Erdwolf_TVL

A cheap-and-nasty way to achieve high-speed, low grain would be to capture the three primary colours on three separate strips of high-speed black-and-white. Like the old Technicolor systems.

Perhaps Kodak can develop a stock where the silver halide grains are replaced with nanobots that are not just light- but also colour sensitive. Then, you'd have only one colour layer and grain comparable to current-day B&W.

I only went to film school for about a year and only learned the basics and structure on why to make films, but never got to the technical stuff. Learned how to use a Bolex, but that stuff was 16mm and rolls. Before I got this camera on eBay I knew that they were to be cartridges. So, before I buy some film, what type of film do you recommend? Where can I buy? How do I edit (programs) on a computer? The camera I got didn't come with a manual, so does anybody know where I can fancy one? My friend and I want to shoot an experimental film in a subway train. thing is, we're not sure if the light sources are sufficient. my book is always talking special light sources, but there are no outlets in train carts. What kind of film can we use in low light situations? thank you

Shooting film in a subway is a bad idea... Be sure to get permission first, otherwise you will be told to move along or arrested.

Looks like I'll have to start refering to stocks by their numbers, rather than their "friendly names" :)

Question : Why should sample strips be kept in darkness?

To my understanding, within a few seconds of ambient light, the film is saturated and no further chemical reaction takes place. Does pieces of unprocessed stock change colour over time? And what times are we talking about?

I have recently ventured out with my K3 and returned to find my rubber eyepiece is missing.

I still have the smaller eyepiece that came with the cam, but I would like to replace the original.

Are there any "compatible" eyepiece I could buy at a shop?

Or should I just dig around Ebay for spare parts?

Learning what different unexposed emulsions look like is your last line of defense, especially if you ever use recans. The emulsions of daylight film, especially 50D, look distinctly different from tungsten emulsions, such as 500T. It will help to snip off a short section of different stocks that you use, just to keep as a reference.

I never thought of this... Thanks!

If this works out I'll be very impressed...

Thanks for the feedback!

A mistake I am unlikely to make again... only looking at the first two digits of a package before loading it.

Fortunately, I'm still learning, so this could be considered "school fees"

Question, though. Should I even bother having this processed?

Perhaps underprocess this (pull-processing, right?)

The colour balance I could correct digitally in telecine, but this won't do me and awful lot of good if the film is completely black...

Title says it all - my battery contacts are corroded - please help)

Commercial contact cleaner works nicely as well in some cases... It eats away the oxidation and lubricates the contact. This stuff is potent, so don't expect to buy it at the local convenience store.

Works better on contacts with a larger, flat surface area (not spring contacts)

hiya

i wanted to ask a similar question - have been trying out my bolex h8 with some ancient film, still complete with its pre-paid envelopes... but didn't know where to send the things to. no address on the front... couldn't find any info on kodak's website... can anyone provide an address to try? :)

thanks!

emma.

This is the only address still in use (until August this year, I believe)

kodak

case postale

CH-1001 lausanne

switzerland

The film itelf is identified as being process paid, or not. The European envelopes are just a convenience and do not entitle you to anything. (Contrary to the case in the USA where you buy a different style processing envelope "prepaid mailer" separately and this entitles you to processing, since the film is not marked as process paid.)

 

Anyone who is a stickler for the rules will charge you for processing if they notice that the film is not properly edge printed. Whether they will actually notice or care or not is another question, depending on the alertness and mental state of the technician. I have heard of people getting away with it.

Thanks for this. I guess my only concern is the film ending up in the trash. So, Kodak will send an invoice along with the processed film, worst case?

What would Kodak do if a cartridge of non-process paid film arrived in an unused process envelope?

With Kodachrome on the way out, are they likely to nit-pick?

I have several of these envelopes laying round, the films that go with them too old to bother with.

Could I buy some non-PP film and ship them off to Switzerland?

As far as I am aware, Andec slit and perforate their own printing stock from bulk. I am 99.999% certain that this is Kodak stock. The results are unbelievable, imho...

Slightly off topic, sorry!

Pretty much everyone knows now that K16 is discontinued.

But has this ever been announced officially?

I see nothing to this effect on Kodak's website and internet searches are also fruitless.

(Most hits are from THIS site!)

I am shooting a music video for a friend and would like to shoot it on vision2 stock to be telecined later (I am using a canon 814xls). About 80 percent of it will be outdoors, will 200t be usable for those shots or should I get lower asa vision stock from a 3rd party other from kodak? The main reason i wanted to use the 200t is the cost for students from kodak is only 10.60 per cart and forde proccesing at 13.00 bucks a roll, totaling 23.00 a roll. a considerable savings from the cost at pro8 or spectra around 32-35. However I am willing to bite the bullet for the extra cost if it is too tricky to shoot 200t outdoors.

 

also a seperate question, could someone explain or point me to explanation and breakdown of cross processing, I know the basics but am still fuzzy about what stocks, and what process etc.. thanks for any help on either of these questions.

Get a 4x ND filter for the camera. This works well, and is not that expensive. It really is the only option (other than shooting reversal) considering that 200 is the slowest speed film available for Super8 in Colour Neg from Kodak.

About Cross-Processing, there are many articles in the Film Stocks and Processing folder of this group. You will find more information than you could possibly need on this subject.

I process a lot of 64t in Lomom tanks. Given it was the top roll, and it was the non-sporcket edge, I would say it was alost certainly caused by insufficient chemical coverage during one of the baths. If you are confident that your poored enough in, another factor is the spiral floading up and sticking out of the liquid. This is often caused by air bubbles I believe. I rock the spiral east/west, north/south a few times, then a few slightly stiff jolts up/down ... being carful not to use too much force as this can dislodge the film in the spiral. You can generally get a sense of whether the spiral is floating or not from just seeing if you can push the spiral down by the handle.

Richard

This is very useful advice. Thanks!

I have today hand processed my first cartridge of Ektachrome 64T. This was done using borrowed equipment and chemicals as part of a short course that I am doing. There were two 50 foot spools inside the LOMO tank.

One of the films (bottom) came out perfect. The other (top) has a 2mm think green tint along the sound-track edge. Its width is farily costant. It does not run for the entire length of the film, and seems to fade-in and fade-out completely randomly.

There is nothing wrong with my camera, and I cannot think that there is something wrong with the chemicals (why did the other film develop ok?) I can also assure you that I did not load the film upside down into the spool.

Any ideas what I did wrong in this case, so I can watch out for it?

I have never held or touched a Single8 cartridge... But from the pictures I've seen, they appear MUCH easier to "reload" or "clone" than Super8. If someone wants it, and is willing to pay, someone will supply it.

Pity these things are wind-up... ;)

What Super 8 and 16mm do you have?

Since I don't make money from my work yet, I baught the cheapest I could find.

My 8mm is a Canon 814, my 16mm an unmodified K3 with a handful of lenses from 28mm to 105mm.

What I like about Super8 is the "handycam" appeal. Stuff it in you bag, whip it out, zoom, focus, shoot!

The K3 is a pain to carry around and threading it takes a few minutes, but the results are chalk and cheese compared to 8mm and Video...

Most interesting. Thanks!

When shooting scenery (no action) how should one compose a panning shot?

Should one move at a constant velocity, should one start with a stationary shot and gradually accelerate, etc.

How should one transition from one panning shot to another without it looking amateurish?

Any tips and tricks on how not to "jerk" the camera when doing very wide pans? With stability control, this ceases to be a problem, but with a film camera, every slight movement goes directly to the film!

Edit : I already have a fluid head and a sturdy tripod, so that's not a problem!

Has anyone tried, perhaps with the help of a third person, to rewind a K3 whilst running and stationary?

Are noticible registration problems or speed fluctuations seen?

Well, both have their place. My biggest problem at the moment is the fact that I need to carry around four heavy cameras (35mm still, 16mm, Super8 and Mini-DV), a tripod and a light-meter to get the most out of my environment. No kidding. And I'm using public transport!

But when it's dark at night, it's all worth the while ;)

p.s- nd filter even in case of overcast sky? assuming that my lens widest is 1.4 would that be enough to have a good exposure considering that ill have few filters on which will take lots of light off?

You only need an ND filter if your light meter indicates over-exposure or hovers near your camera's smallest apperture. With 64T, you will probably find that this is not the case.

My experience is that 64T looks great on textured surfaces, and appears slightly grainy on smooth surfaces. The sky is a smooth surface (unless there's some cloud coverage) and the sand could also be a smooth surface, depending on the particular type of beach you are filming. Ideally, you'd want people moving and general activity on the beach.

64T also tends to have very saturated colours. Expect DEEP blue skies and BLAZING red bikinis.

ND filter is recommended. Also remember that although 64T can be used with a built-in filter, it is actually balanced for a 85B (slightly deeper orange than 85A used with Kodachrome).

I presume renting is not an option because of cost? In Cape Town South Africa, you can rent a Metro Carriage for one day for about $600... Planning to do this at some point myself.

I suspect that light will be a problem with 16mm. You may need artificial light, which would in turn require large battery packs or a portable generator.

Unless it's a modern high-speed train, you will need some sort of steadycam to stabilize your shots.

I know that in London you will not get very far filming a train without asking permission first. They'd think you are a terrorist and they'd want you to pay up for their services. Plus, there is a 200 Pound fine for busking...

The biggest problem with a real moving train is continuity. You are bound to attract unwanted spectators and people tend to get on and off trains quite a bit.

Hi dears.

I'm planning to shoot my first music video (low budget independent situation). The basic idea is that a man (the singer) seats on a train and meets a lot of different characters, sitting or standing next to him. A story of relationships among them goes on until the end of the song.

Two chances:

-I could just take a wild troupe to steal images on a simple ordinary train.

-I can use an abandoned and STILL train to have the freedom to set lights, shots, people etc. But in this case, which thrick can I use to make a non-still situation...like things going fast from the windows...in the background etc.?

I can't rent a "train car", and I don't want to consider the idea to shoot reversal shots in a second time on a real train.

Thank you very much an sorry if this question can be a bit stupid to you. I'm not and expert

 

ps: everything could be easier if I used a hdv camera, but I want to use a S16mm.

Teresa