Mark Dunn

I should add that John's prices are very reasonable AFAICS. But unfortunately import fees may be a problem now because......well, you know.

I'd be using greenbacks here too- the pandemic did for my use of cash so there isn't a sterling note in the house- but I have one from my last visit to the US in '92. I guess the ink's still valid.

It's not going anywhere.

It really is a tremendous timesaver with hundreds or thousands of files. But as you say you've done timelapse before maybe you don't see the need. This says the 7D will do it https://photography-on-the.net/forum/showthread.php?t=832015 I even used freeware originally. The 7D has been at the top of the tree for a long time so I'd be surprised if you couldn't. As I said it depends on the software, but if you're using Lightroom it will import all your images, apply develop presets and make previews on its own.

That's just the battery capacity, quite a bit more than the original, and nothing to do with the output. The camera will just take whatever power it needs. Back in the day there was no point having any more capacity, because nobody shot that much film.

Not sticky, I agree with. But keep character. I am quite fond of my 35mm can with the Merchant Ivory label.

Yes, I would also shoot this tethered. Sony has a piece of control software called "Imaging Edge", I'm sure Canon has one too. When I'm in the studio I use tethered for anything over, say, 50 frames, that's the breakeven in effort Everything goes down a USB lead between camera and computer straight into Adobe Lightroom if you have it. Something like the 7D will may copy to card anyway, I don't know, but it wouldn't hurt as backup. I don't know what your stills knowledge is so it's hard to say more.

Care to share the link so we can have a look? I promise I won't bid myself! But as Eric says the minimum quantity of chemicals needed is pretty large. I have a Kodak manual from 2000 which covers b/w machine processing so if you get any further I could share it. Regular running is good for consistency though it's less important for b/w than colour. We had a VNF machine when I worked in defence and consistency was a constant struggle. ECN was a good deal easier though. IME b/w chemistry is good for quite a few weeks, but that's for rolls in hand tanks. You can keep a litre of developer in a squeezy bottle to keep the air out, but it's harder with a big tank with processing leader sitting in it. (The processor has leader threaded right through it, back and forth over rollers through every tank, of the right length so that the processing time is correct when run at a given speed. Your film is then stapled onto the beginning of the leader and run through, dried and run off onto a spool at the other end). Seriously the break-even on cost over commercial processing will be pretty high, but if you can't get commercial processing, that's a dead letter. If you have your processing tested and consistent it might make sense to process a few thousand feet in one go for a single project, and you could even do it for others. Just be careful you don't turn from a film-maker into a processing technician- unless you want to be one. It might work out. But don't pay much. These things used to cost as much as an expensive car. Now maybe, a second-hand bicycle.

Maybe put the camera in the box on its side so it's right way up when carried? Cut the foam to match. A handle on the top sounds as hairy to me as it does to you. Shame to mess with mechanics that good unless you have to. You'll be able to sit on it. Heck, probably park on it. Leave the tape residue on, it's history. Who wants a shiny steal-me case anyway?

.........was developed as a small studio complex by Sammys in 1979 and replaced, apparently, by a Virgin gym in 2000. http://www.samuelsonfilmservice.co.uk/wp-content/uploads/2013/04/The-Production-Village1.pdf The 1980 catalogue I used is half catalogue and half a very handy manual of cinematography, printed the other way up with its own cover, as was the way then. And it does still have the cable address- it's just omitted from the manual. My 1985 copy still has both. Incidentally that website is a rather good resource for gearheads. The manual I still refer to for running times, roll diameters and the like.

If you don't know them, Sammy's were the only show in town for years, Panavision agents, finally sold out to Joe Dunton, I think. Even my 1980 catalogue only has the Telex number- I think they just got a lot more phone lines instead, there are dozens in it, including, rather sweetly, the directors' home numbers. But that case will survive the Second Coming.

I sincerely hope not. His notions were misconcieved and ignorant and he was quite impervious to logic.

I can't help with specifics as I said- I've never used 35mm. I've only every shot film for military trials, where all the rolls shot would usually be processed together after the end of the trial, which could last some days. In addition, the 4B and the 4E are very different cameras- rotating prism and intermittent, respectively. How they deal with accelerating and decelerating film is very different. I think it's standard practice on a professional set for film to be processed at the end of the working day, even if this means breaking a roll and reloading next day, so that rushes can be prepared every day. However I suggest this would be unusual when shooting high-frame-rate, because so much film is used up getting the camera up to speed.

I'm still not sure what you're trying to find out, but if it helps, you can think in terms of a reload on every shot. I don't know about the 4Es, but when this was my job, the camera would not stop and restart at those speeds without breaking. So the film was allowed to run out every time, and the preparation for the next shot involved tweezers and a vacuum cleaner.

I would expect that the intention was not to follow the shortest route but to give the greatest possible opportunity for people to see the procession. It was raining but she was under cover. There was no great rush to get to the Abbey. She was already Queen. Her final journey tomorrow, however, will be as direct as can be.

Thankyou for looking these out. It's appreciated.

I used linoleum until I got the real thing from a 99p box of spares off eBay. That's a new and highly icky one. Perhaps he liked it because it was warm? Speaking of warm, remember the cooling fan. You'll probably be bleaching any surface that can take it, but eeuw. As long as it's not in the fibreboard one hopes all will be well with a good clean. First-class work! You asked for advice and acted on it. We like that round here. Good luck with the machine As always Dwight is the steely-eyed missile man of choice, but I've had the back off a few of these in the last couple of years at the Cinema Museum so feel free to ask about anything.

When you have your data off a digital camera, you can presumably view and process straight away if you want to. Film has to go to a lab so it may be days before you see the material, so you're comparing apples and oranges. I very much doubt anyone not called Christopher Nolan will ever use a 35mm. medium speed camera again.

The obvious answer is "as long as you need", but you shouldn't be rushed. After each run there are likely to be film chips to be cleaned out, and the prism and gate area to be checked for debris and cleaned, and framing re-checked with the focussing film. If you have several magazines you can load up before hand there is some saving of time. I'm very interested to hear of one being used. What can you share about the project?

I don't know if 0-2 is ORWO's perf position designation on the master roll or something, but the standard designation is 1R and 2R. But I do agree, the invoice doesn't specify A or B wind, which you'd expect to be stated on single perf.

No, but the scans are clearly from 1R.

No.

Well Cutfilm's lowest listed price for a 6-plate is $4000- has he valued it for you separately? https://cutfilm.com/used.html so watch out for that. You are certainly going to need assistance even to push it through a doorway- chances are the castors will be very tired. And we've probably said this before but it's worth repeating- don't lift the tabletop, only the case. The good news is Steenbeck are very robust, but it's also the bad news as most of that hardware is solid steel. The machine probably won't have travelled as far as you're taking it since it came off the plane in about 1965 (I took one on an 1100-mile round trip a while back and that was quite a show) so we would all like an update. Good luck.

I would say so. BBlist has been around for a long time so I would trust the escrow system as such. Indeed I have, as a buyer. Also, I gather UK and EU consumer protection is much stronger than in the US- businesses and individuals know that and make their decisions accordingly.

No problems here buying a splicer. I've also had an item on offer there for a decade or more- it is a bit specialised though- 6x6 filters that actually are 6x6. I suspect it works rather better in Europe, but it's always had international listings,, so who knows. I don't think the payment protection can be compared with ebay's, though.