Jump to content


Photo

respooling 400 foot rolls for eclair 200 foot magazine?


  • Please log in to reply
10 replies to this topic

#1 Evan Ferrario

Evan Ferrario
  • Basic Members
  • PipPipPip
  • 138 posts
  • Director

Posted 17 June 2009 - 06:13 PM

I have some 400 foot rolls of film I wanted to use in my acl which I only have a 200 foot magazine for. I have a bunch of 100 foot daylight spools, but I wanted to try a 200 foot roll if I have to respool the film anyways.

My eclair came with a core adapter for 200 foot rolls on cores. My problem is that the camera came with only one of these adapters. How can I shoot 200 foot cores with only one of the adapters, or do I require two for shooting 200 foot rolls?
  • 0

#2 Ian Cooper

Ian Cooper
  • Basic Members
  • PipPipPipPip
  • 469 posts
  • Other
  • England

Posted 18 June 2009 - 01:58 AM

I have some 400 foot rolls of film I wanted to use in my acl which I only have a 200 foot magazine for. I have a bunch of 100 foot daylight spools, but I wanted to try a 200 foot roll if I have to respool the film anyways.

My eclair came with a core adapter for 200 foot rolls on cores. My problem is that the camera came with only one of these adapters. How can I shoot 200 foot cores with only one of the adapters, or do I require two for shooting 200 foot rolls?


I can't help with the cores, but if you're respooling how about 200ft daylight spools?
New 200ft spools are available from Philip Rigby & Sons. I've bought a couple to use in the magazine of my R16.
  • 0

#3 Evan Ferrario

Evan Ferrario
  • Basic Members
  • PipPipPip
  • 138 posts
  • Director

Posted 19 June 2009 - 12:23 PM

I can't help with the cores, but if you're respooling how about 200ft daylight spools?
New 200ft spools are available from Philip Rigby & Sons. I've bought a couple to use in the magazine of my R16.


Thanks, that is exacally what I'm looking for. How do you go about sending them to the lab? Will they be able to take them as they are and send them back? Or do you transfer it to another core.
  • 0

#4 Ian Cooper

Ian Cooper
  • Basic Members
  • PipPipPipPip
  • 469 posts
  • Other
  • England

Posted 19 June 2009 - 02:32 PM

Thanks, that is exacally what I'm looking for. How do you go about sending them to the lab? Will they be able to take them as they are and send them back? Or do you transfer it to another core.


I have to confess I haven't actually got that far myself yet!

I've respooled the majority of the film I shoot from 400ft cores down to 100ft spools. Each time I've sent film off to the lab I always ask for the spools and cans to be returned for reloading on the covering letter, and I also tape a "Please Return" label along with my address to the film can itself. The lab has always returned them to me, but I've got plenty of 100ft spools so it wouldn't matter too much if they didn't on one occasion.

I haven't actually shot film off one of the 200ft spools yet - I've loaded it with film and it's sitting in the fridge waiting though! As the 200ft spools cost a little bit more and aren't quite so readily available, I'm planning to transfer the exposed film back to cores for sending off to the lab. It will mean transferring it off the spool onto a second spool, before then winding it back onto a core so it's still orientated the same, with the tail end of the film on the outside, but that doesn't take long for just one or two. If you're likely to shoot quite a few rolls at once, or prefer not to handle the exposed film any more than necessary, then it might just be easier to check with the lab and just ask them to return the spools for you. If you put labels on both the spool and the can asking for them to be returned then it should act as a reminder for whoever actually handles them. ;)


Regards,
Ian.
  • 0

#5 Evan Ferrario

Evan Ferrario
  • Basic Members
  • PipPipPip
  • 138 posts
  • Director

Posted 19 June 2009 - 09:30 PM

thanks for the help, I don't think it would be a big deal to request the spool back as it isn't a usual size, I will ask the lab first. I am in a similar boat where I have a bunch of 400 foot rolls that I wanted to transfer to 100 foot daylight. I just wanted to have the option of 6 minutes as well.
  • 0

#6 Jason Hinkle (RIP)

Jason Hinkle (RIP)
  • Basic Members
  • PipPipPip
  • 240 posts
  • Cinematographer
  • Chicago, IL

Posted 20 June 2009 - 12:22 PM

I know this question has been asked before, I'm sorry, I can't seem to find it. What equipment do you guys use to re-spool your film? Is there a special machine for doing that or do you have access to a lab? I've been wanting to make some 200' spools as well. Thanks!
  • 0

#7 Ian Cooper

Ian Cooper
  • Basic Members
  • PipPipPipPip
  • 469 posts
  • Other
  • England

Posted 20 June 2009 - 03:48 PM

I know this question has been asked before, I'm sorry, I can't seem to find it. What equipment do you guys use to re-spool your film? Is there a special machine for doing that or do you have access to a lab? I've been wanting to make some 200' spools as well. Thanks!


I think the "official" answer would be to use a set of rewinds and a split spool for the core of film...

...but I haven't got those, so I have a plank of wood (painted to banish dust). Inserted in the wood are two brass shafts. I place a 7" dia disk on the one shaft (actually a 400ft daylight spool, but I'm not using it as one of those, any disk large enough would do). This acts as a support to then place the 400ft core of film on top. I then place the empty 100ft daylight spool on the other shaft. I wind on the film until the spool is full, cut it and put the remaining core back in its can. Move the 'full' daylight spool to the left hand shaft before spooling it off to a second empty 100ft spool. Personally I don't use the keycode numbers so it wouldn't matter that they'd run backwards by spooling it once, but the double spool of the film is necessary to make sure the perfs are on the correct side to feed through the camera! If you've got double-perf film then it wouldn't matter.

I also have some PTFE spacer washers between the spools and the wood, this gives clearance from the timber so I don't have undue friction and generate dust. This setup might not be recommended for 'paying' work or spooling large amounts of film, but generally I don't need to spool more than 400ft at a time. If ever I spot some rewinds (and split spools) going cheap on 'EPay' I might be tempted to upgrade, until then my setup works fine and costs next to nothing.

Oh, and I just use my window-less bathroom. I wait until after dark and turn off all the lights in my flat to avoid any light creeping around the edge of the door, I also try to hang a curtain across it as best I can to further eliminate any chance of light, and work with my body between the film and the door to further block any light which I know isn't there! In that way I've spooled 500asa film stock with no evidence of fogging.
  • 0

#8 Jason Hinkle (RIP)

Jason Hinkle (RIP)
  • Basic Members
  • PipPipPip
  • 240 posts
  • Cinematographer
  • Chicago, IL

Posted 20 June 2009 - 04:02 PM

Awesome - I love the DIY solution! I may have to try that myself. I thought about using my projector's "rewind" function too. Some of those 200' daylight spools would be perfect for the ACL, I much prefer the using 200' mags.
  • 0

#9 Ian Cooper

Ian Cooper
  • Basic Members
  • PipPipPipPip
  • 469 posts
  • Other
  • England

Posted 20 June 2009 - 04:12 PM

Awesome - I love the DIY solution! I may have to try that myself. I thought about using my projector's "rewind" function too. Some of those 200' daylight spools would be perfect for the ACL, I much prefer the using 200' mags.


Only thing I can think you'd need to beware with a projector is that there's absolutely no light generated by it at all - for obvious reasons! Even if the main bulb is off, does the projector have any illuminated controls? Also if you don't have electricity in your 'darkroom', make sure there aren't any neon indicators at the end of any extension leads bringing power into the room! ...or if there are, put a sweater on the top to hide them!
  • 0

#10 Jason Hinkle (RIP)

Jason Hinkle (RIP)
  • Basic Members
  • PipPipPip
  • 240 posts
  • Cinematographer
  • Chicago, IL

Posted 20 June 2009 - 05:19 PM

Only thing I can think you'd need to beware with a projector is that there's absolutely no light generated by it at all - for obvious reasons! Even if the main bulb is off, does the projector have any illuminated controls? Also if you don't have electricity in your 'darkroom', make sure there aren't any neon indicators at the end of any extension leads bringing power into the room! ...or if there are, put a sweater on the top to hide them!


good point, i think there's some lights on the projector for the power switch. i suppose making a rewinder like you did and using a changing tent would be a decent option too. thanks again for the info!
  • 0

#11 Volker Bendt

Volker Bendt
  • Basic Members
  • PipPip
  • 90 posts
  • Other
  • Germany

Posted 21 June 2009 - 05:38 PM

I know this question has been asked before, I'm sorry, I can't seem to find it. What equipment do you guys use to re-spool your film? Is there a special machine for doing that or do you have access to a lab? I've been wanting to make some 200' spools as well. Thanks!


My "special machine" is a 400ft. magazine for Arri 16. I fill it with 400ft on core and an empty 200ft daylight spool in a changing bag. Outside the bag I connect the motor to the 12 V battery of my ACL to do the spooling in full daylight without the need of a darkroom. The counter is not so precise, so you better check it before and tape a small mark to the exact 200ft. position.
Very simple, works fine, even "on the road".
All the best, Volker.
  • 0


Aerial Filmworks

Wooden Camera

Media Blackout - Custom Cables and AKS

Opal

rebotnix Technologies

Technodolly

Visual Products

The Slider

Glidecam

Rig Wheels Passport

Broadcast Solutions Inc

Tai Audio

CineTape

Willys Widgets

Paralinx LLC

Metropolis Post

Abel Cine

FJS International, LLC

CineLab

Ritter Battery

Gamma Ray Digital Inc

CineTape

CineLab

Technodolly

Paralinx LLC

Media Blackout - Custom Cables and AKS

Aerial Filmworks

Abel Cine

Ritter Battery

FJS International, LLC

Gamma Ray Digital Inc

Glidecam

Opal

Broadcast Solutions Inc

Visual Products

rebotnix Technologies

The Slider

Rig Wheels Passport

Tai Audio

Willys Widgets

Metropolis Post

Wooden Camera