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Mark Dunn

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Everything posted by Mark Dunn

  1. Yes, we're getting really good at that lately, aren't we?😑
  2. As I listen to radio on the computer now, I consigned mine to the garage the other day. Yesterday I found some cassettes. I need to check them. So the radio cassette's coming back indoors. Last month a Steenbeck client asked if by any chance I had a VHS player- I had. We saved one last year after a clearout, and a CRT analogue TV with a SCART socket. Extra (very reasonable) rental fee of course. So it's now earned its keep after spending 7 years disused. Keep the flame alight.
  3. Remember you get a loading allowance for each daylight spool(I believe it's about 3' each end) , but only one for the 400' core. So unless you can measure accurately, one of your spools may be about 20' short.
  4. I don't see any spots because of the edge effects from the circles. Can you re-post without them? No reason for expired stock to be prone to flaking.
  5. If you shot neg, dust spots would be white. If they don't move between lenses, it must be on the prism. It would help a lot if you put up a sample of the footage, or even just a few frame grabs.
  6. Ah yes- the curved edges to make it look like a badly-projected home movie (I always cropped off the edges to get a nice clean rectangle) or a Kodachrome slide.
  7. That's just a toy. Real geared heads weigh as much as a sound recordist's wallet.
  8. Just work out the new shutter speed by taking the setting for 24 and multiplying it by 32/24 or 64/24.
  9. I know those boxes. They don't have a proper light trap and it would be all too easy for the top to pop open if mishandled. You've worked this through but it needs to be pointed out to a newcomer that extra precautions are needed. If there were space one could bag the film inside the box as well, but I suspect there isn't. BTW OP, if you're not using Kodak but another brand that still puts 100' spools in cans, 100' on a core definitely won't go in one of those. The core is fully 2cm. bigger than the daylight spool centre.
  10. This is useful to know, but the box isn't intended to be lightproof because it's not intended to take a core. Presumably your lab has been warned in advance, because a lab would not normally expect to open the box in darkness.
  11. Not a bad price for loading rolls or scratch tests, actually, if it goes no higher. I charge £25 for 400' of 16mm. junk processed neg. Great fun though.
  12. According to this https://www.handmadefilm.org/resources/technicalResources/processes/developing/ecp-ecnTable.html the only difference between the neg and print processes is the first developer temperature. So labs should be able to cope. D-97 as a print developer is more contrasty than a neg developer, but presumably you'll be able to deal with that in post if you're not printing. I have no experience with either BTW.
  13. +1 to running tape-spliced film. The camera might object and lose a loop, but lab splices are usually made with two beefy metal staples or heavy-duty waterproof tape for the very reason that splicing tape couldn't be trusted to survive at high temperatures in rather unpleasant chemicals.
  14. Well, yes, but.... As I commented on that item, Kodak's turnover is 2% of what it was in its best year, 1996.
  15. ........revealing the hole in the floorboards through which, moments earlier, carried by the Sisyphean weight of his wallet, the sound recordist had crashed into the Stygian gloom of the edit suite.
  16. Back to the Jackie Stewart archive- the Steenbeck spent a fortnight in Ladbroke Grove recently with another couple of miles of 16mm. comopt. Below, François Cevert in a French doco talking about the risk of death in 1966. He was killed in 1973, aged 29, on a dangerous American racetrack. Heartbreaking.
  17. 1950s, not 1930s. Bolex are twin sprocket up to 1952.
  18. Your test loks fine- hopefully you had just misloaded the first time. Incidentally, double-perf film is no problem in a camera made for single-perf. It's the other way round that's not possible, but cameras with a twin sprocket that have to use d/p film haven't been made since the 1930s. The only exception is high-speed cameras in which the film has to be transported from both sides.
  19. https://en.wikipedia.org/wiki/M42_lens_mount "The M42 mount was first developed by Carl Zeiss at their Jena plant in 1938 at the request of the KW camera company for their Praktica line" https://www.pentaxforums.com/articles/photo-articles/the-evolution-of-the-pentax-m42-mount.html " With the introduction in 1957 of their first SLR with a pentaprism dubbed the Asahi Pentax (colloquially known as the "AP"), Asahi Optical Co. opted for the M42 screw mount" https://en.wikipedia.org/wiki/Krasnogorsk_(camera) A total of 105,435 Krasnogorsk-3 cameras were produced between 1971 and 1993.
  20. I get it now- it's jut not holding a charge for any length of time. Fair enough, it won't do. Your DP probably won't be able to manage a car battery as well.
  21. Well, a 35BL has to go on a tripod anyway, unless you're Mr. Universe. So an extra car battery may be no hardship. Don't forget, you only use power when it's actually running film, and half an hour is 3000ft.- you're very fortunate if you've been allocated that much.
  22. You can expect to be pursued by copyright holders if you publish your films in any way. Youtube, for one, screen all uploads for copyright recordings but that's actually for revenue purposes. Money talks, but even artists have to respect copyright. Short extracts might be alright in the US under fair use, if you can afford to defend them. Other countries' fair dealing expections are much narrower.
  23. I wasn't going to bother anymore with this thread, since you seem to be immune to reason, but people come here for accurate information, so I can't let your falsehoods go unchallenged. So should you. You've been told that the FFD is the same by, among others, a Panavision lens tech, you've been shown material which confirms it, but you still won't accept it. If your K3 M42 mount FFD isn't set to 45.46mm, it's out of adjustment. It's as simple as that.
  24. The pitch shouldn't be a problem- it's only relevant, and then marginally, to high-speed cameras. If the camera jammed you'd almost certainly hear that something was wrong before any damage occurred.
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