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Mark Dunn

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  1. Alarming that a company won't even make a 10-year-old machine usable unless you pay them another $30k. Or am I missing something.
  2. Bronicas were never the most durable of 6x6 SLRs so I wouldn't be wanting to spend much on repair. Maybe half the cost of replacement would be sensible...........around £200, and there won't be any spare parts. The linkage from the body to the electronic leaf shutter is a complication- presumably lots of circuitry to get corroded. Hopefully you already have it packed in desiccant.
  3. Haven't checked in for a while. To answer your previous question, films of all sorts are donated here all the time- packages are arriving every day. Ronald Grantwas at Pordenone last month, they know who he is. Work on the Steenbecks is ongoing but at least the Museum can take paying audiences again http://www.cinemamuseum.org.uk/ We replaced the belts on a 1901 the other day and ran a test film. Ronald stuck his head in the door to discuss some matter of admin and I happened to say, "it's Ninotchka by the way, Ron", because it was. I'm ashamed to admit I had to look up Melvyn Douglas. I thought it was Franchot Tone.
  4. You mention it on Facebook. Sorry, bad habit looking people up. I do it for Steenbeck rentals- see if I should have heard of somebody😃 Only here since '88 myself.
  5. You need to come home and rent my 1600 to look at it!
  6. Holy smoke- I live in Woodford Green! Small world!
  7. The Eumig Nautica has a pretty small filter thread- it would probably take the Brun matte box in my link. But good luck importing anything from the UK just now!
  8. Anything you put in the cartridge would probably lift the film away from the gate and put it out of focus. In-camera mattes were used in the silent days, but I think they slid in across the gate, very close to the film plane. You don't have access to it in Super-8.
  9. Screening 16mm. archive from the 90s at home for a mountaineering documentary (Chris Terrill, Universal/BBC) The BBC archive in Perivale, where the director had planned to shoot, is closed for the duration, so I'm now in the studio business, apparently. A fee for rental plus the same again as a facility fee- what's not to like? It doesn't show here, but this was a cutting copy- the wrong print had been archived, and the transmission print destroyed. Oops. They still had the mag stereo mixes though. "Ipcress File" credit: James Watkins/ITV; DOP Tim Maurice-Jones, my image.
  10. 😃I want to see this cupboard! Ours only has wine and gas meters in it. The 1600 is in the dining room office studio (see "Today's Office"!)
  11. Getting at the gate is tricky with Super-8. The masking method can work quite well but as Andries says you don't get a sharp edge. It's sharper the further away you put the matte- I used to have a little box like a lens hood with a slot for the matte. Shoot, rewind, reverse the matte and you have a split-screen of sorts. Here it is. It only suits a lens with quite a small filter thread. https://www.ebay.co.uk/itm/Vintage-Brun-Camera-Photography-Effects-Box-58mm-Screw-Fit-Boxed-Instructions-/183028009576
  12. Yes, hadn't appreciated that- thought the choice was just between exposed and unexposed. Cupboard under the stairs after dark? Quick dive in and snap a bit off?
  13. You might be lucky- it might be single perf, then you can tell if it's tail out (exposed) or head out.
  14. "The Ipcress File" on location in Liverpool
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