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Mark Dunn

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  1. 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.
  2. Stray remjet could come off and stick to the film during processing. It needs to be gone.
  3. 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.
  4. 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.
  5. This isn't the case under English law. A trader often has a lien on goods for monies owed; it would surprise me to find out, for example, that I could demand my vehicle back from a US mechanic without paying him for the work. The UK is a perfectly safe place to do business. This appears to be a dispute in which we don't have all the information- certainly not enough to conclude that VD is in breach of contract.
  6. You may be being fobbed off, but you may also be unaware of the pandemic restrictions in the UK. "Daily activities" are far from normal. Van Diemen may have decided that they cannot satisfy, or afford, the regulations for admitting visitors to their premises,- of course "personal" means "in person"- and of course whilst you are permitted to enter England (British citizens are currently barred from the US), you would be required to quarantine for 14 days on your arrival in England.
  7. "2001 A Space Odyssey" (Stanley Kubrick, 1968)- video assist. Sort of. "The Great Train Robbery" (Edwin Porter, 1903)- first fictional narrative. A short by modern standards. "Sortie de l'usine Lumière de Lyon" (Lumière brothers, 1895)- first film shown to a paying audience. Very short. (I think Phil means LATT to be the first animated 'Scope feature. Speaking of which- "Snow White" (1937)- first animated feature.) I think I'd have to challenge AG with, at least, "A Hard Day's Night" (Richard Lester, 1964), assuming I didn't forget what "diegesis" meant shortly after I lear
  8. Why should I be biased? I have no relationship with them at all. As to facts, I know only what you have presented. In March 2019 there seems to be an exchange in which you decline to pay for preparation work they have done because you want to cancel. I assume the dispute about servicing you claim was not done is a separate job for which you have not paid- or have you? If you have an address in the UK you can use for correspondence you have the option of the small claims court.
  9. Phil Rhodes 13043 posts Davo McConville 53 posts Just a thought.
  10. Presumably they want you to pay for the work they had already done before you changed your mind. In the UK time is only of the essence in a contract if agreed by both parties beforehand. Their terms and conditions do not promise a service time.
  11. Have to say I'm sceptical too. Pixels are much larger than the wavelength of light.
  12. Presumably this is the "sliding claw" catching in the extra perf on the return stroke, with the shutter still open. The film gets pushed up a bit and hey presto, double (or even triple) exposure.
  13. The idea of intensifiers was to increase the contrast enough to make a very thin neg printable. Now it can be done with software, IMO there's no point.
  14. It's probably not this one, but "Movie Magic" by John Brosnan (1974) is, naturally enough for the date, pretty much old-school. You can get a used copy for a few bucks by the look of it. https://www.fantasticfiction.com/b/john-brosnan/movie-magic.htm
  15. That is processed to b/w neg so it will be a silver image. Intensifying that much material would be quite a job but I don't think you'd do any better than with software. It's badly edge-fogged and if it's already been through a grade I don't think you're going to see much more than you already can. Shame.
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