8mm Forum: Jurassic Park complete super 8 feature and others

This is topic Jurassic Park complete super 8 feature and others in forum 8mm films for sale/trade/wanted at 8mm Forum.

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Posted by Alexander Prell (Member # 2607) on September 29, 2014, 11:29 AM:

Now I am selling my print of "Jurassic Park" -
brilliant colours, great movie, complete version
but no magnetic stripes (mute) - I have taken the sound
from the DVD - film has fantastic sharpness
Price: 300€ plus postage (UK is 25€)
thanks for your interest

[ March 23, 2015, 08:42 AM: Message edited by: Alexander Prell ]

Posted by Maurizio Di Cintio (Member # 144) on September 29, 2014, 12:32 PM:

Hello!!
PM sent.

Regards,

Maurizio

Posted by Alexander Prell (Member # 2607) on February 18, 2015, 10:36 AM:

Still availlable...
Also for sale is the rare full feature of
"Robin Hood" with Kevin Costner
german print, very good colours and fantastic sharpness
mute (no magnetic stripes fitted - sound taken from the DVD)
for 375€ plus postage Europe about 25€
if interested please let me know

Posted by Vidar Olavesen (Member # 3354) on February 18, 2015, 10:51 AM:

I still don't get how you sync it. I have a sync box, but if you need to start it at exactly the right time, I'd go crazy. If it's off sync, it just annoys. Please someone tell me how you sync it

Posted by Jean-Marc Toussaint (Member # 270) on February 18, 2015, 11:13 AM:

Vidar, I usually rip the DVD to a laptop (video and audio). I open the file in quicktime and decide on a visual cue. Generally a studio vanity or opening title. Sometimes they differ between the theatrical and the home video release. Then on the laptop, once I've decided which is my cue frame, I advance the sound by 12 frames as this is my eye-to-hand reaction time and let the file on pause. I then start the projector. Once the cue appears on screen, I press play on the laptop. As I've been doing this for years, I'm getting in sync most of the time. If not, I keep both the projected image and the video in my sight concentrating on cuts and speed up or slow down the projector until cuts on screen and on the laptop are in sync. As there's no sound coming from the projector, the speed changes are not being noticed by the audience. It's up to you to keep the projector in sync with sound, not the other way around.
There might be more sophisticated methods but this works for me. If it ain't broken, why fix it? So no need to reinvent the wheel.

Posted by Andrew Woodcock (Member # 3260) on February 18, 2015, 11:13 AM:

Exactly as you describe Vidar and for each and every reel.
It basically relies on you pressing the start button on your DVD soundtrack machine at exactly the right time to a split second...then due to pulse sync, it will stay matched.

As said the problem with this, especially on a GS1200, is you are having to do this every 55 minutes or so due to the change in 1200ft reels.

May well be great for a show piece at a convention, but not exactly ideal for casual viewing at home.

For me, by the time you are having to do what Jean-Marc describes above for each and every reel of every film you may want to watch... you may as well just show the picture as well as the sound, through a digital projector and sit back and relax.

I love film but really could not be bothered doing this for my screenings unless I only had to do it once as the entire film fits on one reel. For me that limits me to 3000ft (around 2.5 hours) but for a GS1200 owner thats every 55 minutes or so!

I dont mind spending an age syncing for doing re-recordings because at the end of the event, you have an improved soundtrack from digital source for the life of the film but mute prints just would not work for me.
Even less so if I was an Elmo GS1200 owner.

[ February 20, 2015, 06:29 AM: Message edited by: Andrew Woodcock ]

Posted by Paul Browning (Member # 2715) on February 18, 2015, 11:34 AM:

PM SENT ALEXANDER.

Posted by Vidar Olavesen (Member # 3354) on February 18, 2015, 11:38 AM:

Thanks for the explanation ... I think I'll stay clear of this, as I hate unsynced films and it would probably drive me crazy :-)

Posted by Panayotis A. Carayannis (Member # 1220) on February 18, 2015, 02:53 PM:

I agree with Vidar.What an outrageous idea this was,to release expensive super productions without a soundtrack,to keep the cost lower !!!!and collectors did and do buy them.(So,it was not so outrageous!!) But it takes us back a few decades when we were trying to dub Abbott and Costello Castle one reelers from soundtracks recorded off the tv.

Posted by Alexander Prell (Member # 2607) on February 20, 2015, 01:30 AM:

PAUL - I HAVE SENT YOU AN EMAIL PLEASE ANSWER
writing to you here not possible

Posted by Dominique De Bast (Member # 3798) on February 20, 2015, 06:17 AM:

I agree with the above comments about the fact that it is painfull to Watch a film if you have to keep constantely an eye on a syncronisation system that needs to be adapted from time to time. I prefer a normal quality sound track than a better one that would distract me from watching the film.

Posted by Maurizio Di Cintio (Member # 144) on February 20, 2015, 09:49 AM:

Dominique, if the projector is quartz synced, you don't have to keep an eye on the sync: not even from time to time. As long as everything works the way it should, perfect sync is guaranteed thruout. The only care is the start of the film, but then again it is possible to have a semi automatic start whereby a cue beep on the audio soundtrack leader makes the projector (tipically: a GS 1200) switch from pause to play mode: provided the projector had been cued on the very same countleader as the beep is placed on the soundtrack, sync is perfect since the very beginning. Not hit and miss, non chasing after the sync. After that screening a stripelss print is no bigger effort than screening a striped one. And the advanatges far exceed the drawbacks. And - hey! - DTS in movie theatres used to work in almost the same way, after all.

Posted by Andrew Woodcock (Member # 3260) on February 20, 2015, 10:24 AM:

But then you are having to pause the soundtrack every 60 mins Maurizio and then pick up the sync again on each and every reel.
Quite a task on "Gone With The Wind" I would have thought unless you create a separate digital track for every reel change with a cue mark etc?

What would work is a digital audio player that could start and stop instantly from an optical sensor fitted to the PJ close to the sprocket hole that could detect a painted cue mark on the edge of the film. (Light & Dark from the normal transparent frame to then a single frame edge Mark painted black).
Don't suppose that would too difficult to engineer into the PJ in this day and age. Sensor would just have to linked to the motor drive circuit so it only receives power to it whenever the projectors motor is running. Wherever the sensor is mounted you would just count the number of frames to the gate and advance or retard the digital soundtrack by the same distance in time from. You may need one optical sensor on both sides of the film, one starting the digital track and one for stopping it on the last frame of every reel in an instantaneous manner.

At least then, you would have a fully automated system of syncing.
I reckon it could easily be linked to my DAC 3 start/ stop function button on my PCDJVJ set up. Trouble is I would then have to buy a new house to fit all the gear in each time I watched a film! Lol.

I suppose it would work well for those with dedicated Cinema rooms in their homes though.

Other than that it's back to a long play unit again for a GS1200 and very big reels to keep it to one cue point only.

I have seen the "Reelporter" design and Long Arms that can be purchased for the GS from Wittners etc,but I just feel you would be inviting trouble onto the projectors motors and drive circuits using these.

Posted by Peter Scott (Member # 4541) on February 20, 2015, 11:15 AM:

These used to be available with mag stripe on laminate print

Posted by Andrew Woodcock (Member # 3260) on February 20, 2015, 11:20 AM:

Yes I have seen striped prints of this on e bay myself Peter. One was being sold from Ireland last I think.

Posted by Maurizio Di Cintio (Member # 144) on February 20, 2015, 02:33 PM:

Andrew, indeed I do have DVD versions of all my stripeless titles, which are specific for this task: in the case of Titanic, for example, I broke down the film according to the reel changes on the projector. Each has got a cue mark/beep on the start leaders so re-syncing at every reel change is no hassle. Sure it's time-comsuming when you have to prepare these specific DVD's, but IMHO it's a one-time task and I think it's worthwhile.

Posted by Andrew Woodcock (Member # 3260) on February 20, 2015, 02:46 PM:

You sound well prepared Maurizio! It would just be the icing on the cake if it could all be automated if it was my own set up.
As I say Maurizio, it doesn't seem impossible, not by any means.

Posted by Paul Browning (Member # 2715) on February 20, 2015, 03:35 PM:

Maurizio, I didn't know the elmo could be controlled like this. Where do you put the beep in time?, is it 18 or 24 frames ahead on the front leader of each reel. The dvd is then edited with this beep at the same interval (in time) which switches on the elmo, to sync with that part of the film. I have some features without sound including Jurassic, but mine are on very big reels so no breaks, this means I could use this idea to start with the leader having a beep like you explain. I like to know more about this, it sounds brilliant. What software do you use to edit up the dvd and add the beep ?.

Posted by Andrew Woodcock (Member # 3260) on February 20, 2015, 03:38 PM:

Yes, striped leader.. of course! that'll do it!!

So now all I would need is a non scratching Elmo GS with perfect green guides, a pulse box, a feed shoe from Wittners and a full set of spare motors, mag head, solenoids and replacement circuit boards etc etc.
Better start saving! [Big Grin]

Posted by Dominique De Bast (Member # 3798) on February 20, 2015, 04:03 PM:

Maurizio, what seems simple and easy for you may turn to a nightmare for me :-)

Posted by Maurizio Di Cintio (Member # 144) on February 21, 2015, 07:45 AM:

I am sorry Dominique, but indeed it's easier done than described: don't let the description put you off! If you can grab a fully working GS 1200 and one of the boxes by "Pedro" (BTW: any news???) or one of the similar devices sold by both Wittner and FFR Film, you won't be disappointed.

Paul, RE your questions, my workflow is optimal for both features broken down into 4 or 5 reels (or whatever) and assembled ones: of course using the ELmo GS limits me to a 60 minut screening time. In both cases I use the original leader the print came with: I capture each part of the film (or the assembled feature) and every part has its own original countdown leader; this operation MUST be performed with a quartz controlled projector (see further). Then I capture the DVD PIX/Snd and break it down accordingly.

At this point, I sync up everthing between the S/8 Pix and the DVD's Pix&Sound (this also is useful to check whether a print is 100% consistent with the video or if some frames are missing, in which case I cut the DVD version accodingly).

Once S/8 Pix and DVD version are perfectly in sync, I put a start cue beep on one of the first frames on the leader usually No. 10 or 8 depending on which type of leader the print is supplied with. Of course there are no images or sound from the DVD version but this is not important. The important is:

a) the numbered leader is consistemt with the specific film part

b) the first frame of action on film is synced to the first frame of action from the DVD

After placing a beep on frame 10 or 8 I also put another beep (check beep) on the last numbered frame of the leader (usually 3).

Then I burn a "presentation DVD" to be used solely for this purpose.

At this point I am ready for the screening: I lace the Elmo and cue the leader on the No 10 or 8 frame on the leader; then I leave it in pause mode.

Step 2: I set the ESS selector on the back speed board control to the right and put the quartz-control box in stop/pause mode as well

Step 3: I release the pause button on the Elmo and, because it is slaved to the control box, the light will switch to preheat and the transport motor will not start (no damage possible on film)

Step 4: I start the DVD whose sound output is fed to an external amplifier via the control box for the quartz sync. As long as there is no signal on the audio output, everything stays the same from the point of view of projector control; but when the cue beep is fed into the box, the electronics inside will detect it and simultaneously switch the projector to standard running: perfect sync since the beginning with no need to tinker/fidget with the speed control knob; AND the sync will be controlled until the end of the reel/spool by the quartz system in the control box. SO you can sit back and relax.
As you see, apart from building your own disc sound source, there is not much more to do as opposed to a regular screening. And - oh! there is no sound head wear: of course you can keep the Elmo in optical sound mode.

To do all this I use an Adobe Premiere editing software: mine is a very old version but for this purpose it works perfectly.

I hope this helps. In case you have other questions, please ask.

Posted by Mark Silvester (Member # 929) on February 27, 2015, 01:26 PM:

Hi guys

sounds like an absolute nightmare scenario...how do the audience cope with it. stop ..start... Good fun though! [Smile]

Incidentally, how is it possible to know that the DVD's content is exactly the same as the 8mm sound/synchro wise.

Posted by Andrew Woodcock (Member # 3260) on February 27, 2015, 01:32 PM:

It would be the same on any long feature Mark from that perspective using a GS, stripes or no stripes, given that you face a reel change every 55 minutes or so.

This is a high end user practice for those that want the best of both worlds by using the digital track while maintaining the beauty of film.

Not for us all, I get it, but you do have to take your hat off to those dedicated to the cause enough to go to these lengths, creating a tailor made soundtrack etc (in answer to your question).

True aficionados of our wonderful hobby!

Not a practice I see myself doing, but i have total admiration for those that do in their quest for perfection. [Wink]

I myself, tailor make soundtracks from digital sources, but only so I can re record magnetic stripe to a higher standard given the superb quality in today's lossless source material.

[ February 27, 2015, 04:37 PM: Message edited by: Andrew Woodcock ]

Posted by Mark Silvester (Member # 929) on February 27, 2015, 01:40 PM:

Hi Andrew

thanks for the explanation - not for me though...even when I was "full on" in 8 and 16 - but as you say "hat's off" to dedication to that side of the hobby. Have to applaud it.

Mark [Wink]

Posted by Andrew Woodcock (Member # 3260) on February 27, 2015, 01:44 PM:

Very much so Mark.
Maurizio really knows his stuff regarding this fabulous hobby of ours.

It's a practice used many times I believe by Mr Clancy at the Ealing convention as a showpiece for Super 8 at it's very very best!

Posted by Mark Todd (Member # 96) on February 27, 2015, 05:37 PM:

Pass me the Blu Ray box set of 1, 2 and 3 please myself. £8.99 delivered when we got ours.

But if you just love film I can see this would be a really great title to own and do that with.

Though I could imagine I myself would be compulsively watching the synch and for scratches too on each viewing !!!!

I think the colour is better on the polys isn`t it, might just be me that I find most prints now I had manily on trailers granted muted colour wise much of the time, except for the Technicolour 35mm origionales ones which are still quite nice but still down on the colour.

Best Mark.

Posted by Andrew Woodcock (Member # 3260) on February 27, 2015, 06:00 PM:

Not to be rude Mark, as I really do see your point of view having been a viewer of both methods of screening movies for many years,but this is a film forum website after all. So giving everyone the raised eyebrow treatment just because a modern box of stored data only costs £8.99 for what would be well over £1000 if on 6000ft plus of celluloid..doesn't really cut it on here I'm afraid.

It just comes across somewhat patronizing and condescending if I am honest.

As I say, I certainly don't want to fall out with our respected members on here for what are, after all, only points of view, but if you have moved on to more modern day methods of screening up to the point where you may even question why any of us would ever do this, then maybe you might just have forgotten why this FILM forum still exists.

It is a crazy hobby Mark, that I cannot deny, it also makes no logical sense why we do what we do and pay what we pay, but there are healthy numbers growing here by the day, so I guess whatever the reason, I and Maurizio are not alone in our total appreciation of real actual film.

As for the scratches Mark, what you describe very much used to be me, I questioned myself many times over "is it worth it", but then I got a successful formula of the right methods coupled with the right machines and now, I can happily and honestly say that I truly relax, just sit back and enjoy the film as often as I like, totally scratch free... until something else goes wrong! lol.

Posted by Jason Gronn (Member # 3921) on February 27, 2015, 06:06 PM:

Mark,

I just got my new print of JP on acetate and it realy is crap quality just a waste of good money, l should have got a poly print and thinking l will.
It has soft focus, bad green tinge, and balance track sound poor so l have to play in mono [Mad]

Posted by Vidar Olavesen (Member # 3354) on February 27, 2015, 06:07 PM:

I've gone the opposite direction. I used to view only DVD and Blu-Rays, but now I rarely do. Film has magic, digital doesn't and that's also only my point of view and could be wrong for others. I get a really nice feeling when watching reels, which is so not there when viewing the digital.

Long live film

Posted by Andrew Woodcock (Member # 3260) on February 27, 2015, 06:08 PM:

Me too Vidar, though when no film exists, I do still enjoy the movie, just not with the same thrill from the experience. [Razz]

Again, I no have explanation as to why, but a movie I watch on film sticks with me forever, on DVD or Blu Ray, the same experience is very often forgettable, though I cannot quantify what the reasons for this are though, strangely enough.

[ February 27, 2015, 07:24 PM: Message edited by: Andrew Woodcock ]

Posted by Andrew Woodcock (Member # 3260) on February 28, 2015, 01:49 PM:

Jason that print of yours wants going straight back to wherever you purchased it from at these prices nowadays.

We all have to accept minor anomalies in film given the nature of what can be wrong, but when it is everything all in one brand new expensive feature, it is simply unacceptable!

Posted by Jason Gronn (Member # 3921) on February 28, 2015, 03:13 PM:

Andrew,

I have had no luck with these new prints and to be honest its not worth the drama of getting it replaced, l will just cut my losses l think.
With the money they cost you would expext quality.

Posted by Andrew Woodcock (Member # 3260) on February 28, 2015, 03:32 PM:

Very much so Jason!

Used prints kept in excellent order whilst laminated stock was still about, provide the best that can be found on the gauge I have found. I haven't purchased any new features nowadays, but I have purchased plenty of trailers and shorts, most of which have something that I am not 100% satisfied with be it the soundtrack or the colour rendition.

I think we were all spoiled by the quality Derann achieved on Super 8mm in their hey day. If you use these prints as the benchmark, I suppose we are always going to feel a little disappointed.

Posted by Mark Todd (Member # 96) on March 01, 2015, 09:21 AM:

This is my point Andrew, you never know where you will be with a new or 2nd hand print, so the higher the prices go, the worse the on a fairly regular basis the fall.

I`ll admit I come from a perspective or being shafted, ( excuse me ) all to often. And there just bad luck too.

As prices go on up with certain films, so goes higher the fall.

I sat and watched Dune 10 feet wide on DVD the other must have upscaled well as looked superb and found myself getting the shakes and tears in my eyes etc and was totally immersed in the actual film.

I just worry that the hobby is pricing itself new and 2nd hand films wise out of a sensible zone so the chance for any newbies staying with it diminishes all the time.

I don`t think the ebay factor, and see it must have it etc with that doesn`t help the hobby.

Don`t get me wrong I absolutely love film but sadly silly prices push back anyone on a lowish income or with family, children etc back to only being able to try for cheaper, B+W washed out or colour often gone cheaper stuff.

There has come in recent years a real negative engery into cine that is all about money and screwing all you can out of it etc, on machines ( an even bigger gamble ) and films.

For me I definately feel a change in the nature of the hobby.

Best Mark.

Posted by Andrew Woodcock (Member # 3260) on March 01, 2015, 09:35 AM:

Mark, I entirely agree and fully appreciate your sentiments!!

You are not wrong Sir, the game is definitely changing and not for the better if you are an old school collector.

As said, I cannot EVER fall out with a well respected member of this forum over a point of view, so that will never be the case with you Mark, I just don't like to feel made a fool for the passion some of us still maintain for this absurd hobby on an 8mm forum.

I also can get very emotional, when totally engrossed in a film of quality, it doesn't matter to me whether that be on a Digital projector or an Agfa Sonnector. The directors objective will always be realized when the subject matter is gripping and well acted out!

Posted by Mark Todd (Member # 96) on March 01, 2015, 10:11 AM:

I Andrew I think its some of that actual passion has been a victim of recent things.

Film has a lovely feel and qaulity to it for various reasons, and my eldest son is really getting in to, but I make sure its in a smaller way and mainly with me and my bits.

I don`t want him getting in too much of the buying and many pitfalls etc.

Best Mark.

Posted by Andrew Woodcock (Member # 3260) on March 01, 2015, 11:37 AM:

Great advice Mark!

Posted by Francisco Javier Herrera (Member # 3532) on March 01, 2015, 03:55 PM:

It is unfair that this still for sale. It's a good impression and a good price.

Posted by Dominique De Bast (Member # 3798) on March 01, 2015, 05:41 PM:

There is no sound, Francisco. At that price, you don't expect a mute version of a sound film.

Posted by Alan Rik (Member # 73) on March 01, 2015, 06:09 PM:

Here in the US a film without stripes is really of no use. Pedro's box will work for 25fps and the 50hz of Europe but in the US we have 23.997 fps and 60hZ so even if we did get Pedro's box it would have to be the expensive box. The one that costs over $500 US.
It does look like a great print and if it had the stripes it would have sold very quickly i would assume.

Posted by Steven J Kirk (Member # 1135) on March 01, 2015, 06:39 PM:

I don't have any of these mute prints. Is the stock they are on not able to take a stripe at all? Because FFR I believe still offer striping? I do intend doing some re-recording however and I can see doing this in the manner described because as long as you can see a video feed whilst taking the sound from a DVD, you can use the fine speed control on a GS to do a good sync...

Posted by Mark Todd (Member # 96) on March 01, 2015, 06:59 PM:

Looks very nice, I wonder what the size of the picture is.

Best Mark.

Posted by Andrew Woodcock (Member # 3260) on March 02, 2015, 02:47 AM:

Steven, It would cost a fortune to stripe a film of this length at Andec or FFR and then it would only ever be in mono.

No one is reliably pasting a balance stripe on ester stock.
Also if you send them a film that has ever been cleaned, especially using Filmguard, they will not be able to bond the stripe without waiting an eternity for the cleaner to eventually evaporate .

So unfortunately, even if you were willing to throw a good few hundred pounds in the pot to pursue a striped version with this particular film, then it simply just isn't that easy to achieve sadly.

[ March 02, 2015, 08:19 AM: Message edited by: Andrew Woodcock ]

Posted by Phillip R Campey (Member # 3942) on March 02, 2015, 04:33 AM:

Last year I sold a stereo sound print of Jurassic Park to a forum member in Cyprus and I have to say the colour and sound were spot on. I now really regret selling it.
I too have been stung many times with the quality of some prints, especially the ones purchased on eBay, but now and again I get a real surprise. I bought a print of Fantasia 2000 off eBay a couple of weeks ago and it is like new, the colour and sound are fantastic with no scratches. When I find prints of this quality it makes the hobby well worth it.

Posted by Andrew Woodcock (Member # 3260) on March 02, 2015, 07:55 AM:

Yep, I agree Phillip, prints can be very hit and miss when purchased on e bay. Not helped, all too frequently, by sellers giving out woolly descriptions knowing all too well that their goods aren't A1!

Nice though when you do come across an honest, decent, transparent seller whether he or she genuinely can or cannot provide you with screen shots etc. Often just a photo of the manner in which the goods have been kept will be very reassuring I find.

Posted by Steven J Kirk (Member # 1135) on March 02, 2015, 02:34 PM:

Such a shame about the striping. I took a closer look at FFR and they say they don't get into 'milling' the stripe path. We would call that 'keying' here. So it is glue on and hope for the best. They are also specifying preferred stocks. What a sad end to it all.

Posted by Andrew Woodcock (Member # 3260) on March 02, 2015, 02:38 PM:

Yes Steven, mono only nowadays on pasted Polyester. For modern stereo prints, they are all on acetate stock but then people sometimes complain of a yellow tinge on these prints.
Also, I find Polyester prints are far smoother running through any of my projectors than Acetate due to the differences in thickness.

Someone needs to resurrect Dereks old formula and get it up and running again. It wasn't perfect by any means, but it sure was better than what we are left with now and of course it was formulated for the very same types of stock we are trying to get striped so at least it can be done, just with no absolute guarantee of quality.

This is especially true of the balance stripe as I am certain anyone who ever purchased any of the later prints will testify.

I don't suppose without milling though, there is any way around the problem of treated prints.

With all these processes required, then of course, the cost factor kicks in.. so back to square one.

Posted by Maurizio Di Cintio (Member # 144) on March 02, 2015, 03:22 PM:

Thank you, Mark and Andrew. And yes I have invented nothing, John Clancy must have used this method, or something very close, many times.

But believe me, it's worth the effort and the audience don't have to wait that long for the film to begin: from the point of view of the shownamship only (performanca wise), it's not more complicated than screening a regular sound print.

Posted by Andrew Woodcock (Member # 3260) on March 02, 2015, 03:39 PM:

Your method might be the only option in the future Maurizio based on the reasons given above regarding today's striping options or rather the lack of them!

Posted by Paul Browning (Member # 2715) on March 02, 2015, 04:36 PM:

its a strip of rust Andrew glued to the film. I don't know how you would "key" the film accurately enough to get it to stick though. The film would need to pass over something chemically abrasive within a thousands of an inch, or an abrasive wheel which you would need to make run true, within these tolerances, if my memory serves me correctly I saw this being done at Derann, but it looked like the film was passed closely to a small tank containing the already mixed liquid stripe, this was applied by what looked like a tiny wheel spinning at speed and this just flicked the liquid stripe in a straight line on to the film, and this passed through a long line of drying wheels either end of large cabinets, and then onto a spool at the end. I do remember speaking to Derek, who was a bit miffed with someone not giving him the complete formula, and as he put it, "they didn't tell us about the resin that should have been in the mix". I got the impression he was being given the run around, and had discovered what was missing. Now I think about it, it must have been more like a shellac or lacquer that's sticky and would evaporate to allow the stripe to stick and flex. Thing is could you still get these raw products now, I imagine the health and safety pen pushers would have stopped the manufacture of some of the products, or you would need certificate to get them.

Posted by Vidar Olavesen (Member # 3354) on March 02, 2015, 07:16 PM:

If people complain about a yellow tinge on acetate, how about the blue tint on polyester (or am I wrong?) ... Think the Jurassic Park look blue tinted and also seen that on other new prints

Posted by Andrew Woodcock (Member # 3260) on March 02, 2015, 11:42 PM:

Then you are into a different debate Vidar. Not the fact that it is Polyester, but the differences in processing between Agfa and Kodak.

Posted by Vidar Olavesen (Member # 3354) on March 03, 2015, 01:50 AM:

Ah, okay. Thanks

Posted by Alexander Prell (Member # 2607) on March 23, 2015, 08:44 AM:

Jurassic Park is now sold to sweden by ebay.

Posted by Steven J Kirk (Member # 1135) on March 29, 2015, 01:30 PM:

Don't know if you are connected to this, Mr Prell? but this is ROBIN HOOD, mute, for sale on eBay DE:

http://www.ebay.de/itm/Robin-Hood-Super-8-Komplettlange-Kevin-Costner-Full-Feature-/141616183249?pt=LH_DefaultDomain_77&hash=item20f8fb77d1

Very impressive image quality.

Posted by Paul Browning (Member # 2715) on March 29, 2015, 03:42 PM:

Its the same one Steve, price reduced a bit .

UBB.classic^TM 6.3.1.2