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I'm curious about the nature of how the rolls were ruined. Most commonly I have seen rolls being under-developed, but in rare occasions there have been other types of even more catastrophic failure.

@@GeraldSaul That was in 1989; from what I can recollect from my memory, I followed the directions with respect to temperatures and time and for some unknown reason I was unable to see anything - not even a faint image. That was using B&W chemicals. If I had gotten a faint image, I would have kept trying.

My usual system is much sloppier and less structured and not a chore. This tank method requires greater attention to detail, but still not really a chore.

The problem with fast developers and this tank is contact time. Since the winding time is not well controlled and considering that film at the ends when the circumference of the roll is larger gives those parts some extra development time, the G3 gives a more even result with a less active developer. I love the spiral tanks but they take extra attention and practice and are not great for beginners.

@@GeraldSaul it is taking me some time to sneak up on how to use them. The starting loading groove on a Lomo Pro 30m was cleaned of a little debre at the corner this morning so film would lay flat on top. If you have one you know what that is.

Yes. As double 8 is the same width as the 16mm so it would fit into this device without problem. There is no method of splitting the film within this device and I've never split my own film so I have no advice on that point.

There is also a Morse tank with a window for re-exposure.

You really should have complete darkness during the loading process. The loading can be done while everything is dry so you can usually create a make-shift black chamber with blankets that would suffice (with all lights off as well).

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Listed above..

The tank can be used for colour film. The chemistry used is completely different, as would be the timing, but the physical actions would be the same. I've used it for colour but when I did, I was not highly concerned about precise results so did not have good temperature control. I've known people to use this tank for colour and keeping it one half immersed in a tray of temperature controlled/monitored water to give appropriate/consistent results. It is increasingly difficult to acquire small batches of colour chemistry, depending upon where you are.

I've been asking this question for over a decade.. I need to find a copy!

@@JeyDB I knew I saw this on DVD. Burned a copy of it AND found the file in a stored away hard drive. Want a copy? can send it through WeTransfer, no conditions, free. I'm an avid cinephile....

@@pdd60absorbed12 I would very much like a copy if possible! Never used WeTransfer before. What do I need to do?

@@JeyDB got to find a way to send me your email but not on this forum. I send you the file and you unzip it. Any suggestions?

I have used many drying systems and it always depends upon season, amount of film, and access to facilities. My favorite method is when I'm working in the summer during the day with a group. We take the film outside and lay it across large lawns in the sun. It dries in less than five minutes and can be wound up with minimum tangling. Surprisingly, most dirt and grass falls off quickly and easily as you wind with no problems. Otherwise, I seek ways to hand the film. If it above freezing outside and isn't raining or snowing (I am in Canada) I have clothes line and I clip it onto that so that it loops up and down, not touching the ground. Depending on weather, it can dry in 15-30 minutes. I also hang it up different places inside. I try to find ways to use clothes pin to pin it to the ceiling or to high up objects. This is not optimal as it can create a very chaotic room and can take a couple of hours to dry. A single roll might be able to hand in the bathroom, up and down over the shower. I have known people who use a clothes dryer to dry film. You must be careful not to use heat as it would melt the film. I think that the people who do this care even less about scratches than I do. Remember not to wind up the film wet as it will fuse together and the emulsion will peel off and be ruined. If you have multiple rolls but only room to hang one roll to dry, you can leave the others immersed in water until it is their turn. I've left film in water for a few days without problem (but a few weeks can be a disaster).

@@GeraldSaul Gerald, thank you for your response. I would like to share what I am about to fabricate for the drying process. I will be using a large hanging vinyl garment bag. Available here: www.amazon.com/gp/product/B0000TQF1Y/ref=ppx_od_dt_b_asin_title_s00?ie=UTF8&psc=1 I will cut a square hole on the bottom which will be covered from the inside with an air filter. I will place a nylon screen on top of that. Then I use a porcelain light socket with a 75Watt bulb. I will make a 'hat' out of aluminum foil and place it on top of the bulb to prevent it from bursting from liquid dripping on to it. The garment bag has a second hanging wire from which I will loop a 100' length of 16mm film. Doing the math there is just about enough side-to-side room on the hanger to accommodate 100' of 17.5mm width. This means it will not accommodate a 35mm width @ 100'. I will try to do a DYI video later. In the meant time do you have any developing formulas to share? I will be processing Double-X 7222 Neg probably use the standard D-96 unless you recommend otherwise? I also have some Plus-X Neg 7231 that have been kept in a freezer! The last of Greatest high silver motion picture film stock! I believe development times will be the same betwixt in 7222 and 7231? Any advice you have to offer? I will be eternally grateful!

It was shot onto 3/4" video tape in a porta-pack. The camera was attached via a cable. I think it was a Sony. This was in 1983 or 1984 so technical details are lost. Here is the camera in question: uregina.ca/~saulge/saul/photos%20for%20web/photos%20from%20films/slurpee%20movie%20student%20film%201983.jpg The version I uploaded was from a VHS dub from the 3/4". The original tape is lost.

You read both of them. When you are shooting with the camera, the upper counter will move fairly quickly as it is counting frames, rotating once every fifty frames. The lower counter also moves at the same time and tells you the overall number of frames. For example: if you zero both counters then shoot for exactly ten seconds, what you will find is that the lower counter will say that you have shot between 200 and 250 frames. You look at the upper counter and it would say "40". This gives you the more precise number, which would be 240 frames.

Not difficult. Similar to the process of rewinding, you disengage the motor but don't rewind and don't close off the lens. Turn the crank the opposite way as the indicated tells you and the camera gate will open and close and the film will advance forward. The tricky part is calculating the exposure. To do that, you would want to remove the lens and observe how many times the gate opens and closes with each revolution of the crank (I think it is six, but I don't have one in front me me right now). If that number is correct, and if you turn the crank at the rate of once per second, then you would expose each frame for one twelfth of a second and you'll need to set your Fstop for that. Put the lens back on, measure your light, set your f-stop based upon how fast you are comfortable turning the crank, and make a movie. Often when you stop, you have a fifty/fifty chance of having the gate partially open and giving you a flash frame. Expect this, it will be unavoidable.

Unfortunately, you definitely need the key. The gear is inset and there is no way to access it with your hands or even a pair of pliers.

Gerald Saul yeah that seems to be the case. Working on getting a key

hey gerald, one more thing. If I am not too concerned with the exactness of my impositions and just really want to double expose the whole roll, could i shoot almost the entire roll and then use the rewind key to pull the film all the way back?

You could do that. Rewinding takes quite a while. I imagine it would take 15 minutes or more to rewind a whole roll. Optionally, you could shoot the whole thing then use rewinds in a dark room to wind back to the start and then reload it.

yeah i could do that too. thanks

Remjet is not present on Black & White Cine films. If you are planning to do ECN-2 chemistry on color negative stock then you will have to do a pre-soak and a Remjet removal bath. Sodium Bicarbonate usually.