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Mark Dunn

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About Mark Dunn

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    London

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    http://londonsteenbeck.eu5.org/

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  1. 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.
  2. You need to come home and rent my 1600 to look at it!
  3. Holy smoke- I live in Woodford Green! Small world!
  4. 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!
  5. 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.
  6. 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 It doesn't show here, but this was a cutting copy- the wrong print had been archived, and the transmission print destroyed.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 i
  7. 😃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"!)
  8. 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
  9. 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?
  10. You might be lucky- it might be single perf, then you can tell if it's tail out (exposed) or head out.
  11. "The Ipcress File" on location in Liverpool
  12. The auto exposure should work without a cartridge, so you should see the pointer or whatever moving when you switch on, assuming there's an on-off switch. If the camera was designed to use 160ISO film, it will read at 100ISO with the 85A filter in, otherwise it will read at 25.
  13. Stray remjet could come off and stick to the film during processing. It needs to be gone.
  14. I think you and Robert may have hold of opposite ends of the stick. Unexposed stock should be frozen long-term. Processed film should merely be kept cool. Since you don't know where the film has been for the last 20-odd years, it may be that freezing it for another year won't make much difference.
  15. The f-stop doesn't change between 35 and 16- you're changing neither the focal length nor the size of the aperture, so the ratio stays the same. All that changes is the field of view. A 50 will be quite long on 16mm- the standard is about 25. And yes, if you can't stop down and lock the aperture on the lens itself, you will need an adapter that lets you do it. You will be shooting at your working aperture so you will have to get used to a dark viewfinder. If you put up some photographs here, it may help with some of the questions about eyepieces, finders and such.
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