Mark Dunn

Film, schmilm. Gil Taylor was responsible for that.

An unmotivated moving camera is a literal pain in the neck. I'm not sure anyone alive today could move a camera like Stanley Kubrick. When his moved, it was to show you something. These days you see moves which do nothing but get value out of the dolly rental.

Hopefully he got his info a while back. The posts are 2 years old.

Wales has a certain reputation in some quarters but it's worth having a look round Try Newport; it's got a wonderful transporter bridge over the Usk and, at the Newport end, an equally magnificent Victorian pub, the Waterloo Hotel. No real ale but a jaw-dropping tiled interior.

Presumably you only need to know the age to assess the condition. A clip test will do that anyway.

I would have seen it in 'scope the first time round, but being 8 probably didn't mind. Didn't see it again until 1979 and not in 70mm. till the 90s. Seeing it on New Year's Day 2001 in 70mm. at the NFT I consider a privilege, especially with two Kubricks in the audience and member's tickets only £3.50 each. Looks like I may not see it again.

Optical compositing, multiple exposure, motion control, stop-motion, go-motion, travelling matte, foreground miniatures- this is a huge field. There's no simple answer to your question.

If only you could have stopped your customer from exposing it. A DVD transfer and no refunds on a 75% chance of success for £50 plus your markup isn't a good deal. But that's their business, I suppose.

I believe there is an

Prashant, this isn't good news. One of the last full-service labs in the UK isn't one any more because it has been bought out to be turned into a niche business.

Such as the late, great favourite director of ours. The people he hired did their best work for him and picked up a few Oscars in the process.

You can just dial out the filtration for b/w.

Agfa's consumer and professional businesses went bust in 2004. The consumer brand is now licensed to Agfa Photo which markets films not made by Agfa. Agfa-Gevaert still makes Aviphot Chrome for air photography and it is one of these which is being recut and perforated by Wittner. http://www.agfa.com/sp/global/en/internet/main/solutions/aerialphotography/color/index.jsp

Well that wouldn't cause me to change my view that I won't use Super-8 again.

The numbers are focus distances because 'inf' stands for 'infinity'. The camera and anamorphic lenses have to be set to the same distance. If the units are feet, then you may have a projector lens. A camera lens wouldn't have all those numbers marked. Unfortunately that means you can't focus closer than 17' without close-up lenses so it's not really suitable for photography. If you hold it up to the fron element of your camera lens you'll find out how much vignetting there is. It will need a substantial clamp. You might feel that at $25 you haven't lost too much.

Prism. Like this. http://www.highspeedfilm.de/16_e10.html With a half-height frame it went to 20,000 but IIRC we only used it half-height at 5000, so the effective pps was only 10,000. Our usual top speed was 5000pps full-frame. There are intermittents above 500pps but not many.

If you spent every waking hour on an English beach old age would get you before the heatstroke did. Still good advice though.

About 21 seconds for a 100' load.

Dirk, was it you who recut Tacita Dean's neg after it was messed up by a UK lab (presumably they didn't use 'scope splices?)

IIRC in 1980 an hour of 2" cost rather more than 400' 16mm neg/dev/rush print.. About £160 as against £100.

From memory, blondes are fine for scientific purposes at 10,000pps. Might not be good enough for drama.

Most US shows came here as they were made, as 35mm. prints for transmission. In fact I believe that until the 80s features, at least, were transmitted live from telecine and not even transferred to tape. We rarely got standards-converted NTSC here. When we did it was very soft and corresponded to its nickname.

You don't have a choice. Pre-cut splices only work with that sort of splicer which presumably you have. Plain tape won't work with them. In my book a CIR plain-tape splicer is much easier to use than pre-cut, but as I said, you don't have a choice.

Do you mean for neg cutting for printing, or cutting copies/assembly for TK? If the latter, the CIR tape splicers, undoubtedly. Very quick. I have them in S8 and 16 and wouldn't consider anything else, if ever I cut film again.

Ask for a small sample.