I had found only their info@ email adress, so probably the mail got lost) thanks daniel

its a 7274. i know i will need filters, but i just spent all my money on this camera and not being payed for this work i couldn't aford to buy filters, also because I already have some for my crossziel 4x4 mattebox, but in the short time i had i couldn't build an adapter for the aaton. the lenses i use unfortunately are not very great exept for the 24mm 1,8. i'm also using a sigma 8mm lens with aatonmount, but must have ben a fotolens, flangefocus is totaly wrong,but it is possible to focus with the eye, still in front of this lens i can not put filters,and inside the lens i already have the 85. I'm now geting also some 50asa D filmstock as the director/producer managed to get it for free. I hope it can be mixed with the vision. Anyhow on the next film the cameraequippement willbe fully adapted to the situation (I hope at least) thanks daniel

thanks for the the fast reply. I will sleep better tonight. daniel

Hi, I need an advice, I'm shooting this days a short fiction in super16 mm on vision 200T filmstock. We are shooting in a small boat on the sea in the bright sunlight. as I have no ND filters (just a 85), and my lens (nikon fotolenses on a aaton ltr7 with fixed shutter at 180° 25f/sec) closes only to 22, but my lightmeter reads 22.9 (incident light metering with half ball of the meter in the sun the other in the shaddow), i had to overexpose all the shots. Exept for the very pale face of our actress I'm not so worried abouth exposure, but I have no experience with this filmstock. My question is, should I tell the lab to compensate this overexposure already when processing the negative, or is overexposing nearly one stop ok and can be handled in the positive print? unfortunalely we could do no tests before, because we are ultralowbudget and have just 5 rolls of film. thanks daniel

the ARRI should be a bit quieter than the eclair. I personaly don't like it so much, because it is really awfull to shoulder camerawork with the arri, for this kind of use i think the eclair is better.

reading an article abouth the 24f of the canon, I understood that the recorded image is treated as 24/1080i, but that the two fields are read from the ccd at the same time and that therefore no deinterlacing or else is needed. this would mean that the canon h1 delivers a full resolution 1080"p". I hope i understood the article right, and if this is true the canon should be the best choice in hdv for 35mm blowups at least wath regards the resolution. unfortunately i don't remember where I read the article, but i belive I found it on the web and that it was in german language. maybe this can be of help, maybe it just creates more confusion. I personally have not had yet the cance to test the H1. daniel

has someone ever tried to shoot super 16 with 1.5 x anamorphic lenses? would result in a 1:2.67 image, but can labs handle this and generate a 35mm print for projection with 2x anamorphic lenses? I shoot all my super8 matirial with these anamorphic lenses (1.5x). can labs bring this to 35mm? ANDEK in berlin could not tell when i asked. just asking daniel :)

as i know it is a non reflex camera, with all the problems these cameras have. Framing is not so precise, and also you can not focus just by looking trough the viewefinder. on the other hand lenses are ceaper as you do not need rx lenses. I would rather look for a reflex camera BOLEX RX4 or RX5, SB, SBM, EL, EBM. daniel

Depends if you want to shoot sync sound or not, there is a big difference in the price. for silent film shooting the ceapest choise is the KRASNAGORSK 3, important is to get the version with the m42 mount, as this way you can use lots of m42 fotolenses that cost not much. it takes only 30m (100ft) reels. it is easyly converted to super16. springdrive (+- 150 $) I personally love the AK16 (zeiss ikon) or pentaflex16 (its the same camera only one is pre german democratic rep. while the otherone is built in the gdr). it is the most versatile 16mm camera i know. standard motor from 12 to 32 F/s, with special motor and mag up to 90 f/s (electric motors at 12V). no need to hold your eye to the vievefinder, as it has a second shutter which closes the loop when film is exposed. it has fast change mags (30m (100ft), 60m (200ft) and 120m (400ft) the 400ft is very rare). shuter from 180% to close at any position and changable while shooting. springdrivenmotor possible singleframe possible 3 lens turret (the 3 standard lenses (12mm, 25mm, 50mm) have the iris linked, so when you cange exposure on one lense the others will change to) I even saw once a set that allowed to use the camera as a projector. easyly changed to super 16 (12mm does not cover super 16) but adapting non original lenses is dificult. (complete set abouth 250 to 500 $ on ebay) the bolex is for sure the most reliable camera in this segment but costs a lot more. I would consider only the BOLEX SBM, the REX5, and the EL. Changing to super16 is dificult and expensive. There are also the arri S cameras, but I personally don't like them so much (el mariachi was shot with one of these) if you want to shoot sound go for a eclair (NPR or ACL) but costs from 1500 to 2500$. daniel

hi, just in case you haven't noticed yet, the kern bolex lenses have a built in depth of field calculator, the little orange dots appearing in the small holes when you change focus or the iris. daniel

fortunately the seller will take the lightmeter back. interesting maybe (i had never heard of it), the usermanual says, that insekticides (like used in wardrobes) can harm the lightmeter, also it should not be kept in metal lockers or metallic wardrobes. does this include also metal cameracases?

Hi, thank you for your offer. In the meantime I have found a place in milan where they repair sekonics, so maybe this will be easier. I still hope that the guy who sold me the lightmeter will take it back, but with ebay you never know and it doesn't seem very likely. in case this two choises won't work out, I will ask you again for the number of your friend. thanks again daniel

actually i live in Italy which is not to far away, so I might try to contact him. I'm quiet confident that I would also be able to do the work, I just need to find a replacementcell, I couldnt find one in the Sekonic spare parts list. in the meantime thanks for the information

I just bought an used sekonic L-398, but it gives completely wrong results, minimum 3,5 stops difference to my sekonic L-508, and with increasing lightintensity the difference gets even bigger (the meter never reaces the point where the highlightgrid is needed). Probably seleniumcells are weak or is there a way to set the lightmeter (I already have set the zero position), do there exist replacement seleniumcells? thanks for any help daniel

sounds bad, if the film has not ben on the takeupspool, even very dim light will burn the film. It depends on how long it was exposed to the light and how dim very dim is. probably you will still see something when you develop, but if it is usable is an other question, for sure you will see the entered light on the borders of the image and on some spots of the film frames will be very light or totaly burnt. if there is no way to do the reshooting I would try to develop, otherwise I would safe the money and shoot the scenes again. If you reshoot you can still try to develop the film on your own with a morse g3 tank, this is inexpensive and maybe something can be safed. daniel

Japans electric power is not the same in Japan. Half of the iseland uses 110V 60 and the other half uses 220V 50, still everywhere in japan ntsc is used.

the modified camera should als have both shafts, and also the springdrive should work.

thank you a lot, i couldn't belive that the audiofeatures on the xl2 were so bad, but unfortunately i have been prooven wrong.