Mark Dunn

Yes, '54 in 1972. IIRC there was a fair bit of pre-flashing used.

The exposure required is of the order of tens of seconds. Conventional video will not capture stars.

15 minutes later I see both Filmotec and Orwo North America, no problem. http://www.filmotec.de/ http://www.orwona.com/orwo-un54-universal-negtive-film-100-asa-16mm-100ft/

Looking more closely, and seeing this http://www.youtube.com/watch?v=IxatkC1PjHc your seller is right. It's normal speed, (which will probably be 16fps- it's dual-gauge, and the standard silent speed for 8mm. was 16, increased to 18 for Super-8) and slow, a few fps for reviewing. The slider is probably to change the aperture mask between 8mm. and S-8. So it will run rather slow for your planned 24fps. Could be a slightly different model.

It certainly won't run at governed speeds, but that slider in the base is probably a speed control. Silent projectors would often have one. It might go from about 14-24fps (it's a long, long time since I had one!) but the only way to calibrate it would be with a test shot of a stopwatch running, or the second hand of a clock. Going to 18 from 24 is no big deal. Just open up 1/3 stop or so. Or the auto exposure will take care of it.

Price's had their biggest ever order from Kubrick. Hundreds of candles were used for a scene, not just practicals. The company still exists so they might be please to hear from you.

Indeed it's not a blow-up. The print is simply 2.5mm wider on each side outside the perfs to accommodate the magnetic soundtracks.

I'm repeating myself, but when the Prince Charles in Leicester Square last booked '2001' the distributor wouldn't even tell them whether they would get a print or video (sorry, DCP, is that the proper term?) Except for a terrible Italian independent film (a print, but shot digital) I haven't been to the cinema since 'Casino Royale' in 2006; have I missed anything?

220 is a bit choppy at 18 but ought to be OK at 24, but I'd only use it if I really needed the extra exposure. It won't look like video, though. It wouldn't dare.

I hope you won't be offended be being reminded of it, but the OP has made clear that she is in the UK so explaining the US system in detail isn't very helpful. OP, you can go to see any GP if you need to, it doesn't have to be your own and you can register later. Or you can go to a health centre. Google for one. Best of luck.

https://www.google.co.uk/search?hl=&q=bin+liner&sourceid=navclient-ff&rlz=1B3GGHP_en-GB___GB497&ie=UTF-8&biw=1045&bih=662&sei=o503UIJqpKfRBc6GgcgC&tbm=isch

A fellow jumps to his death and all you can take time out of your valuable day to (female dog) about is your wallet. Not a very nice sentiment. Also reported for anonymity.

Standard-8 (or double-8 as it's also called)is now a specialist item. You need 25ft. spools- you turn the spool over at the end and run it again, hence 50ft. total. Wittner in Germany have it- you don't say where you are. http://www.wittner-kinotechnik.de/katalog/04_filmm/d8_filmm.php It seems most of the other suppliers in Europe and the UK get it from Wittner. John Schwind is in the US. http://www.zerelda.com/internationalfilm/internationalfilm.html These are all reperforated Kodak or Fuji stocks.

Putting a light into a DSLR kit zoom will not produce the same effect. More of a diffuse fog. At least you don't have to wait for rushes anymore.

Not the BBC. OBS. The BBC had to take what they were given.

I didn't see the broadcast, but the grab you post isn't from COF. Those are English actors of the present day. Some are faint look-alikes. The COF title sequence is on YouTube.

Whatever your meter tells you.

Mirror lenses are fixed aperture. There's no stop to down.

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Not Technicolor. This was 1954, so a stop or two cooler on set.

Doesn't steampunk really need to be set in a postulated alternate reality or extrapolation into the then future, rather than just a historical period? I think this rules out Great Race and Magnificent Men, much as I love the latter. 'MM' is very firmly rooted in its period technologically and I thought 'TGR' was as well. I don't recall any anachronisms. I'd exclude fantasy myself, which would prune that list a bit. '20,000' has to be at the top though, if you can see past Kirk Douglas' gurning. One did manage it in 'Spartacus' but that was for Kubrick's sake. I'd want to add 'Master of the World' (1964).

You'll need to show your full name. The 7D sensor is very close to 35mm in size, so no, the 12-120 won't cover it. I don't know the answer to the adapter qiestion, I suspect not, but since you can't use the lens I think it's academic.

OP, you've double-posted this. You won't get a better answer than David Mullen's.

Which way round? Do you mean to put a Nikon lens on a C-mount body? If so I have one, Nikon make. Make me an offer. It's this one http://www.parkcameras.com/8106/Nikon-F-C--F-to-C--Mount-lens-adapter.html?referrer=Froogle+&utm_source=google&utm_medium=froogle&utm_campaign=pid8106&gclid=COis096uhbECFQwjfAodMxxFPQ

As a reference for a composite? I'm guessing that you would have a single frame of a shot of a matte painting in the finder so you could line up the action thhrough it.