Eric Eader

Jordan, Try to find an optometrist who is a photographer to help you. He might be able to design a diopter and mask (if necessary), to fit between between your apparatus setup that will focus on the screen and fill the frame of your tap camera. An optometrist who is a photographer will enjoy this kind of problem and his lens crafter may welcome the building challenge as well. A thought... Eric

Adrian, I hesitate to offer this as a possible solution, because it is not in any way computer controlled, (and it's after the fact). But, if you need intensity, it is hard to beat a theatrical "Super Trouper" or (less powerful), "Trouper" spotlight. Logistically it's not easy to place where you need it sometimes, and carbon arc rods may be problematic but it does have adjustable beam and throw. A ring gear such as gotten off of a truck flywheel (or something similar), and a complementary gear and small motor setup could be set up in front and varied in speed for effect. (Stationary effect; Instrument not moving). It is not computer driven, (convenient), but it is do-able and has intensity to spare. Just a thought, for an alternative method in the future. Eric

Ofri, Is the rain supposed to be visible to the camera?

Gareth, Congratulations, What a steal!! Now the fun begins, finding a manual for the machine. Never having seen one like this before, I can only hope most or all of its parts are there. I hope so. Who knows, if you get it running again, you may spark a buying frenzy for all those old Nikons sitting around with their 250EXP rollfilm backs unused, because you will be able to process the full length of film for them. That's in addition to motion picture shooters, of course. Noticing the Ilford sticker on it, contact them for all the info they may have concerning your machine. (Or at least its typical chemical usage). So, good luck. Keep us posted.

Rasmus, This will either be a swing and a miss, or a bunt leading to an inside the park home run. My first thought was that it was used to load film processors, because it reminded me of what I loaded all those years ago, when I ran a a 16mm processor for TVnews. That possibility was reinforced by the last lines shown on the advert: "Arri processing equipment." However, I could be wrong. (The core adaptor argues against it belonging to a processor, but I never saw an Arri processor, so who knows)? Our machine was, if I remember correctly, a Houston Fearless and the loading mag appeared simpler but as a memory of something I really didn't think much about, the mag pictured on eBay sure rang that bell: "Processor loading mag." Someone with more experience will no doubt weigh in with the correct answer.

Hello, May I suggest, rather than using WD-40 or Oil, that you use "Kroil" by Kano? (Kanolaboratories.com) Aerosol or liquid. Only the tiniest bit for camera, though. This stuff was invented for offshore oil-rig use in the North Sea area and will positively penetrate and separate frozen/rusted parts. My neighbor back in Virginia acquired a railroad jack about the size of Fender/VOX amp that had been rusting for 50+ years in a back yard. He had tried the customary penetrates without success over a few days. (If he hadn't told me that he'd been trying this, I wouldn't have known as there was no evidence to show he had), I sprayed about 1/3 of a can of Kroil over the gear area over a period of time--1/2 hour. Waiting some more time the thing loosened up and the gears turned and he took it to his friend to clean up for resale. Once a can of liquid is opened do not allow it to tip over as the oil WILL find a way out of the can!! I cannot praise this stuff highly enough. I only hope that HazMat regulations will not prevent you from acquiring it! It is (or at least "was") prohibited in California along with other solvents that absolutely worked for different purposes. "Our leaders are the finest men... sooo we elect them again and again." "That's what I learned in school today." Song off an album I discovered in a trashcan circa 1964. Hope this helps.

Chris, You might try spray electrical contact cleaner to get it opened up and pencil eraser to to clean those contacts once opened. Another thing, With mercury batteries no longer being made, there may be an issue with new battery voltage mismatch and may require a tech's help/adjustment for accurate meter readings.

Ryan, I don't know how much lead time you have before show start date, so I don't know how much time you have for prep. The simplest way would be to hang a single Electrovoice 635A from the center of the proscenium arch pointing slightly upstage. An RE50 would work as well (being a 635A with a big foam rubber head). One of the most emotional, and moving recording of a Symphony Orchestra ever made was Sir Adrian Boult' s recording of "In Memorium" by Sibelius, done with a single mike in one take. (early 1900's---no editing!!) However the problem of moving actors means more mics. Find the area where scenes play and hang a mike angled towards it. Away from the House. Professional theatre sound people will mic people with lav mics placed in their hair or under their clothing (supported by suspended mics, also)---- but like you say : that's expensive. Run these to a mixer board smaller than a Rock Band's but similar to it. (I can't remember any brand names but Guitar Center or other similar places will have them). Enough to cover the number of mics you hang overhead. (not too many!!). Then run that output to your Zoom or other recorder. Make sure that everything is ac powered and not Battery!! Especially the mics. A mic battery dying puts out the most horrendous noise like bacon sizzling at breakfast. Phantom powered mics will work but may be more expensive to purchase or rent. Won't help you either if the recorder battery dies will it? Lead time permitting you can play with stereo output or just go mono. Be sure and coordinate with the lights person as you don't want his light pipe shifting away from the scene after he has everything set, or a phallic shadow covering the face of an actress. (LOL) Be sure and avoid hanging mics where scenery will fly up into it as well. That'll ruin your day, eh? Mics will need to hang in such a way as to suppress noise from the lights themselves, but not cast that shadow. I've gotten this far and note that someone has responded and it reminds me that I was thinking of you creating an audio track as audio track. What he says is a quick option and entirely workable. Now at least, you have some options. Hope this helps.

Gareth I haven't touched a film processing machine since 1973, (and it was color reversal--7242--- for five nights a week for about four years), but I can say that your extra costs will include film leader to precede the film being processed and following it afterwards. You will need one each of 50 to 55 gallon plastic barrels to hold your chemistry (along with their connections), (you didn't specify negative or positive film). (Or the type of machine). The chemistry will need replenishment on a regular basis. There will be a large water bill as well. Talk about your "hour shower." The thing about film processing machines is that they need to run just about every day. If you've hand processed BW and/or color film, you know mixed chemistry doesn't last long sitting around unused for days let alone weeks. (for optimum results). You will also need film calibration strips for testing. However, since film processing (I gather) died in your country and some people are attempting to bring it back, aaaand if BW has enough popularity in your area then maybe other people could pay for your tinkering pleasure. Others on this forum can speak to any physical adjustments needed, and perhaps an online search of Eastman Kodak will further help you with BW processing requirements and scope of endeavor. The Society of Motion Picture and Television Engineers, SMPTE) published a manual for color film processing back in my day and probably published one for BW even earlier. (SMPE). I just remembered: darkroom space!! Rewinds!! Reels!! Cores!! Splicer!! Staples!! Hand Stapler!! Silver Recovery!! Environmental Impact!! --- and will you want to get into digitizing the processed film? Hope this helps. Good luck!!

Ben, You're welcome. Yeah, 360 degrees, for shots of the interviewer, if used, and generator and light placement. Spreadsheets are nice as far as it goes... but after doing the theory, spend some time doing the practical. By that I mean, assuming life doesn't interfere, go to a rental house and rent the type of lights and grip gear (if who you work for won't let use theirs for practice), and measure them, one at a time, and notate that. (Outdoors---Indoors---Day---Night---Near---Medium---Far---Side---Back---Bounce and Thru---and last but not least: TOP). Long ago, (I remember) in LA one could rent for the weekend (Fri-Sat-Sun), on a single day rate.... see if your area Rental House will accommodate you. Take them examples of what you did so they know you aren't doing a job. Just be sure and get their equipment back before the appointed time, or risk a second day rate. Get some likeminded friends to help and measure that light's output at various distances, then draw and notate that. If you have to do it on your own don't let that stop you. Learn what each light does, photograph that, make sketches with footcandle readings and f-stops shown. Do over and under exposures as well and work in Photoshop to bring it to different expressions/moods. As an aside, rent a gearhead and practice on that as well... you never know!!! The kind of work it seems you are doing now requires smaller units. Motion pictures, "entertainment" movies use, generally, much larger units. Although, check out "The Sand Pebbles" Cinema Classics Collection and the use of Mighty-Moles, 1000watts, for Day Exterior Fill Light. Stop by a stage theatre and get to know the lighting people, have them show you their lighting plots so you get an idea of how a stage play is lit (hard lights and color--multiple scenes in same area at different times of day/night---the so-called "specials" etc.), and the planning behind it. If you can get onto a film stage and talk to the gaffer/lighting director study their set-ups, and ask to see any light plots as well. They are using much larger lights and more of them. You might ask Roger Deakins, through his website, just how he handles the "recce"/scouting session and how the conversation with the director, production manager and gaffer is translated into a lighting scheme/lighting plot (for both large and small sets/locations) and who draws that. Maybe David Mullen can help illuminate his method(s) for this. Huge variables and similarities co-exist here. While the crew shoots a given day's work, sometimes there is another rigging crew working from a plot to pre-rig upcoming scenes at another location. The "WHAT" and "HOW" is dictated by the "WHY" and sometimes by the "WHERE," other times by the "WHO" ... and ye gads, it COSTS how much??!! There is no one way, but hopefully this will help you find your way. Rent, test, document. If you can't rent, then test and document while using your company's gear (without holding up the shoot) on the job. To bring an end to this philosophical pontification (huh?), see if your rental house has a Mole-Richardson catalog you can take home and study their extensive technical details relating to beam angle and photometric data. Then put it to the test! Hope this helps.

David, Yeah, go ahead and call them, the worry may be much ado about nothing .At least you'll have a better idea of how it should play out. I'm glad you're familiar with Keith's, I was afraid the quality might have gone downhill after the purchase by Anheuser Busch. Good Luck.

Ben, Everything you're planning is logical and until you gain experience is appropriate. The transition to narrative film will be easier as you will be doing the same, if only making sketches to illustrate a more formal drawing done by Studio Department Heads later. One thing I would add (you probably already do this), is to shoot digital photos of all 360 degrees around the Interviewee area to show what background is behind interviewer, and to show higher-ups where you will need to place whatever you need equipment- wise. It would be nice to have a lights man with you for the shoot. (Someone to actually adjust the light while you are standing at the camera so you can shout "whoa" or "that's it, lock it down" etc.). Allowing you to spot the "happy accident:" The execution scene at the end of "In Cold Blood" i.e. rain outside the window on Robert Blake's face simulating crying; or "L.A. Confidential" the sunrise glow on the wall of Kim Basinger's bedroom when she invites Russell Crowe into her personal life. If you are at the light, you won't see what the camera sees and miss a wonderful nuance of lighting. By all means learn how to manipulate every light you can get your hands on "in your sleep," but stand by the camera or look through the lens to set lights when afforded the opportunity. Hope this helps.

David, Contact Customs for information. See if the current owner has paper work for its original entry into Canada. (That will take some digging). Have your University (on its letterhead) indicate the transaction to present to U.S. officials if necessary. You can leave Canada with it no problem, but entering the U.S. could be a problem.... maybe. Have phone numbers of people at the University that can be contacted by Customs if you are detained/ not allowed to continue into the country. There is probably nothing to "declare" as the machine wasn't made in Canada. (was it?) So if that is true there probably wouldn't be any taxes required. (I am not a lawyer). If you contact Customs they will explain what is or is not taxable/declarable. Just don't take home any other things that should be declared, forcing you to explain the machine in back. I used to cross into Canada over a ten year period with equipment for Golf tournaments and the one time coming back to the U.S. I didn't have proper documents was the morning of 9/11. Eight hours later I was allowed to drive away with the machines. If you look like a dirtbag they will be tempted to search your vehicle, but if you look presentable and not worried there won't be (usually) any reason to detain you (unless you get the guy who is training a new man and decides that you are the perfect person for the trainee to do his first inspection as lead rather than as observer as happened in Montana, one lightly snowy morning coming back from Vancouver, Canada). If you are staying overnight, and you really should, as sixteen hours on the road is an extreme invitation for disaster, then by all means treat yourself to a glass or two of Alexander Keith's India pale ale with dinner. I am forever grateful to the Canadians who tipped me to this beer, and always packed a large cooler with enough to last me a week or two after my return home. Hope this helps.

Sara, There is a way to find out what size image circle each of your lenses throws. It is very simple but be careful that you don't allow a lens to roll away from you and crash to the floor. If you have access to a piece of gel that looks closest like ground glass when you look through it that would be really nice. Otherwise, a piece of white foamcore, poster board, or just plain white paper will do but stiffness helps. The gel is easiest because you can see the image from behind rather than in front. Place the lens (set to infinity) on a cushion fashioned in such a way as to cradle (immobilize) the lens near a window that overlooks a bright sunny, distant scene. (But not interfere with the projected image). Because it is so small, it may be tedious to do, but draw a centered 16mm and Super 16mm frame on whatever you choose to project the lens image onto. (16mm camera aperture= .404" x .295." S16mm = .493" x .292.") Position the viewing surface (gel, foamcore, paper, etc.), so that the upside down image is centered within whatever size circle is projected. Bring it nearer or farther to obtain a sharp focus. Work out whatever method you want for notating each image circle size for each lens. To sum up: every lens projects an image. Position something behind the lens to help you see that image. Get it in focus. Make certain everything is stable then mark the size of each lens' circle. Because it is 16mm, it is more tedious to accomplish than with a set of lenses for large format still cameras. 16mm format means focus will be quite close to the lens. (4" x 5" 5" x 7" 8" x 10" are all easier to draw). Hope this helps, Eric

Three blind men and an elephant, what??

Perhaps it's time we saw a moving image, not just a still shot.

Hello, My first question is this: Is the camera a reflex camera? Second question: When you say you were focused on infinity, do you mean the lens was rotated to its full end stop or focused by eye and short of its focus end point? Infinity is "variable." The moon is much farther from any mountain on earth yet with a properly set up lens and camera combination both can be brought into focus (in separate shots), BEFORE the infinity stop is reached. Just setting the lens to its end point will not guarantee you are actually in focus for the scene in front of you. Also, the lens' infinity mark on the barrel usually is slightly short of the end point so that on cool days and warm days infinity will vary for each lens differently. (Expansion and contraction of internal components). All of the above responses figure in after settling whether or not focus was simply placed on a mark, at the end stop, (if using a non reflex camera) or focused by eye (if using a reflex camera). Hope this helps. Eric

Pablo, The first thing that comes to my mind, is that what you developed has been exposed to light previously. Is all of the film black or just the frame area? (Meaning the area around the sprockets is clear and just a frame black?)

Hello, The shape was more for ease of positioning, as round ones are locked in position. Choose the diopter shape to fit your requirements. You might find you need something that will slide left or right, or up and down. Your rental house should have some knowledge of what will work with what you've rented or own. For a Panavision size diopter, call them. If the budget allows it they can make one for you or recommend someone who can. My suggestion for using digital meant using a still camera and whatever diopter you have, or can get cheaply, and seeing what happens in the frame and adjusting accordingly. The diopter you show above is split along the center. I believe that there does exist diopters that are split short of center for lower positioning or sideways positioning and are open ended enough for sliding in and out of frame in shot as scene dictates. Again, Panavision would be my first phone call for this information. You're are already in LA, so it's a "short distance" call.

Hello, Where to start? The biggest problem is hiding the change line from near to far; there is a change in the blur characteristic. Try it on digital first. If you can find rectangular ones, they will allow for easier positioning. For an example of a near miss in a major motion picture, check out the torpedo sequence near the climax of "The African Queen." (Bogart & Hepburn). It tried to combine near torpedo and far boat with less success, although most viewers probably never noticed... only those who have used split-diopters. As for a very successful use of them study "Hoffa" with Danny DeVito (brain fade--- I've forgotten who played Hoffa--Jack Nicholson??). Hope this helps.

Hello, The foam was probably placed there to protect the bulb from shipping damage. You can use acetone (finger nail polish remover) on a Q-tip, or cotton swab to clean the burnt foam from the glass. (Not sopping, dripping wet, though). Don't leave fingerprints on the bulb, either. Be sure and unplug the unit from the wall before removing the lamp bulb for cleaning. Although pictures can be deceiving, your machine may not have been used in a very long time, and not much even then. Hope this helps.

Hello, No matter how far or how close the object you are spot metering is away from you, the meter will show you a mid-point reading for each object (or space), you meter. Some times the background is brighter than the foreground... sometimes the reverse. You will have to interpret the numbers (Zone System placement), to find what you believe is a proper exposure for that scene.

Thomas, It pains me to say: I don't know. I mentioned London because it is a major production hub and, without looking at a map, I thought it would be closest to you. Angenieux and Arri were a popular combination back in the day especially in Great Britain. There may be other places capable of servicing both lens and camera in France or Germany. Those posters who live closer to you, hopefully, will point out their choices for having them serviced. Apologies for not helping more. Eric

Thomas, In a way, you have answered your own question: yes, ideally it should be serviced. It is old. It appears to me to lack contrast, and is soft at the bottom (especially right corner as shown), but maybe the target is not pure black and white. Since you are in Denmark I don't know to whom you should turn for that tune-up; but if you can afford it, make an appointment and take it to London (along with your camera), for a quick check, (proper flange depth) and expect to leave the lens for CLA. Others here will hopefully know the perfect facility and chime in. Eric

Steven, Generally, you should place a diffusion type filter as close as possible to the front element. Same with diopters. After that any order that is convenient for color correction, pola etc. will work. As long as the f-stop is not closed down very much, the pattern of the diffusion on the glass/plastic/net itself is less likely to be photographed. The farther away the diffusion is from the front the easier it is to be photographed, assuming a dramatic pattern. That is not to say one can't place diffusion farther out. You may like the look, but there are those above mentioned problems that could occur. Wide angle vs. telephoto also plays a role in how an effect works. I was surprised no one answered before me. Hope this helps. Eric