Re: Re: cameraless motion picture pinhole

Ed:

My background is in animation, and that use of all this is gurgling deep
down . . I mean, experimental animation . . otherworldly animation!

Registration: I am using 100 ft. daylight spools. These little reels
have a notch in their center holes. They load up on film projectors
easily, and the roll of film comes on such a spool already. A sent a
dowel rod through the hole, but the spool turns freely. So, I glued an
inch of a smaller dowel rod along the larger one. This smaller rod's
diameter fits neatly into the notch. Thus, when you turn the rod from the
end, it turns the spool. I cut a cardboard disc to place onto the end of
the rod and will mark how much of a rotation of the rod it takes to
advance a singe frame. Then when I close the cardboard box up, I can
(hope and pray) determine when I have advanced a frame by looking at where
the disc marks are lined up on the side of the box. A couple tests with
blank film leader will verify how much of a rotation will advance a frame.
Then we load up!

Initially I thought of using an old projector and trying to cover it up,
etc. But the advantages of a projector are only that you have the spools
in place, and that is easily accomplished by sending a pair of dowel rods
through the sides of a box, one above the other. (My projector's reels
has one above the other.)

I have hand-processed black and white reversal motion picture film. This
is done frequently in experimental film circles, though I am no pro. This
time, however, I wanted to try hand-processing color. I ordered a 3-bath
kit (more money, damn it!). And any method of exposing the film would
have done fine. Now, however, my solution to the shooting problem is
becoming as interesting as the processing was: After all that time
exposing all those frames, will I really be able to risk it all in a
hand-processing gambit? And how the hell would such a film look if
processed "correctly," never mind all the variables involved in
hand-processing.

Bernie

On Tue, 14 Nov 2000, edwin gendron wrote:

> Bernard, you have me thinking about this!!
> There would be some DEFINATE advantages in 16mm animation (or 35mm
> animation!) if the camera were small (only as large as the film load).
> the questions are:
> #1 how to insure proper registration??
> #2 how to advance the film??
> I considered using old projector parts but that would be as bulky as
> a camera, probably even bulkier. I wonder if anything could be built
> out of such parts???
> If you figure anything out, man, PLEASE let me know...
> Ed Gendron
>
> 2 words about "hand processing" your 16mm motion picture
> film.....different chemicals. At least I know some stocks are and I
> THINK that all of them are.
> BUT if you shoot up to 100 feet this way (2 & 3/4 minutes running)
> you can get it easily & hassle free processed at a motion picture lab
> for about $20 - 30.
>
>
>
> >Hello, all:
> >
> >I just subscribed (as of yesterday), having cast about for a way to shoot
> >a 16 mm film without renting a camera, without paying a lab's developing
> >fee, and without boring my easily-bored eyes. Hitting the web for tips, I
> >have rigged a little canister for 35 mm still photography with both
> >pinhole and slots through which to advance 16 mm film. It was a lazy
> >Sunday I spent dabbling without much conviction, scrounging around for
> >tape, glue, a box, you know the story. I am still amazed that this should
> >work, in theory at least. We have a simple mechanism for advancing the
> >frame and keeping registration without exposing frames to light until they
> >enter the gate of the canister. Has this been done? Once exposed, I'll
> >have only to hand-process the thing. And then, . . a movie . . of
> >pinhole photographs!
> >
> >
> >
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> --
> ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
> Edwin Gendron
> Virginia Tech
> Residential and Dining Programs Graphics
> 43 Owens Hall (0223)
> Blacksburg, Va. 24061
> (540)231-5398
> egendron@vt.edu
>
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Received on Tue Nov 14 17:25:11 2000