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Showing results for tags 'Film'.
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Does anyone have datasheets or other data on Eastman Color Negative 5254 or Eastman Color Negative 5247? Also data on other 35mm negative films used in the 1970's would be appreciated. -
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, -
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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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 -
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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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. -
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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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 TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s and 16-M Cameras Bought from Du-All Cameras 3 years ago. Used a couple of times and tested recently. Works flawlessly. Item is in great Condition, with only minimum scratches here and there, barely seen. Serial number 9440 Paid US$ 995.00 (see price label on picture). It's on eBay at US$ 800, but open to Make Offer: http://www.ebay.co.uk/itm/TOBIN-TXM-22A-CRYSTAL-MOTOR-FOR-ARRI16S-and-ARRI-16-M-CAMERAS-/172541639598? Feel free to contact me with any questions.
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Hi guys. Selling my lovely TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s. Bought from Du-All Cameras 2 years ago. never used, only tested recently, working like a charm. Asking price: US$ 900 (Paid US$ 995, receipt as proof). Can ship worldwide. Item is in Brazil. Can declare small value to avoid customs. Shipment costs is around US$ 60, ETA 2 weeks by normal postage. Can ship UPS if you'd like. Will post pictures here soon. Any questions, just shout. *** PLEASE CHECK MY 2 ARRI 16S KITS FOR SELL ON EBAY: http://www.ebay.co.uk/itm/2-ARRI-16S-ARRIFLEX-KITS-FULLY-WORKING-PRISTINE-CONDITION-/171665355148?#shpCntId
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Hi, I've got for sale standard 16mm camera set, including lenses, cables, filters... all fitted in Peli case. Camera is in fully working condition, I have used in only occasionally. The last user, had it got serviced in Bolex, Switzerland (in 2009). Camera is equipped with normal 16mm gate, bolex bayonet mount, in-camera filter holder and TTL exposure meter (till ASA 640) What's in set: Bolex EL 16mm camera mark.II Kern Vario-Switar compact zoom 17-85mm T3,8 Angenieux 15mm f1,3 Bolex bayonet - C-mount adapter (2x) C-mount - Arri Standard adapter gelatine filter holder (4x) battery cable 4pin XLR (2x) Peli case Price is €850 + shipping I'm located in Slovak Republic, and ship to E.U. and U.S.A. Photos: https://www.flickr.com/photos/91204852@N05/sets/72157648786143401/ 16mm footage:
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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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It's my understanding that to eliminate roll bar from a CRT or 'Tube' TV, one can use the combination of a 23.967 framerate and a 144º shutter. This specific combination, of course, only works with NTSC (60Hz) televisions only. The other PAL (60Hz) methods obviously don't pertain to my situation. Anyway, It just so happens I will be filming a CRT TV, however I own an Arriflex SRII which has a fixed 180 degree shutter. I am able to use a speed controller to set the framerate to 23.976 but that alone won't exactly fix the problem, but rather keep the black bar in a fixed location. I want to eliminate the black bar entirely. It occurred to me that this wasn't a possibility, until I researched the problem quite a bit and actually found out there is actually something called a Film/Video Synchronizing Control Box. At my first uneducated glance I thought it was some outdated equipment which was probably used to change the framerate of cameras before we had framerate controllers. Then the size of the thing struck me and I thought "Maybe this isn't simply for only framerate" because there's no conceivable way to describe going from a giant box to change the framerate to only years later the speed controllers we all know and love that can all fit in the palm of your hand. That's just not the way technology progresses. So after more research, and finding a couple instances of people vaguely talking about how they used to use these sync boxes 'back in the day', I seemingly submitted to the fact that this thing can actually do what it says. But I still just couldn't understand how people can make the claim that this thing could sync any camera with a CRT TV when not every camera has an adjustable shutter. That was until I found this post on here from back in March of 2018. This actually makes sense, given how cathode ray tubes are sensitive to magnetic fields. Now before anyone dismisses the Film/Video Synchronizing Control Box, I should probably point out a few ways I will not settle for fixing the problem. 1. No I do not want to green screen the tv, even with artificial light to suggest television glow. It never looks real. 2. I don't want anything shot digitally, especially since the cost of a digital camera is more than that of the sync box. 3. I can't afford renting another film camera that has an adjustable shutter for merely one or two shots. I have considered number one as an option in the past for shots of the television screen only, however one also runs into the problem of the glass reflection not being there. And probably the biggest problem is my idea of a wide shot of the actor watching the television from across the room, both the television and the talent visible in the frame. Now while real television glow is nowhere near enough for a key light, it would have still been present in the frame thus casting some type of glow that would reflect near objects, even the slightest bit. I went a little off track as I often do, so here are my two questions. How does the Film/Video Synchronizing Control Box actually work? Can someone who has used this before please explain the setup and operation in detail? If applicable to my situation I'd love to own one. -
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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Hi everyone, I have a S16 SR2 with the SR3 lens support system that has two small rods (see picture attached). I was wondering what kind of thread was needed for 15mm extension rods ? Would something like this work : https://www.digixo.com/audio-hifi/accessoires-video/smallrig/p380092-smallerig-1659-combinaison-de-tiges-filetees-15mm.html?affiliateID=300&gQT=1 Or do I need special rods ? Thanks a lot !
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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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