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Mark Dunn

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Everything posted by Mark Dunn

  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 It doesn't show here, but this was a cutting copy- the wrong print had been archived, and the transmission print destroyed.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.
  16. 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.
  17. 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.
  18. "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
  19. 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.
  20. Phil Rhodes 13043 posts Davo McConville 53 posts Just a thought.
  21. 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.
  22. Have to say I'm sceptical too. Pixels are much larger than the wavelength of light.
  23. 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.
  24. 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.
  25. 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
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