Mark Dunn

The AGE Mark 5 is absolutely top-notch, very well made and a treat to use but very expensive. I don't know about the cheaper alternatives. Maybe pop in to a shop and try one out.

It's not quite as wide as that. I've just measured some at 61mm. which accords more with the European name for it, 6x6. The spool is a little wider as the backing paper overlaps the film. The aperture dimensions vary but it's 55x55mm. in a Hasselblad. The 70mm. back for the Hasselblad has the same frame size, but of course there's no comparison with cine film. The sprocket holes are positioned differently.

I think you mean to say 'entitled' to be present.

One came up on eBay a few years ago but made about £500 IIRC. Too much, considering the demise of K40. I had to settle with a 16mm. for £75. They do turn up. I understand the number made was only in the dozens. Andries' example looks a bit poorly, though. Looks like it runs 16mm. mag film- is that right?

You'd leave the setting at 200 for the filter on the front and set 125 for the gate filter, because in that case the TTL meter can't take that into account itself. But you'd be better off using an external meter in any case, set to 125, neglecting any deliberate over-exposure which is favoured by some for colour neg.

>Otherwise, it just sounds like standard Conservative scare tactics and dirty selfish politics. sad.gif Opening out the international aspect of this, er, discussion a bit more, I think you mean conservative with a small 'c'. Otherwise, as a member of the Conservative Party I would object to your assertion. http://www.conservatives.com

If you check the post, the OP wants to use film.

Here's hoping you got your cheque before they went bust.

THAT kind of reply won't get you very far either.

A Steenbeck is really only for viewing or looking at a sequence- you can't sync up on one, for a start. You do your fine editing on a pic-sync.

On reflection I do appreciate the difference between the union shop and the closed shop. You're not actually fired for not joining the union, you're fired for not paying the fees you would pay if you did. As the barristers say, a distinction without a difference. It's extraordinary that such legally-sanctioned arm-twisting persists in a G10 nation.

I had assumed you were talking about projected film, but since you've submitted a still, that must be from telecine. You need to project the actual film or look at it on a viewer to be sure. You have serious underexposure. If you did indeed shoot without an 85, it looks like the TK has corrected for the blue cast. Looking at the still, if you were shooting near sunset, that would counteract some of it because the colour temperature is quite a bit nearer to that of tungsten light than noon sunlight. If you think about it, shooting unfiltered tungsten film in daylight means you're severely underexposing the red record, so even if the TK brings the red up, it will be very grainy. Conversely with the blue. Not ideal.

The gasholder and the tip, now of course a 'recycling centre', are still there. Not so Space Station 5. That field now seems to have an industrial estate on it. Perhaps someone still has a bit in their garage.

There doesn't seem to be much difference. You can be dismissed for not joining a union. We put a stop to that 30 years ago.

Are closed shops not illegal in the US?

From http://www.visual-memory.co.uk/faq/index4.html 2001 Space Station Trevor Parsons writes I was at college in Stevenage (about 15 miles away from St Albans in the early 1970's). Our studio, we were studying graphic art, faced the entrance to the local corporation dump. One afternoon in 1974 a truck turned up after the dump was closed & left some crates in the entrance way. They contained 2 of the models used in 2001, the space wheel & one of the pods. Of course they may not have been the only ones but I believe they were genuine (the film had been made about 20 miles away at Boreham Wood the old MGM studios). By the time I got there the pod had been taken, the space wheel damaged & taken out its wooden case. I took pictures of it, its surface had been covered with bits of old plastic construction kits to make it look more technical when filmed. I desperately wanted to take it home, but I only had a motor bike & a room 8 feet by 10 so it was not really workable. It was smashed up by kids a few days later.

Being from a different country this might all be a bit theoretical, but here the difference between employment and self-employment (what I think you call an 'independent contractor') is fundamentally about the control of the person's work. If you just do as instructed, you're an employee. If you are given broad directions but do the job the way you think it should be done, you're self-employed. A contractor's client tells him what needs doing, an employer tells him how to do it. Here, a contractor would be responsible for his own health and safety and simply wouldn't risk it, because he'd be the one with the broken leg not working tomorrow. So if you're told 'put this light there', you're an employee. If you're asked to 'light this scene', you're a contractor. Probably.

There's a magazine barney for the 16BL, but that's about it. If correctly adjusted it should be quiet enough for sync sound.

I don't know if Canada treats illegal immigrants, but we do. It's called compassion. We would be in breach of international law if we didn't. If I need to see a doctor, I see one. If I need to see a specialist, I get an appointment. If I need surgery, I get it, whether it costs a thousand pounds or a million- and I don't even know how much. I don't need to. Incidentally, we spend half the US proportion of GDP on health care. It's not perfect, but no-one worries about not being able to get heath care. No-one.

Sound cartridges were discontinued ten years ago. Should you take a chance with old stock, processing is identical- the stripe isn't affected. This presupposes you use a sound camera and have a sound projector for replay. Sound cameras will take silent cartridges but not vice-versa, as the sound cartridge is deeper. Silent film can theoretically be striped after editing, but I don't think anyone offers the service anymore- environmental regulations apparently stopped manufacture of the stripe. In any event the sound quality was always rather poor, and editing rather difficult because of the 18-frame displacement between sound and picture. You might be better off forgetting about lip-sync and make up your track on computer and burn to CD, as I now do. Playing it in 'loose sync' with the picture works quite well- there's no more than a second or two of drift in a 10-minute film.

Think about '2001', then- no travelling mattes, all hand-drawn frame-by-frame, each element exposed separately on the same roll, no compositing.

I know it's not going to work often, but the late great English photographer Terry Donovan's terms of business were: 'When I get the wedge, you get the pictures'.. In other words, cash on delivery, at close of play, before you leave the set. Perhaps if a few more tried it, you might get somewhere. Naive, probably, but it's a thought.

From what I can work out it's a fairly high contrast red-sensitive film for photographing against a blue sky, which would record clear. Either that, or one lightens the sky with a blue filter. The shellburst, being a bright flash with white smoke, records black. One then makes whatever measurement is required direct from the neg. During my time at a weapons range we used colour reversal. But then in England, a blue sky was a bit of a luxury.

How do you think you get paid? Out of re-invested profits. If no-one makes a profit, no-one works. Haven't you worked that out? What do you think your fee is? It's the profit you make out of your skills, the surplus over what you'd make if you had none. You make less than an entrepreneur because you don't risk capital. Movies need capital because they're the only art form where the artist can't afford his own materials. I don't know how an American can be so wide of the mark and survive.

There shouldn't be a problem with a 100' spool as regards the film running or not, it just won't run very long. It might not turn over at all at very low speed. I'd have thought it would run OK off the domestic mains up to 2000pps at least, with the proviso that if you're in the 110V US it will draw a higher current. Assuming the photocell, if present, is working, I'd agree with the incorrectly set gear. Unless it's had it.