Mark Dunn

They're evidently consolidating orders over months so they can send a bulk order off to Dwaynes. Dwaynes have the only cine processor for K14. There just isn't one in someone's garage in Ruislip. It's not a bathtub sort of process. Dwayne's only charge ten bucks, so the prices are pretty steep at £40.

Gelatin isn't that durable; you can strip it off the film without too much effort, so 60 years in salt water won't be kind to it. OT- here we're getting Google ads about fertiliser. It's obviously picked up the word 'nitrate' and jumped to conclusions. Well I was amused anyway.

Odd that you know the cost of a master roll but not the price of 1000' of 35mm. stock, but never mind. It's around $600, so assuming you're right and it costs them about $450, that's hardly gouging.

I'll look forward to it coming to Bradford.

You don't have annual MoT (roadworthiness) tests, do you? Lovely to look at though. Hope it lived a long time.

You're really onto a loser with only one roll. A few boxes, maybe. But entrusting valuable work to a stock that's at least 35 years old is just too chancy.

It's free here, and quite expensive. Much less as a percentage of GDP than the USA spends on it, though. The language filter on this forum is quite comical at times. I used one of the words for the male member in describing, IIRC, a Scottish soup. Asterisks.

You can't send it to a stills lab. Neg film has an anti-reflective backing (remjet) which has to be removed before processing. In a C41 line it would ruin the chemicals and probably the machinery as well; I believe it closely resembles tar.

I don't know where you're from, but you haven't kept it through a hot summer, so unless it's been near the fire or a radiator, or spent a long time above 70F, it'll be fine. But put it in the freezer now until you need it, as long as you haven't broken the foil wrapping.

The point about years of R&D is fair, but the Arri II you use today is pretty much as it was in 1938. 71 years. Count 'em.

Too late to correct the spelling to apocAlyptic, I suppose.

Just so you know, we don't use the euro here.

Syncing up on a flatbed isn't ideal. You need to run a sound loop between each take and keep the picture on the sprocket. Doing it on a flatbed would mean taking out the mag film to cut out the loop and that way you lose sync. The tool for the job is a pic-sync; I don't know what the American equivalent is called- Magnasync? Here's the sort of thing http://www.mondofoto.com/cameras/Magnasync_SX8_c.jpg but you need the one with multiple sound heads and a picture head. You can't see full-frame but then syncing up is not a creative process anyway. A lab or cutting room might have the kit in a box somewhere, but it's rare- I got mine for £1 a few years ago from a post company which was throwing them away. I got the option of Ken Loach's 35mm. pic-sync but had to turn it down- no room. BTW my Steenbeck cost £75 so they are around and being thrown away because they take up a lot of space. You might get ine for nithing if you collect it. AFAIK the Super-16 Steenbecks were conversions. Here they were done by Mel Worsfold who has been the agent for years. Good luck if you do this on film. I hope you do, it's great fun.

The giveaway for Steadicam is the very slight side-to-side nodding movement. He must have made a real mess of those meadows, though, trampling through them like that!

Shouldn't that be Local six hundred (600)? What's with you guys and the repetition of numbers as text? Just curious. It's not something we bother with here.

And see 'Barry Lyndon'.

Although it was written 35 years ago about a man who had bee in the business 50 years I would still read http://www.alibris.co.uk/search/books/qwor...ure%20Cameraman Freddie Young was one of the greats.- Lawrence, Zhivago, and so on. Find what you can from John Alcott, usually associated with Kubrick.

A film school with no film. Hmm.

The Locam is C-mount. I'm not sure there was room for the Nikon. This makes long non-C-mount lenses problematic because the C- to Nikon adapter isn't that rigid. A 200 is about the limit, unless you use something like the Arri cradle. Lock it down tight- there's no reflex viewing when it runs so you might as well unless you knock up some sort of sports finder- and if you regard it as a scientific instrument as much as a cine camera you'll do alright. But do a test before anything important- it's quite easy to foul up the loading, although it's usually just plain impossible if you do it wrong.

What do you need to know? I used both professionally a while back. The Locam we called medium- rather than high-speed as it only reliably went up to 400fps. It would run off battery or a 13A socket (at 240V). The Hitachi went to 5000 full-frame or 10000 half-height and needed a 60A supply to run up to speed in a reasonable time. The Locam is sharper, of course, having a pin-registered movement as against the Hitachi's rotating prism. Be very careful about cleaning after a run. The Locam will stop and start, with the Hitachi it's one shot per 400' roll, and tweezers and a vacuum cleaner needed to clean it out.

Slow motion and a fast shutter speed are two different things. Basically, standard video only records 25 (or 30 in the US; I don't know where you are) frames per second. The only way to achieve true slow motion is to record more pictures per second and replay at the standard rate. Your camera doesn't do that.

Just delete those two full stops at the end of the URL. Looks handsome, btw.

Ordinary mono film is only sensitive to IR in the sense that you shouldn't get it hot. You can't image it. B/W IR film is exposed through a deep red filter, to absorb the visible wavelengths to which it is slightly sensitive- those pesky reds around 650-750nm.

Photofloods are usually 3400K but 3200s used to be available as well. Make sure you get the right ones, although the difference is small so it might only be a problem if you mix them. The P1/1 is 275W and the P1/2 500W.

Indeed. CGI will go out of fashion. Then we'll need stories again.