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Hey everyone I’ve accumulated a fair bit of rolls that I’ve kept chill over the last few years. Plans have changed and won’t be using much of it any time soon. Space is needed so looking to sell some stock! Fuji f-250D 8862 400ft - £160 Kodak Ektachrome 7255 100ft - £50 Kodak 7222 400ft - £165 Kodak Vision 3 500t 7219 400ft - £165 Fuji Eterna 500t 400ft - £160 (possibly 2 rolls) Based in Manchester, UK. Happy to ship for additional cost
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Hey everyone! I wanted to share a passion project I’ve been working on for quite some time. To the best of my knowledge, this might be the world’s first truly desktop-sized 8/16mm motion picture film processor. The only reason I started this was that I did not like the fact that I had to wait weeks to send the film and wait for a lab to process it, even when I wanted to test an expired roll or try a creative look for film. I mean paying for shipping, lab fees, taxes, and Kodak increasing film prices with their new AUH film. Its rediciluos. I mean AI is already bad enough, we might actually lose film. So I wanted a compact and versatile lab setup right at home. The goal is to get Lab-grade results fast and cheap. With the current prototype I built, it can: Process 8mm and 16mm motion picture film (the new one AUH, although a dedicated rem-jet removal unit can be added. I haven't designed it yet) Process up to 200ft of 16mm film in under 40 minutes. It can do Push +1, Push +2, and Pull +1. It can also do variable bleach bypass. And processing a 100ft roll of 16mm film only costs roughly $5 to $7 That being said, the current state of the machine is... functional... but needs a lot of work It’s still very much a prototype (a Frankenstein made of 3d printed parts, marine-grade silicone, 316 steel, PVC, polypropylene (PP)). Running a batch right now requires a lot of manual intervention, and frankly, it's a bit of a pain to operate. It proves the concept, but it’s definitely not plug-and-play just yet. To actually turn this into a highly efficient machine, here's the massive to-do list I'm currently tackling to take it from a finicky prototype to a reliable desktop lab: Bumping it up to process a single 400ft roll per hour. Overhauling the racks for fast, easy leader lacing (the current setup is way too tedious). Building a clean-up system so as not to have to disassemble the entire thing to clean it. Also, a dedicated system to collect exhausted chemistry. Adding an integrated, dedicated drying chamber. Curretnly its just a bunch of hair dryers. A proper agitation and a hybrid heat exchanger to ensure consistent development. And a dedicated control panel. Anyways, just wanted to share something I'm working on and see if anyone out there is also crazy enough to keep holding onto film in this modern age. I’d love to hear your thoughts. If you have any questions about the build, the mechanics, or the chemistry side of things, feel free to reach out or drop a comment below. Cheers. P.S Some pictures + foot for reference (Sorry I didn't have a banana for ref)
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In 2001 a flood hit in Ohio and destroyed my VHS archive as well as some of my personal photography that was stored in a basement. Raw sewage and mold took care of it and I lost it all. On 6.22.2026 we got a torrential downpour at 4.30PM and the cine' film archive got flooded. I didn't know it until the next day when I started to smell things and walked in the room. Luckily it was not sewage, but the carpet and pad were soaked and everything sitting on it was wet. Maybe the only safe place might be the 2nd floor if you got an attic to catch the drips if the roof leaks? I'll be out for some time with this mess. I'm old and health is poor, so work goes very slow. No insurance. I'm chipping away at pulling up the rug and pad after I vacuumed everything with a wet Shop Vac. I've felt sick from the wet stink the last few days. But every day seems to get a smidgeon better than the previous day. Subfloor is concrete, so at least it is not a mess of moldy plywood. BTW, if you want to pull up wall to wall carpet; get some big pliers and go to the corner of the rug. Grab / pinch the corner and pull up. It removes the carpet from the nail strip. Get a dedicated carpet knife to cut the carpet. I've tried all sort of knives; carpet knives work best. But have lots of blades. Cut sections of carpet that you can deal with and roll them up and secure with duct tape. I hope to be back to the forum someday, once I get caught up. Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography -
Evaporation of Filmrenew film cleaner in a capped bottle. I haven't been doing much film cleaning over the past few years. I need a decent cine' film scanner. But I did lots of film cleaning when I was learning the ropes about cine' film scanning in the early days of the film archive. I'll give you some info on film cleaning at the end. I had this bottle of Filmrenew sitting around for years. I swore it kept shrinking even with no use. So, I marked it on 3.24.2025. I came across it yesterday while doing some organizing. I was shocked to see how much cleaner had evaporated and I marked it for the second time. I've got a gallon of this stuff somewhere. Who knows how much of it is left. I'm glad I don't sleep with it in my bedroom, breathing all those chemicals. I can now see why they used glass for storing certain chemicals. When it comes to cleaning cine' film you have 2 directions to go; fast or slow evaporating film cleaner. Edwal makes a fast evaporating film cleaner. It is OK for a fast job where you don't have heavy duty dirt. But if you had dirty film and used Edwal, it would leave lots of dirt on the film. The dirt needs time to loosen and you need something that will not evaporate so fast. Filmrenew or Vitafilm are both slow evaporating film cleaners and film lubricators. So they do deep cleaning of film. But they are a pain to wipe off compared to the fast evaporating cleaners that dry up almost instantly. You can test this all yourself. You clean dirty film normally as you would with Edwal, then reclean with Filmrenew and see all the dirt that was left behind. Being a broke archivist, I just switched over to using 99% isopropyl alcohol for film cleaning. It is a fraction of the price of Filmrenew or Vitafilm and does adequate cleaning. I also don't get doped up from breathing the chemicals from the slow evaporating cleaners. I got enough chemicals for free from working in the wet darkroom for 35 years. But if you got some filthy, dirty film; nothing beats Filmrenew or Vitafilm for cleaning. The downfall of 99% alcohol is it is a fast evaporating film cleaner and can leave dirt behind. It also does not lubricate the film. And no matter what you use here in this discussion, nothing cures vinegar syndrome. It may halt or slow it down where it is at, but it does not reverse anything. See: <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hi, I'm looking at purchasing an Arri SR. A 5k price difference between the two; fine, recently serviced. Tested both; mostly want to use it for non-sound sync, but with an option to shoot some shorts. In people's honest opinions, which is the btter camer, have tested both and run film through. Both worked fine; have video taps and are converted to S16. Both good packages with accessories and multiple mags. The chipped mirror on the SR3 concerns me, as though right now it's fine but could lead to an issue down the line, and it has limitations on shutter angle. Any advice would be helpful. thanks, -
Kodak Vision2 7217 film stock 16mm Kept for 10 years in freezer in -17^C Recans and short end, exact lengths here: 115m 109m 86m 105m 119m https://photos.app.goo.gl/Z8AMA6mg4MCrZdbZ9 PRICE: €330 incl. shipping to EU Payment via PayPal -
Part One A bit of a background on how the whole thing started: I have said this elsewhere in the forums, but I've been shooting digitally with various systems since the early naughts, film was always the preferred but the absolutely impossible for me choice - came close many-many years ago but not close enough. Had a super 8mm Agfa camera lying around for quite some time till I pulled the plug last year and loaded basically all Kodak stocks except the b&w and the reversal ones. Results came out great but that only grew my desire to work on 16mm. Unfortunately this is not 2017 where you could find an SR for three thousand euros. So, I decided on a K3 with with an EF mount and an Ultra16 gate which arrived having the wrong flange focal distance, non polished gate, completely mistimed shutter and pieces of foam lying around. In retrospect, a Bolex EBM electric might have been a better choice. Two wasted rolls (plus development and scanning) later, I fixed the camera, did a temporary inaccurate-idiotically-made flange myself and used other pieces of another run-down K3 I found for cheap, plus another catch-all gate that does both Ultra 16 and Super 16, I polished that one myself as well to be safe, a member of this forum helped me out on my initial journey, so thank you for this precious bits of initial help. But...using a spring-loaded twenty-second-run camera with no sync-sound is nice within a very small confine of things I wanted (and still want) to do. Fast forward a few months later, my Crystal sync K3 CLA'd and prepared by non-other than Monsieur Aapo Leitinen himself arrived in the mail. The concept for my documentary has been building up for more than a year but the moving pieces starting falling into place the past summer. My initial intent was to shoot with my fuji XT-3 plus external recorder for ProRes in log, plus its own rig for its supporting functions etc. But in my mind it was, what if I could do the most irrational thing ever and just shoot with what I always wanted to shoot with: 16mm But it would have to be with the K3 and sound should be live, the question was: Is this possible? Obviously the answer is no, but whatever... My aim was to: Examine 50D for morning and evening shots when/where applicable. Examine utilisation of 250D FOR 60-70% of interviews plus b-roll. Examine 500T for some interior and all night shots 200T I tested prior to camera conversion to crystal sync and it didn't do it for me. Test Wolfen NC400 for a select few shots that would cover a specific context-based portion of the documentary The test for NC200 is already posted here separately but that stock is not formally available so it's unclear Test the new Verita Film stock if I can get my hands on it in the next two months. Test a few lens combinations: Tokina ATX-PRO 24-80 2.8 F mount Tokina 11-16 Cine T3 EF mount Meike 25mm T2.5 EF mount Nikon ED 80-200 F mount Test audio capture using both Lav and NTG mikes from Rode recording float32 audio. How loud is the sound in actuality and can I work with it? (Answer in part two) Check various configurations of the camera rig Make sure I can work nicely in handheld and tripod and switch quickly between the two Establish quick load/unload process and do it the same every time Shoot at least 1000' feet of film in a short period to establish consistency in operation. Explain why I haven't completely lost my mind to everyone around me. Since we're keen on trains in this forum for some weird reason, here is a test of 50D with AHU backing on a Nikon F mount-based plus EF conversion mount on the Tokina ATX-PRO 24-80 2.8 with an ND16 at 35mm - stopped at F5.6: Sound is live and synced. I was actually surprised to find that 50D handled underexposure better than expected - (not in this clip) but I didn't particularly like how that Tokina handles objects not in focus, and bokeh when present was unpleasing to me. This is the camera plus configuration during shooting at different iteration levels:
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They got the film; you just need the $$. Where are you with film in your work? If you work in digital and film, what percentage of each comprises your work? Here is a PDF snapshot survey of B&H's 16mm inventory made on 2.8.2026. (1 film is not on PDF) Survey of 16mm Movie Film B&H Photo D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hi everyone, Does anyone by any chance have any sample footage of S16 with 8 and 12mm Ultra Primes? Anything to be worried about when shooting 16mm with 35mm lenses? Thanks!
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Hello, Are Fomapan 100, 200, and 400 supposed to have the same development time when using Ilfotec LC29 at 1+19 in a JOBO CPE3 processor with rotation at 75 rpm? Digitaltruth lists the same time for all of them (6.5 minutes), but that does not make sense to me. I recently developed Fomapan 400 using this recipe, and the film does not look good to me. It looks like it did not develop evenly. Some photos look overexposed and some do not, even though they are on the same roll. When I scan the film, the scanner sees some frames as negatives and some as positives, and I am still confused about what I should do and what I did wrong. -
I like their silver safe. Must have been one of many. The Home Of Kodak 1929 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive The I.A. has a low-res PDF copy of it if you prefer a PDF. I like individual, decent res scans for my archive. Plus, I don't have any PDF software. Download JPEGs at link to view without moiré pattern. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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How kids kept milk cold at a rural school in the 1900s. VHS clip from 'Anne Of Green Gables' (1934) D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Fiberglass 16mm 400-foot film reel Daniel D. Teoli Jr. Small Gauge Film Reel & Can Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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For Sale : Aaton A-Minima S16 Camera Package Price : $18,000 US LINK : https://broadcastsolutions.com/product/aaton-a-minima-s16-camera-package-2/ A-Minima Kit Fully Serviced At AM Camera LA. 3 Month Warranty Aaton A-Minima Body B/W Video Power Block Sound Barney 3 200ft Magazines Top Carry Handle with Start Stop Cable 2 On Board Batteries (recelled) Battery Charger with 1 Charging Cable 10ea 200ft Rolls of Various Kodak Vision Filmstock (negative quality not guaranteed) Film Spooling Rig Camera case Note : Arrangements can be made for the installation of an HD Video Tap at an additional cost
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Looking For : Aaton XTR Prod Camera Pkg w/S/N 2000 & Above Email sales@broadcastsolutions.com -
ARRI 416 HS Plus Camera Package Price : $58,500 USD LINK : https://broadcastsolutions.com/product/arri-416-hs-plus-camera-package/ Arri 416 HS Body Arri Viewfinder Eyepiece The Ground Glass is 1.78 | 1.33 Safe With a Centre Cross In The Middle Arri Eyepiece Extension Arri Eyepiece Arm 416 Stripped Side Plate (Elokuva) Arri 416 Top Handle 416 Riser (Elokuva) 416 15mm LWS (Elokuva) Arri IVS Video Split 416 Pal The Tap is SD But Has Elokuvakonepaja V-Lock Power Adapter with Built-In Wicam Analog SDI Converter Which Produces a 1080 Signal Arri 416 V-Lock Power Adapter w/Built-in Wicam Analog SDI Converter 416 Steadicam Riserplate 416 Shoulder Pad Arri 416 Plus HS PL Mount Cap Arri Antenna 3x 416 Shoulder Magazine 400 ft. Arri 416 Pls HS Magazine Port Cover Arri Pistol Handgrip Arri 416 Manual Arri 416 Tool Kit Transvideo Starlite HD5 Monitor Kit Custom Camera Carry Case Custom Magazine Carry Case
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Looking to purchase an Arri 35mm 3 perf 435 or 535B Camera Package. Please DM me with anything you might have for sale.
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Vaccumate was one of those film preservation treatments they did back in the day along with Vaporate. This sample of a Vaccumate treated film is marked with a 3. Maybe they had different versions. It is all just guess work. I could not find out anything about either treatment. Although you can't see it in the scan, the Vaporate film did seem to have a matte finish applied to the stock. I did not see any difference to Vacuumate treated film versus untreated film. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Arri 435ES 4 Perf 35mm Camera Package $20,000 USD Link : https://broadcastsolutions.com/product/arri-435es-4-perf-35mm-camera-package/ – 435 Camera Body (4 Perf) with IVS (PAL) – Top Handle [No Bridge Plate/Rails] – 3 x 400ft Magazines – FE-3 Extension Eyepiece – Capping Shutter Set for 435 (ICS-1/SFHC-1) – not installed but with instruction manual for installation – 1 x Shoulder Pad for 435 – 2 x Allen Key Drivers (1.5mm & 2mm) – 1 x KC-20s 3 Pin XLR Battery Lead – 1 x ARRI S35 Director’s Viewfinder – 435 ARRI Glow Masks – Ground Glass – Printed Quick Start Manual
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Arri 235 4 Perf 35mm Camera Package $28,000 USD Link : https://broadcastsolutions.com/product/arri-235-4-perf-35mm-camera-package/ – 235 Camera Body (4 Perf) with IVS (PAL) (JUST INSPECTED) – Top Handle [No Bridge Plate/Rails] – 3 x 400ft Shoulder Magazines – 2 x 200ft Shoulder Magazines – 3 x 400ft Steadicam Magazines – Steadicam/Low Mode Top Bracket Fitting – 1 x Shutter Tool – 1 x ARRI RCU-1 Setup with Cabling – 1 x ARRI Style Director’s Viewfinder – ARRI Ground Glass Note: The Operator Side Run & Phase Buttons Are Not Functioning But AC side Is Fully Functional. The RCU-1 That Is Included With The Kit Is There To Mitigate The Side Panel Not Functioning As The RCU Can Do The Same Functions Once Plugged Into The Camera.
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In the old days we had to tone film / prints with chemicals and bleach. Kodak also made a line of pre-tinted cine' film and lightly toned printing papers. But...when digital came around it opened up the entire palette of colors to choose from to tone your images. Here are some samples of digitally toned images. This 2-inch-long piece of film was broken off of some nudie cutie arcade reel and who knows which one it was from. So, before trashing it, I put this gal to work for one last time and did some tests with her. (You will be seeing more of her down the road as I did numerous tests with her beside toning.) Full collection of toning tests below; including raw scan, full BW monochrome scan and warm toned versions. Digital Toning Examples of Cine' Film D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive (Download hi res files to view properly and for reference.) <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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If you have films with vinegar syndrome, they have to be stored open air. If they are stored open air, they generally stabilize more or less. And if you want to be sure about halting vinegar syndrome, you vacuum seal the film and freeze them. Nothing cures vinegar syndrome, but you can slow it down or halt it. These films shown have been stored open air for a few years. The previous owner stored them sealed in metal cans in a hot storage unit in L.A. for many years. Once they were aired out, they have not visually deteriorated further since they were stored open air. Most of the vinegar smell is gone; but if they are returned to film cans, especially non vented, the vinegar syndrome will start back up. Vinegar syndrome is caused by a lack of ventilation and heat. It is best to air out films on wire racks so they can breathe on both sides. Or you can stack them with a film core between the reels. The films shown are just a small fraction of the hot L.A. storage unit film collection I acquired, and I don't have room for that. But they have done OK being aired out as shown. You can flip them every year or so, but these have been sitting as shown for years. If you have your films in cans and they are acetate...you have to burp them once in a while to de-gas. When I first got this collection, you could smell the vinegar from across the room. Now the vinegar is 'almost' undetectable with the nose. Other reels still have a noticeable smell, but they have decreased with the vinegar odor maybe 85%. If your films are warped or start to develop flats you can reverse wind them. None of the chemicals being marketed to handle vinegar syndrome have done any good from what I can tell, and I've tested most of them, if not all of them, over an 8 year period. You can get PH / A-D strips to see where your films fit in with the vinegar syndrome. I don't use them. I'm not that anal or scientific. Film is just one small area I work in. Not enough time, money or space for everything. Plus, the A-D strips need to be enclosed in the can with the film to work right. These films will never be returned to a can, so the A-D strips are not of much use to me. But if you are of an anal nature, strip your films and chart them! I just use my nose. A-D strips are good to tell you when the vinegar syndrome is starting. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hello all! I am very curious about your opinions and thoughs on lighting in LOTR trilogy. I have made this video-essay, where I am focusing on conceptual lighting techniques and how it tells information, pushing narrative and impact audience. I would like to have a discussion about this, if you are interested! You can watch here: Thank you and looking forward to your thoughts!
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Moviola Film Editing Machine | eBay This seller has all sizes! $350 a pop...16mm or 35mm. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Aaton A-Minima S16 Camera Package $17,000.00 US Link : https://broadcastsolutions.com/product/aaton-a-minima-s16-camera-package/ A-Minima PL Mount Body w/Top Handle Video Tap 3 Magazines Aaton Intervelometer Sachtler Touch & Go Quick Release Plate 2 Camera Power Cables Battery Charger 2 Battery Charging Cables 2 Short BNC Cables 1 12V Micro Force Y Cable 2 IBM Generic Power Cables Hardigg Case
