Mark Dunn

If I had to take a guess, perhaps the other two are for the sound amplifier, in which case you can forget about them because you won't be shooting sound. Just put the batteries in. It doesn't need film to run. You should be able to see if the meter is working, there will be an indicator of some kind.

More like about 50-75, I'd say. Come to think of it, I shot some Super-8 years ago at 36. A little faster than that, maybe.

You really needed a bit of reflected fill for the closeups- a Lastolite or something like that.

Reminds me of a screening of 'Bad Day at Black Rock' at the NFT with French subtitles- it was the best print available- and they didn't detract a bit. My problem with the no-subtitles thing would be trying not to follow the dialogue. Not a problem east of the Carpathians though.

Hadn't thought of its being short-perf. What a shame.

Camera original 35mm Ektachrome projected. Now that would be a sight for sore eyes.

So stills photographers will still be able to buy Ektachrome, just in rather long bulk rolls.

They say they're keeping E-6 chemicals in production but one wonders how you could run the process without control strips.

Not so fast. 100D is the same basic formulation as the discontinued films. If they get rid of one because of, quote, 'highly complex product formulation and manufacturing processes', it doesn't look good for the 100D.

Well the announcement refers to the complex formulation and manufacture being a factor in the discontinuation, so it's difficult to see how it will survive if it's basically the same emulsion. Fancy that. No more reversal film from Kodak. :blink:

The AGE is the gold standard but it's very expensive. £500 would go a long way. I'd look at the alternatives.

Shame you can't shoot on that at 6c a foot. Hmm.

SRB are the people for this http://www.srb-griturn.com/c-mount--35mm-lens-adaptors-240-p.asp unless you can do better on eBay.

We used tweezers, paintbrush and a vacuum cleaner to clean up after each run.

High-speed up to 20,000pps was always fairly straightforward with 16mm, and much higher with more specialised techniques where the film didn't have to move at all- up to millions of pps equivalent. But the limit for 35mm. was always a lot lower- a couple of thousand pps and a few hundred pin-registered. 1000' in a few seconds. (PPS, 'pictures per second', accounts for using a half-height frame with the appropriate rotating prism to get a higher effective framing rate. So the film only has to move at half the speed.)

That'll be the High Commission, what with NZ being in the Commonwealth.

Having used all three I'd say BL for sync sound or the S if not. The Bolex is a very different animal but very portable. The BL does look like a proper newsreel camera though. It's a good production camera, not really a 'walking' camera, if you mean a day's walking- it weighs about 15lb.

Sound cartridges haven't been made for years. They were deeper and fitted around the recording head. The silent cartridge fits in above the sound head just as it would in a silent camera so you can ignore the differences.

I use Castrol LM for most things. In fact I've just overhauled a stills tripod with it, on the pivots at the tops of the legs. It's a general-purpose lithium grease. I don't think it would hurt and you can always remove it later. Here you go. http://www.ebay.co.uk/sch/?_nkw=lm%20grease&clk_rvr_id=317604745240&mfe=search

Any UK domestic circuit with square-pin plugs will run a blonde or redhead. Google tells me that Kinoflos are only a couple of hundred watts so they will barely draw a couple of amp. You're right to ask but unless it's in a really old house don't worry.

The one thing that always jars is Sean Young's first closeup. The focus is off an inch or two.

I have a 4-gang pic-sync in the garage. Does that count?

Something tasty... and dinner. Already half a bottle of champagne ahead. And a fairy cake which was 52% icing.

Already spent <_< Don't worry. Took me till 30. 21 years coming up.

Black-and-white days, so no CRI, in those days a finegrain positive at most. But I agree, nothing to do with Kodak. Kubrick obviously just couldn't track down all the prints. There weren't many, I dare say- 'Fear and Desire' is a bit of a lemon by all accounts.