Mark Dunn

I'd expect that to be much denser.

The fallback position is that you should certainly charge for materials, an amount to cover your time, effort and outlay in preparing the copy, not just the price of the drive, based on a decent hourly rate. According to your price list which no doubt says so much per GB for preparation plus so much for media. If you don't have a price list, you have now.

Rails would be one way. If the Zuiko has a static filter ring you won't need the rotating mount. I'm not sure of the 8Z thread.

Have another look at your basic photography textbook. Black and white film has a slight dip in sensitivity in the red/green so you can use a safelight. Indeed the insensitivity is built-in for that purpose. Look at the response curve for any B/W stock. Colour film obviously can't have a gap in its response, otherwise colours wouldn't record properly. So no safelight.

Rocket Blower, made by Giotto. Strong enough to part your hair.

T-mounts go between camera and lens. The Kowa goes in front of the camera lens and must be focused separately. If the front element of the lens rotates when focusing, the Kowa then has to be decoupled to align it vertically, so a filter stepping ring is not suitable. The mount I have for my 8Z has threads each end, rotates internally and has a locking device, so I can just focus, unlock, align the scale and lock. It was custom-made for the Widescreen Centre about 30 years ago and I don't know where you'd find one now. I'd probably only let mine go with the anamorphic. The clamps on ebay are rather unsuitable for a camera with a rotating front element because you have to reset all three screws every time you focus. They can also let the lens sag.

It's a long time since I did it but when I needed backdrop canvas I went straight to a theatrical supplier. It doesn't come any cheaper. That first one seems cheap enough though. It will need hemming so it doesn't tear. Have you a seamstress girlfriend (or mother, even?).

Since the OP used the term 'rushes' I was assuming he was in the UK but I don't think there's much difference in what has been discussed, however I believe you have something called 'work for hire' where copyright can belong to a commissioner who is not an employer without express agreement. That's not the case in the UK. Additionally in the UK you would have moral rights over the work, so re-editing it without permission might be a breach of copyright.

No. Even so it ought to be in taped cans (and a bag to protect it from beer accidents and bleeding steaks).

You do not have to hand material over as if you have not been contracted formally the material and all rights belong to you. The only reason for the manager wanting rushes is so he can cut you out of the deal. Get a contract and rights agreement sorted out first.

The cut sheets are wider than the 9' by-the-yard so you avoid a seam shadow on the larger sizes. Other than that, I don't think so, unless it is fireproofed. Looks like you could save a few quid.

I think the point was that a Kinor mag might not take a full load on a 2" core if the Russian cores it was designed for are smaller.

You should pull out of the sale immediately and buy mine instead ;)

Yes. 100D is balanced for daylight so the correction filter must be removed. The camera may make the adjustment itself if properly equipped, but to be sure you should remove the filter manually.

Yes, but you're not viewing through the aperture. The beamsplitter for the finder is in front of the iris, so it's unaffected.

'Basic Photography' by Michael Langford. The book I was told to take to college, along with Hauser's Social History of Art, and I know which one I'd take to a desert island.

It's usually a 3.5mm. mono plug, isn't it? They're by no means extinct. http://www.ebay.co.uk/sch/?_nkw=3.5%20mono&clk_rvr_id=481651684876&mfe=search

Just being picky, but if imdb is right, it was '39 which was 160T VNF, much cheaper to process and discontinued a few years ago.

All the Odeons are digital now, apparently.

This one? http://www.ebay.com/itm/ISCO-Integrated-Anamorphic-2x-Ultra-MC-100mm-F2-Projector-Lens-35mm-70mm-Wide-/200916534490?nma=true&si=JT4MLId5nlogxPWYWO86CGISq5s%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557 It's clearly described as a projection lens. While there were 'scope lenses intended for dual camera/projector use- they had focusing racks and large rear elements to minimise vignetting- such as my Kowa 8Z, this isn't one of them. It's quite unsuitable for use on a camera unless,as Christian says, you have the cylindrical element remounted.

That looks very much like reticulation.

I expect it depends on the country. In the UK you could certainly reserve your rights but you would probably have to do it explicitly. There's no contract of employment so copyright in the images would belong to you if you didn't assign it but as I say it depends on the applicable law and the intent of the parties. There is always an implied contract. You would need to take advice.

If you had access to a mag film recorder, you'd more than likely be able to get your hands on a Nagra or similar and shoot quartz sync, or pilotone, and do the transfer later. It would be a sight more convenient. These days I think the limiting factor would be finding a portable mag fim recorder, not the Nagra.

The BBC also used BLs for news and plenty of their 16mm. dramas were shot with them. An NPR with 12-120 cost about $15,000 in 1975, so no, it wasn't amateur kit. No reason to buy new kit- Arris last for years.

Something like this? http://www.ebay.co.uk/itm/2x-Wire-Spring-Connector-32A-Cable-Terminal-Block-5-Pin-Push-Clamp-Solderless-/180724931523?pt=UK_BOI_Electrical_Components_Supplies_ET&hash=item2a140b9bc3 Don't know how big they go but you can gang them together to get your 25 then fasten them to a board or whatever.