Mark Dunn

OP, presumably you're aware that Cary Grant was passed over, not on grounds of age, but because he wouldn't sign to a multi-picture deal?

Steenbeck will sell you a new one for about £20,000. If you were in London you could rent mine.

Don't you even have mutual recognition of vehicle registration? We have it across the EU.

Yes. Fuji's CR-56 and Agfa's AP-44 processes are identical to it. I don't think there's any other extant colour reversal process anywhere on a commercial scale.

Technical Pan is of normal contrast in the right developer. Of course it has no cine application in 70mm., but someone who still has a 70mm. back might want it for stills. Ebay is worth a try, but don't give it away, will you? It'll be fine for years in the freezer if it's OK now, and you could clip test it.

I've just checked and the 8Z is a 49mm. The vignetting rather depends on the size of the front element of the camera lens and how close the anamorphic can be mounted.

From what I can work out the smallest roll would yield up to 7500' of Super-8 but obviously I don't know how efficient the slitting is.

Most of your answers are in the films- perspective, DOF and so on give a clue. One sees in stills from 'Barry Lyndon' a very long lens on an Arri 2C in the battle scene- it's probably the 24-480 he had made. There's also the Zeiss 50mm/0.7 on a rebuilt Mitchell NC for the candlelit scenes and an adapter which gave an EFL of 36.5mm. http://www.visual-me...c/len/page1.htm I think there's a piece by John Alcott on that site.

The limiting factor is the lens, not the camera. The anamorphic's rear element needs to be big enough not to vignette.

Beat me to it.

Volts don't blow fuses, amps do. So it must be an under-rated fuse or a short circuit.

http://www.sunray-lighting.com/ ?

There's an off season, sure, but I wouldn't have thought that MP stock in case quantities was a tourist item. In any case, if it's in a freezer you can just hold out for a better price later. Any limitation as to which stock is available? Perhaps there would be a name in English on the invoice. I'm sure it would help a lot of people here.

The thread is over 6 years old.

I've used stocking for stills. Stretching it reduces the effect. You then fix it in a frame so it's consistent. Start with, IIRC, 30 denier black. Brown would affect the colour, I imagine.

It's neg, it's unlikely he could recognise such a cast.

It's true, the Hoya catalogue does say 1 1/3 stops for 80A. I wouldn't have believed it myself, it was always 2 stops.

Surely ECN-2 is ECN-2, standard timings unless up- or downrating? http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_support_processing_h247_h2407.pdf

Colour balanced was altered, or rather matched shot-to-shot, by filtration in printing. Cyan, yellow and magenta filtration would affect the red, green and blue emulsion layers respectively. But the intention was mainly to even out differences in colour throughout the film, not to create a mood or effect. That was done in the original photography. Modern stocks are usually finer-grained and read better in the shadows. Many prints made in the 70s have faded because of the use of a particular print stock; it should still be possible to print as the neg isn't affected in the same way and the filtration can be adjusted, as above. However some effects shots were printed on a reversal material, CRI, and then cut into camera negatives. CRI has deteriorated badly and so films containing it may be difficult to print. Modern stocks usually have smaller silver particles so are more finely grained. It's nothing to do with cameras. The silver is actually bleached out of colour prints so what you see is a dye image, the dyes having attached to the silver before bleaching. Some print effects involve bypassing this bleach. B/W prints used to be silver, just like paper prints, but nowadays they're usually dye as well.

I wonder how much of a stretch it is to say that the loss of Ektachrome is doing nothing but feed lawyers.

He is hand processing in a LOMO tank and has a disclaimer for inconsistency.

You just need another 2 single LR44s. The 4LR44 is just less fiddly. The S76 is the same battery. Have you found the manual? http://www.butkus.org/chinon/minolta/minolta_flash_meter_iii/minolta_flash_meter_iii.htm

I have a mint 8Z and rotating mount- make me an offer?

Sorry to have misled you about double-perf. I didn't appreciate you had a S-16 gate. I also misled you with the diagram which was for processed film but Gregg put that right. So. You need 1R EIB which you are overwhelmingly likely to get anyway, but if you buy anything but fresh stock to order, check the can label and the seals.

Long-term, put the original packaging in a stout bag to protect it, then freeze at -18. Thawing out for use then takes a day or so. Ah, here it is. http://www.kodak.com/global/en/service/tib/tib5202.shtml