Mark Dunn

I've just noticed that all my local cinemas are now digital. I wonder if I've seen my last 35mm print at a high-street cinema (as opposed to a special screening, National Film Theatre or the like).

There's a list of lenses compatible with the prime blimp here http://www.cinematechnic.com/resources/arri_16bl.html The blimp comes off, you change lenses, line up the wings and put the blimp back. It's not a big deal to do, as I recall. I can't see that it would hold things up.

There's a list of lenses compatible with the prime blimp here http://www.cinematechnic.com/resources/arri_16bl.html The blimp comes off, you change lenses, line up the wings and put the blimp back. It's not a big deal to do, as I recall. I can't see that it would hold things up.

This is a private video Do you have permission to watch this video?

Just omit the trailing full stop. It's false-colour Ektachrome IR, I think. Put simply, infra-red is rendered as red. As usual, Kodak explain it better themselves here http://www.kodak.com/global/en/professional/support/techPubs/ti2323/ti2323.pdf

Kodachrome processing finished at the end of January.

How about replacing the socket with an IEC or similar? If you're worried about cosmetic appearance, you ought to be able to make it removeable.

There only seems to be only one place on earth to get a Super-8 print (Andec) so it seems unlikely, especially at €1.75/metre.

The level of German you need for Schmalfilm isn't really that difficult to acquire. If you really can't be bothered, Google translates German quite well.

I don't know your muzzle velocity (presumably you can find out) but assuming it's around 800 m/s yes, around the 10000 mark. That's the highest rate we needed to use for ballistic research a while back. The bullet will still move 8cm. per frame, though, even then.

Project.

State-of-the-art print or display longevity. With either optical or digital printing systems, professional labs can provide state-of-the-art image stability and exceptional consistency by utilizing ENDURA Color-Negative Papers or Display Materials. From http://wwwuk.kodak.com/global/plugins/acrobat/en/professional/products/papers/enduraAppsGuideWW.pdf My italics.

I've just dated myself by remembering that it wasn't. There were odd sound overlaps. No point shooting single-system in the first place if you're going to take the sound off and re-sync.

I think you'd want to get the exposure down with the shutter angle first and then use ND for the rest. The 435 goes down to 11.2deg. which gets you 4 stops down from 180 for a start. That leaves you with a factor of 10 which is near enough ND9 .

Believe it or not, the left-wing papers here can't bring themselves to give it unreserved good reviews because it's too kind to the Royal Family.

UPDATE- OSRAM on eBay £6.99. 5 for £27.

I don't believe you'll find any difference. They're all Sylvania or Philips and they all seem to be around £10 each. Arri charge £6+VAT and carriage.

There's an overlap so it's two frames on a remake. Sure, the overlap only takes up one frame, but it clatters through the projector. A well-made one-sided CIR splice covers two frames and is scarcely detectable. Well, mine are, anyway.

The OP is using super-8 so he's not looking at A&B rolling. Cement splices overlap by about half a frane so are rather obtrusive. You also lose two frames if a cut has to be changed or re-made. The CIR splicer uses plain tape so the cost per splice is a fraction of that of the pre-perforated Wurker tape- about a hundred times cheaper, in fact. A tape splice can be remade again and again. You might find one on ebay. I'd want a very good offer for mine- I'd hate to be stuck without one.

If there are no splices it's almost certainly an original. Given that 16mm. Kodachrome has always been expensive, editing in-camera must be quite common. Ditto for duping- a very pricey job for an amateur. The quality, versus a known original, might give it away as well.

That's no great hardship. I've viewed standard-8 on a Steenbeck. It's a little tricky to read action but no problem for evaluating the photography, I wouldn't have thought.

There's state sales tax, of course, with a far wider scope than VAT. Nothing federal, though.

'XL' cameras were the ones with the wider shutter angles. It stands for 'existing light'. The motion blur can be bad at 18fps, but ought to be better at 24. There was also a model with a 225deg.- 0deg. variable shutter.

That's right. We call it value added tax and ours is now 20%. If you turn over more than about £70,000 you have to register for it, then add it to your invoices, then pay over the difference between what you charge and what you pay on your own purchases. So yes, the client does pay it, but you collect it from him, and if he's a business, he deducts what he pays you from his own liability. The consumer, at the end of the food chain, pays it and can't reclaim it, of course. That would be the ticket buyer at the cinema.

Even the flaming BBC do that now.