Mark Dunn

In the UK, a photographer as employee does NOT own the rights to his work. He does if he's self-employed, although many publishers have tried to bypass this with take-it-or-leave-it contracts. The exception if work commissioned for a private purpose, such as weddings or portraits, where although the photographer owns the copyright he can't publish it without the commissioner's permission. Most photographers acquire this permission through contract wording.

This applies to emulsion-in. (just about everything, in other words). Hold the roll with the leader facing you, hanging down. B-wind (for camera film) has the perfs on the right. A-wind (usually print film IIRC) has the perfs on the left. If you think about it, double-perf film can't have a winding designation. But then, it's tougher to find these days as no-one wants it for Super-16 and hardly anyone uses film for high-speed any more.

I reckon SW survived the '97 re-release, as long as you looked away from the additions. Maybe the compositing in the battle of Hoth was a bit cleaner, but I never saw any garbage mattes first time round. But as to episodes 1-3- they just answered a question better left unanswered, viz: why did George Lucas stop directing after SW? Incidentally, could I be one of the last million or so people to see a new Technicolor print, on first run in Boston, England, in 1978?

I can't really let people get away with saying that editing on a computer is easier than actually cutting the film. All the kit is out there on Ebay and will cost less than your first telecine transfer. View on a manual viewer like this http://cgi.ebay.co.uk/Super-8-Editor-Viewe...1QQcmdZViewItem Cut with one of these http://cgi.ebay.co.uk/CIR-Super-8-splicer-...1QQcmdZViewItem Project with one of these http://cgi.ebay.co.uk/Eumig-S-709-Projecto...1QQcmdZViewItem Shame about Kodachrome but there's always E64 at £7 a minute (ouch).

A 2x anamorphic lens will give you 2.66:1; 2.35:1 is the original 'Scope ratio to allow for the soundtrack. There are probably plenty of 'Scope lenses on ebay, ut you need to check they cover your lens, and there's often some cut-off at the wide end of the zoom.

Everyone uses AC. The US uses 60Hz, Europe 50Hz. So it's exactly two fields per frame here.

Follow focus is a rack and pinion device engaging with the lens focus rack so you can pull focus with a knob from the side of the camera. A hi-hat is a sort of tripod head with hole instead of legs for bolting down for a really low viewpoint. Here's one http://www.ptsys.ru/images/catalogue/cat04152.jpg which is really a baby-legs. Here's a follow-focus. http://www.jbkcinequipt.com/RUSKAFF205.jpg

If you're staying on film, Andec in Berlin are still striping, but only originals or their own prints. If you're transferring yourself the quality can be pretty disappointing unless you use a top-notch projector but you can use any source. When re-recording some old super-8 tracks recently I gave up on the stripe and used cassettes or CD.

There are a couple of double Super-8 cameras which use double-run film on spools (like standard-8) but they're so vanishingly rare that whoever told you about them was causing unnecessary confusion. it's possible to have too much information.

You might be better looking out for a motorised pic-sync on Ebay. I got mine for £1 a few months ago. There seem to be plenty about now that no-one cuts 16mm. any more They usually have 4 sound heads with one disengageable from the motor for syncing up. Ah- found some. http://cgi.ebay.co.uk/ACMADE-TWIN-PIC-16mm...1QQcmdZViewItem http://cgi.ebay.co.uk/16-mm-ACMADE-Picture...bayphotohosting

The re-release of 'Lawrence of Arabia' in 1990 had 'Intermission' as an optical.

Wittner http://www.wittner-kinotechnik.de/katalog/...ilmm/s8_60m.php does sell Super-8 in 200' rolls but they're meant for the Beaulieu, not for spooling-down. And there is a Russian reloadable Super-8 cartridge- perhaps Olex could find one. But Wittner perforates his own IIRC, so you'd have to be sure you weren't testing his perforating machine rather than your camera. You could load up B/W for tests and process your own in a bucket- probably good enough for 10 or 20'- but if the different types of stock behave differently mechanically in the camera- IIRC this was suspected for 64T- you've had it.

Blue and the Widescreen Centre are sending it to Andec in Berlin as far as I can see, at a premium, and nowhere is a members' co-op where you process your own film at a subsidised price after paying to train on the kit.

Black and white paper only has to be blue sensitive- after all, it's only recording shades of grey from a B/W negative. hence the red safelight to which it is insensitive. Camera film has to record all the colours in a scene, so it's panchromatic, with no gap in its sensitivity for a safelight. You could use it for B/W print stock, though- that's blue sensitive like paper. The only safelight ever recommended for colour printing paper was a deep olive green and very faint. Camera film is of the order of a hundred times faster, so forget safelights altogether.

I wouldn't worry at all about B/W film that's been in the freezer, or even fridge, for only a year, if it was fresh when you got it. The fog level goes up a bit, but I'd be happy using B/W for stills after a few years.

It's an old tip, but still good: shoot 35mm slides on-set for reference.

Not really. R-3 is a reversal process for paper prints from slides.

Looks more like the meter battery over to me.

I saw 'Royal Flash' on TV some time ago; it's in a similar first-person style to 'Young Winston' but with the callous edge you might expect from Malcolm McDowell- and Dick Lester, for that matter- it looked great but then it would. Apparently it's not on video yet. I don't recall Alistair Sim- it must have been one of his last- but IMDB reminds me he's in it, so now I want to see it again as well.

Hope it worked out today. But really, a DP without a meter is like a writer without a pencil. You can't function.

David, surely B/W print stock isn't panchromatic, so printing colour neg onto it would muck up the tonal rendering? Skin tones would print dark, that sort of thing.

From what I can see (Google is your friend, by the way) this camera is reflex, so I can't see what attachment you'd need. Just screw it on. The manual's here http://www.myoldcamera.com/Manuals.html

Don't forget to keep the snippets in the dark.

Agfa stopped making cine film over a decade ago. Some of mine from the early 80s has got the fungus; still quite watchable and of course it has historical interest to me which outweighs the faults. I'm wondering if the unexposed film might have it already; if the gelatin is that tasty it doesn't need developing. The Ektachrome 160 Rocky Mountain can process at a price- I had some done 5 years ago for about $20- and Frank Bruinsma in Holland does it as well, I think. Shoot the K40 now- after all it's paid for- but expect some odd results. Or dev to b/w neg as suggested.

Locams sometimes come up on ebay. They go to 500fps and have an intermittent movement and register pin, so they're much sharper than rotating prism types. They need double-perf film though, and don't have reflex viewing when running. But they were, and still are in some places, the bee's knees for medium-speed cine. Here's one in England but the price is a bit high. Locams sometimes come up on ebay. They go to 500fps and have an intermittent movement and register pin, so they're much sharper than rotating prism types. They need double-perf film though, and don't have reflex viewing when running. But they were, and still are in some places, the bee's knees for medium-speed cine. Here's one in England but the price is a bit high. http://cgi.ebay.co.uk/REDLAKE-Locam-II-16m...1QQcmdZViewItem