Re: [Frameworks] times for dektol and 7363
At Evergreen we've been processing 7363 in Eco-pro paper developer with good results (the darkroom in Photoland has both red and amber safelights). I use trays for short strips and buckets for longer lengths. Processing time is about 2 minutes for good blacks, sometimes a little less. I haven't been shooting it, but making photograms using a variety of lights, including florescent, LED, enlarger lighting and moon light. Ruth Hayes http://www.randommotion.com blogs.evergreen.edu/hayesr On Aug 4, 2014, at 11:13 AM, Beebe, Roger W. wrote: > I’ve used Dektol with hi-con plenty, but my experience is that exposure times > are VERY short, definitely less than 1 min with the chemistry at room > temperature, even when I dilute the developer. (It slows considerably as the > chemistry gets exhausted, of course.) I rate hi-con at ASA 12 when I shoot > it, so that could make a difference in time to proper exposure. Like > Christopher suggests, I do use a safelight with 7363 and just eyeball proper > exposure, but I find it VERY easy to miss the mark & end up with black film. > (I also process as negative, since I don’t love the idea of dealing with > scary bleach.) > > I’m certainly not a lab expert, but I do demos of this regularly enough with > my students to feel pretty confident that my results are repeatable and that > these very fast development times aren’t just a one-time quirk. > > Can anyone else confirm this? > Roger > > > On Aug 4, 2014, at 2:08 PM, Chris G wrote: > >> Hi Erin, >> >> 7363 is orthochromatic and is process until completion, so you can't >> *really* overprocess it. It is extremely forgiving in terms of time and >> temperature. I'd recommend processing under a safelight so you can watch the >> process. Using a paper developer such as Dektol will afford you a wider >> range of tones/greys over film developers and is a great way to play with >> the stock. D-19 is a high-contrast developer and will typically give you >> black or white with little in between. Usually I process short strands >> (40'/12m or less) of 7363 in trays or buckets with paper developer and a >> safelight until it looks "done." Guessing around 5-6 minutes at 68F/20C. >> I've honestly never checked the time but have had a lot of success with this >> method. >> >> Cheers, >> Christopher Gorski >> >> On Aug 3, 2014, at 22:09, Erin Weisgerber wrote: >> >> Hello all, >> >> I usually use D-19 to process 7363 to negative, but I'm thinking of trying >> out Dektol for this purpose. >> >> Would anyone be willing to share some guidelines processing times for 7363 >> processed to neg in Dektol? >> >> How would you describe the difference in look between '63 developed in D-19 >> compared to Dektol? >> >> Thanks so much for your help. >> >> Erin >> ___ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks > > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] times for dektol and 7363
I’ve used Dektol with hi-con plenty, but my experience is that exposure times are VERY short, definitely less than 1 min with the chemistry at room temperature, even when I dilute the developer. (It slows considerably as the chemistry gets exhausted, of course.) I rate hi-con at ASA 12 when I shoot it, so that could make a difference in time to proper exposure. Like Christopher suggests, I do use a safelight with 7363 and just eyeball proper exposure, but I find it VERY easy to miss the mark & end up with black film. (I also process as negative, since I don’t love the idea of dealing with scary bleach.) I’m certainly not a lab expert, but I do demos of this regularly enough with my students to feel pretty confident that my results are repeatable and that these very fast development times aren’t just a one-time quirk. Can anyone else confirm this? Roger On Aug 4, 2014, at 2:08 PM, Chris G wrote: > Hi Erin, > > 7363 is orthochromatic and is process until completion, so you can't *really* > overprocess it. It is extremely forgiving in terms of time and temperature. > I'd recommend processing under a safelight so you can watch the process. > Using a paper developer such as Dektol will afford you a wider range of > tones/greys over film developers and is a great way to play with the stock. > D-19 is a high-contrast developer and will typically give you black or white > with little in between. Usually I process short strands (40'/12m or less) of > 7363 in trays or buckets with paper developer and a safelight until it looks > "done." Guessing around 5-6 minutes at 68F/20C. I've honestly never checked > the time but have had a lot of success with this method. > > Cheers, > Christopher Gorski > > On Aug 3, 2014, at 22:09, Erin Weisgerber wrote: > > Hello all, > > I usually use D-19 to process 7363 to negative, but I'm thinking of trying > out Dektol for this purpose. > > Would anyone be willing to share some guidelines processing times for 7363 > processed to neg in Dektol? > > How would you describe the difference in look between '63 developed in D-19 > compared to Dektol? > > Thanks so much for your help. > > Erin > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] times for dektol and 7363
Hi Erin, 7363 is orthochromatic and is process until completion, so you can't *really* overprocess it. It is extremely forgiving in terms of time and temperature. I'd recommend processing under a safelight so you can watch the process. Using a paper developer such as Dektol will afford you a wider range of tones/greys over film developers and is a great way to play with the stock. D-19 is a high-contrast developer and will typically give you black or white with little in between. Usually I process short strands (40'/12m or less) of 7363 in trays or buckets with paper developer and a safelight until it looks "done." Guessing around 5-6 minutes at 68F/20C. I've honestly never checked the time but have had a lot of success with this method. Cheers, Christopher Gorski On Aug 3, 2014, at 22:09, Erin Weisgerber wrote: Hello all, I usually use D-19 to process 7363 to negative, but I'm thinking of trying out Dektol for this purpose. Would anyone be willing to share some guidelines processing times for 7363 processed to neg in Dektol? How would you describe the difference in look between '63 developed in D-19 compared to Dektol? Thanks so much for your help. Erin ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Arri SB to Super-16mm?
Hi Kevin, I'm my experience, it's fairly impractical to covert the Arri S series - The theoretical shutter, mount, and gate adjustments make it more or less the most difficult camera to consider for Super 16. Visual Products in Ohio developed a conversion process, which supposedly yielded a few successfully converted cameras, but the examples were selling for thousands, well beyond what the same camera would cost used. I saw one or two of these on the used market after initially encountering them on Visual Products' website. I've never seen footage from one. It's likely that most techs haven't done it, or would be unwilling to attempt it, and if they did, the labor costs would be huge and it would mostly likely be at the risk of messing up your Arri SB. Bolexes have a great range of application as Super 16 cameras. With decent lenses and a good condition camera, the quality will be great. Otherwise, there are other cameras of slightly greater complexity, made by Aaton, Eclair, or Arri, that are often in Super 16 already or are at least more easily converted. These cameras are larger sync-capable systems however, and are heavier, less practical for MOS work, and more expensive to maintain. There may be folks who have developed a technique of which I know nothing, though. I hope so, because I love the S series Arris and they'd be great in that format. Bernie O'Doherty at Super 16 Inc converts everything that is readily convertable. Dieter at ProCam USA does factory-specific Bolex mods. Good luck, Isaac On Monday, August 4, 2014, Kevin Obsatz > wrote: > Hello! > > I've heard people talk on this listserv about converting Bolexes (Bolii?) > to Super-16, and I'm curious if it's possible to do the same to an Arri SB. > > I'm based in Minneapolis, so I guess there are two questions: 1. how much > would it cost? and 2. who does it in the US? > > Thanks! > > -Kevin O > > www.videohaiku.com > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Bolex 16/super 16 conversion
Hi Roger, Do you still have your LTR? I'd stick with that before converting a Bolex, but maybe you're looking for something more portable? I have seen a few Ikonoskop cameras on eBay selling for much less than their new price. You might consider this option... very portable! The Bolex is great for many things, but I've never considered it very steady, and the gate seems to attract more dust and debris than most other cameras I've used. If you're LTR is gone, then consider, as Jeff said, getting a used Aaton XTR or XTRprod, or converting an Eclair NPR to super 16. Les Bosher does this for very reasonable prices, and the Eclair will be steadier than the Bolex. Les will re-center the C mount if you like and you can use some 10mm Switars (later pre-set models) for shooting super 16mm, or purchase some B mount Zeiss primes (I might be selling mine soon). Alain On Tue, Jul 29, 2014 at 1:53 PM, Beebe, Roger W. wrote: > Back to celluloid now after my brief foray into the digital world. Does > anyone have recommendations for where to get a Bolex converted to super 16? > Also, I’ve got both an SBM and a REX 4—is there any reason to convert one > rather than the other? Also (finally) how do I know (in advance) if my > lenses will cover super 16? > > Thanks, Frameworkers, for always knowing more than I seem to… > Roger > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > -- 40 FRAMES Alain LeTourneau Pam Minty 40 FRAMES 5232 North Williams Avenue Portland, Oregon 97217 USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org www.emptyquarterfilm.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Arri SB to Super-16mm?
You might try Richard Bennett in Los Angeles http://www.cinema-engineering.com/ Alain On Mon, Aug 4, 2014 at 8:55 AM, Kevin Obsatz wrote: > Hello! > > I've heard people talk on this listserv about converting Bolexes (Bolii?) > to Super-16, and I'm curious if it's possible to do the same to an Arri SB. > > I'm based in Minneapolis, so I guess there are two questions: 1. how much > would it cost? and 2. who does it in the US? > > Thanks! > > -Kevin O > > www.videohaiku.com > ___ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks > -- 40 FRAMES Alain LeTourneau Pam Minty 40 FRAMES 5232 North Williams Avenue Portland, Oregon 97217 USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org www.emptyquarterfilm.org ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] Arri SB to Super-16mm?
Hello! I've heard people talk on this listserv about converting Bolexes (Bolii?) to Super-16, and I'm curious if it's possible to do the same to an Arri SB. I'm based in Minneapolis, so I guess there are two questions: 1. how much would it cost? and 2. who does it in the US? Thanks! -Kevin O www.videohaiku.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Did Kodak almost stop making all film?
It's not hard to make B&W photographic film; I have done it. But it is extremely, extremely hard to make perfect film that is just the right dimensions for motion picture work, has perfect perforation, no emulsion defects, and controlled sensitivity and curve shape roll after roll. This fine film from Kodak explains much of it: https://www.youtube.com/watch?v=9qjBJOFImaU Note that this is showing a facility that no longer exists; the current Rochester plant deals with much much larger quantity runs and everything is even bigger. --scott ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
