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Mark Dunn

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    Steenbeck ST1600

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  1. I have never seen a Minima so this isn't from experience. The flexible spools are integral to the design. AFAICS the spool flanges are actually driven by the sprocket edges, and they are spread apart slightly at the feed and take-up points, then bend back flat to maintain the light seal. So the entire film transport depends on the size and flexibility of the spool flanges. There's no way to make it work with metal spools. Effectively it make the camera reliant on proprietary "software". It needed a thriving 16mm infrastructure, which no longer exists, and relied on a special item from another manufacturer, and that manufacturer's willingness to support it, also gone.
  2. Sony had another go at the pellicle for their later Alpha stills line, calling it SLT for "translucent", before it jumped on the mirrorless bandwagon. It works very well. I've had an A55/A58 since 2016. Sensor dust is almost a thing of the past. Only drawback- it doesn't work in pinhole mode because the super-high DoF extends right back to the pellicle and sees every bit of the surface like a microscope. It's like photographing through measles.
  3. The shutter speeds are proportional. From that table, at 64pps it would be a quarter of the speed at 16, so 1/140th. Also from the table, the shutter angle is evidently 165 degrees, so working back, the shutterspeed is the usual formula s = 1/((360/165)r), where s is the shutter speed and r the frame rate.
  4. From a discussion in a stills forum, it was suggested that this was a Primo or a rehoused Summicron. I think Primos are black. What does the team think? https://www.facebook.com/photo?fbid=843649821125782&set=pcb.843649931125771
  5. I don't get the sidebar ads at all on this or any site. Just 2 or 3 banners- top, middle and bottom. Maybe you need to check your adblocker. Firefox/Chrome. I'm no expert, but you may be getting the Norwegian ads because of your cookie settings. I very much doubt Tim is making his fortune from the ads, just helping out his costs. The usefulness of this forum far outweighs any ad problem. I tune them out anyway as I'm not in the market.
  6. I have two entire 3-400' rolls of junk film harvested from lab leaders from the 90s. Some of them are pretty good fragments of comopt prints in various languages. On shows they're great for running on the Steenbeck when the image is going to be replaced by a plate anyway. Some are pretty entertaining as well. One has Michael Eisner, Gerald Ford and Henry Kissinger- I've never tracked down the show.
  7. I've just come across your post months late. If it's still useful, you need one DR-70 and two DR-83 belts. If you don't need sepmag drive at all, you only need one DR-83.
  8. The '01 speed selector is a completely different design to the '00 so I don't think I can help directly. It uses a microswitch and a potentiometer to detect the position of the selector. However, I've put a screenshot of schematic of the speed selector from the '01 service manual on my Drive account which may help you. The disc you mention appears to be screwed into place. https://drive.google.com/file/d/1KRs4G3kvoEu9dJsJ7cq6SziKW_MMDmzG/view?usp=sharing
  9. If you search on "Bell & Howell Model C" a lot comes up. brianpritchard.com is also a good source. Brian is ex-Kodak. He may chip in here if he's still around.
  10. The first shot-to-shot grading cues were Debrie clips- metal staples attached to the film just before the cut, detected by contacts on the printer. Later, the edge of the film was notched to activate a microswitch. By the 70s, the grader created a punch tape with the printer commands and the cueing was by frame count.
  11. On my 1600 the flipper is held in place by spring tension and it's attached to a shaft running through the stack of switches that make up the selector. If yours is actually loose it suggests that something has come detached. My speed selector (what you're calling the flipper unit) is held in by a couple of metal claws screwed to the barrel of the selector which dig into the wooden underside of the table. I wonder if the disc is a modification. It would help if you could post a photograph.
  12. London prices in 1981 were about £0.25/ft for an A/B roll answer print. The contemporary exchange rate makes that about 60cents. Grading wasn't charged separately but there was quite a high minimum charge IIRC, so the fee was obviously built in. Maybe quoting a low footage rate made a lab appear more competitive.
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