Mark Dunn

I see there's a complete 16mm IB Tech of "Oklahoma!" on ebay starting at $100. Reckon that will go a bit higher. Only problem- it's being listed as flat. But some of the screenshots are squeezed. Could be just the titles. I don't think 'Scope was ever really much of a thing in 16. Speaking of B/W vs Technicolor- most of Technicolor was a B/W process. Three strips of monochrome neg. Now Kodachrome- that was complicated.

Some of that stuff is almost reasonable. I might get a kick out of having some IB to show on the Steenbeck, just to be able to say I had it.

Rumour has it that the last ones were of "Star Wars" made in London for the European release in 1978.

This is being re-run on BBC 4 and Sky Arts in the UK at the moment.

You'll have my YT reply by now. You need two DR83 and one DR70 belt- if you're not interested in sepmag you can forego one DR83. Both sizes are listed on ebay at the moment in the UK. These are the surplus from a bulk purchase of belts from the Cinema Museum in London for servicing its own machines which I have been helping with. An alternative source would be Dwight Cody at Cutfilm in MA, USA. You could say I sent you. As you suspect the main drive and prism housings do need to be removed- fair to say it's complicated but not difficult and doesn't need any special tools. It's easy to lose the framing so try not to move the teeth on the main drive during the change.

Well if she used Kodachrome, I expect the film at least went to Box 14 in a limo..........or Kodak collected it.

The NAC won't get you anywhere without the matching recorder and camera control unit. We used the 200pps version 30+years ago. The camera was only part of the system, which came on its own trolley. The recording only plays on the special machine, it's not compatible with standard VHS, which is irrelevant now of course, but who knows how you'd transfer it to digital for editing. 16mm. may be your best bet if you can find a Photosonics or a Redlake Locam, which runs to 500. There's one on ebay https://www.ebay.com/itm/254642287050 but the listing doesn't include the control box and coax lead, which is essential. The NAC E-10 rotating prism cameras run up to 20k pps but the quality is quite a bit lower. No idea where you'd find one now.

Only for a short while. Less than 15 minutes, I think.

Bid up, I imagine, by production companies mining the archive. I wanted short bits of commag, comopt and sepmag for lineup for sound transcription on the Steenbeck but they were going for silly money. Fortunately I acquired them gratis from clients who didn't want odd trims. The comopt I harvested from junk film used by labs for telecine leader. I recognise some of the actors. I even have S16 footage of big wheels from the 90s but the only ones I can identify are Gerald Ford, Henry Kissinger and Michael Eisner.

Well, the tuition element is about $5300US so somewhat more.. But it's in Budapest, so it may not be expecting US custom. I've been to LA and no offence but I'd rather spend a week in Budapest. I suppose you could get half-board for a week in LA for $1k?

I cement spliced at first but dropped it like a hot brick when I was recommended the CIR. Cement splices cannot fail to be more visible as you literally cut a frame in half. If you want to make a new splice you have to cut out two frames, which on an original are gone forever. Even if my Super-8 days were not long over I would certainly never go back.

Yes, that's the Rolls-Royce version at about €600? which is why most people (and we) have the cheaper version. Unfortunately the pins are fixed so as you say you can get a gap, but you may be able to adjust the frameline on the projector so it doesn't show. I believe the 2T may have adjustable pins, but it's no longer listed on the CIR site. I've never seen one on eBay.

Assuming it's the model of splicer with the wrap-around tape, I find (well, found, I haven't cut S8 for 20 years) that taping only one side of the film is sufficient. This reduces the visibility of the splice. You then trim off the excess tape flush with the film edge with sharp scissors. I can't remember which side to tape but it's the side that doesn't face the projector gate, so that the splice doesn't lift the film from the gate and put it out of focus. On a reversal original IIRC you would usually tape the emulsion side. The splice is weaker than one on both sides, sure, and the tape may eventually dry out, but I've never had one break and some of mine are over 40 years old. There was a professional Super-8 CIR which taped each side separately, as you would in 16mm., but they're rare and expensive.

Newsfront (1978).

If it's like the BL, you push it out, away from the spool, and it will lock in position out of the way.

Non-expert here. When I pull it into Lightroom and white balance on the white pipe, it reads as not so much green as very deficient in blue- something like R66, G67, B42%. The original does look quite green but it's not so noticeable when corrected. Lightroom puts a substantial magenta tint on it. I wonder if it's an effect of the mixed daylight/gelled HMI. Or it just looks green beside the warm colour of the wood and her jumper.

Isn't that going to make for some rather "strobey" rendering of movement? Compared with the usual 1/60-1/80 sec.

Were you to follow that advice you'd be tending to exaggerate the effect that the film-maker intended. There can be a bit of a wide-angle effect when you sit close to the screen, but if it's too pronounced I'd say the seats had been put too close. The projector lens can't have any influence on the perspective in the scene. The focal length is chosen to fill the screen at the prescribed distance, nothing more.

Quite impressive that the Hasselblad lenses cover what is effectively 6x7cm, territory they never trespassed on. Beside the Planar the Mamiya RB 90mm. is a bit of a brick- no-one seems to be converting them for 15/70 lol. My 500C has been in its box for over 20 years now.

You do have a fault, but this is normal. You only see through the viewfinder when the shutter is closed- that's how a mirror shutter works.

Stocks with the suffix "pan" (short for panchromatic, referring to the sensitivity to colour) are always B/W.

That suggests to me that it should be permanently lit but the bulb (or LED) has failed.

The clear area is due to insufficient solution- the emulsion just wasn't covered. The marks in (4) I would say are drying marks, so uneven drying/ not enough wetting agent or inadequate water removal. Of course, reversal hasn't happened at all.

Nostalgic.......... in the year 10,191. Hmm.

As Simon says, they're storage reels for microfilm. http://microfilmproducts.com/catalog/storage-reels/ If Foma are using them for camera film, they're cheating a bit.