Brownies Film

[Kiliano Ratha]

Iam presuming that if I want to shoot colour film in a Brownie, the little red window for the frame number will create red light leaks, so I will need to figure out some other way of determining how far to advance the film?

2:33AM, 19 March 2009 PDT(permalink)

Depends on what type of Brownie you have.

If it feeds on 120 roll film your in luck. The 120 has a paper backing so its OK in your Brownie. If you shoot 220 film on it then you will have light leak. Tape up the red window with black tape, that should patch it up.

ages ago(permalink)

The backing paper on the 120 rollfilm provides the basic protection you need from fogging by ambient light. Better protection can be obtained by covering the red window between exposures, such as with some black electrical tape, or a more elaborate rig with velcro.

Many Brownie users simply leave their red windows alone, and actually enjoy whatever random streaks may occur from time to time.

ages ago(permalink)

"Brownie" refers to lots of different cameras - if you're using film with backing paper e.g. 120, 127, 620 then you can use the window as designed, although a lot of people choose to tape over them, lifting the tape when winding on.

If you're using 220 or 35mm film then you're right - you'll need to cover the red window and count turns or something to judge the wind-on distance.

ages ago(permalink)

In the ancient, misty era when box cameras roamed the earth, the most common snapshot film was Kodak Verichrome--an emulsion that was "orthochromatic."

Contrary to what the name suggests, ortho films had no sensitivity to red light. Kodak finally replaced the original Verichrome with Verichrome Pan sometime in the 1950s--panchromatic meaning sensitive to all colors of light.

So the original purpose of making the window red was indeed to reduce the chance of getting light flashes on the film. However, the way the film winds through most roll-film cameras, the opaque backing paper alone is enough to avoid light leaks, even with panchromatic film.

But if you find you get "spikes" of light-leaks at the top of some frames, they may be coming from the frame counter window (remember that an image forms upside down in a camera). Black tape over the frame counter will solve it.

ages ago(permalink)

When using cameras that have red film counter windows, I do what other suggest with the black tape but I'm also careful to point the camera up (which points the back down and away from the sun) when I advance the film, which I do as quickly as possible. Until I started doing this, I'd get a streak across the frame in the shape and size of the window.

ages ago(permalink)

Verichrome Pan was "nominally" 125ASA, but there was more to it than that, being double-coated with both slow and fast emulsions, giving very wide exposure latitude ... unfortunately this film has now been discontinued ... to my knowledge there's no direct modern equivalent. Tri-X is still available and is rated at 400ASA, but "modern" Tri-X, by many accounts, is a different animal to the original.

Thanks for the tips people. A week ago I experimented with running a roll of Ilford HP5 400iso through the camera. I too thought that it would be much faster than the accepted film used when the camera was new, therefore I was expecting any shots I took in the shade to be okay and any shots I took in the sun to be badly overexposed. As it turned out the sunny shots were the best, and the shady shots could have benefited from a little more exposure. Obviously when they recommended back then to take photos in bright, sunny, outdoor conditions they really meant it! Unfortunately I can't post examples because my film scanner can't scan negs that size.

The older box cameras where made when film speed was around 50 or slower. and the newer box cameras like what you have I believe was made for the Verichrome Pan mentioned before. The modern film have a very wide exposure latitude. I made a pinhole that fits a Fed 5B camera, I used exposures of 1/4, 1/2, and 1 seconds. The difference in the images or almost indistinguishable.

*The 620 Film Spool - Our 620 Film is hand-rolled onto a new FPP mold-injected plastic, re-usable 620 film spool. Our FPP 620 Spool is mold injected and is just a fraction thicker than vintage metal spools due to the fabrication requirements. Our spool will be snug in 1% of 620 cameras. It will loosen with repeated use (if you re-use your spool or can be easily sanded down with a piece of sandpaper.) This product is sold without warranty. All sales are final. Due to the age of vintage cameras your results are not guaranteed.

Light leaks - Vintage camera the age of 620 cameras are prone to light leaks. Best to tape up the seams around the film compartment with light tight tape. Light leaks can also occur if your camera does not wind the film tightly onto your take-up spool. This is known as a "Fat Roll". Also, when handling your film - always store your exposed film in its black bag or snap case.

He was 10 when he conceived this film, which was written and directed with the help of his grandfather, John Block, an Emmy-winning documentary filmmaker from Montclair. Now, two years later, the film will have its premiere screening at Montclair State University on Saturday morning, Jan 21 (it's a non-public screening).

To be clear: this is not some crude effort, shot with a cellphone, on a piggy-bank budget. This is a wholly professional 36-minute featurette, a mini-horror fantasy for kids with a $40 thousand-plus price tag, whose production involved more than 40 people at various times. And all filmed on location in Montclair.

How did it come about? Genius is never easy to explain. Suffice it to say that Anthony, then 10 years old, was in the kitchen with his grandma, eating brownies. This was during the beginning of COVID; the whole extended family was a "pod," drawn together by pandemic isolation.

In the following months, Anthony began working out a scenario. But he needed help. The kind of help that John Block, who worked in network television for 30 years, and won Emmys for documentaries like "Breslin and Hamill: Deadline Artists" (2018), was uniquely able to provide.

"He on his own accord started writing his own story or script," Block said. "Whenever he visited, we would work on it. I thought it was a fun thing to do. I thought I would teach him something about the basics of screenwriting and filmmaking."

"I honestly swept this under the rug and kind of half ignored him," Block said. "I thought, maybe he'll make something out of this on his computer. But he kept scripting and it got deeper and he continued to insist in my turning this into a film. I finally said, 'Oh my gosh, what the heck is he asking me to do?' "

"We had to put brownie heads on people, and we had to get them to lay down in the pan," Anthony said. "When the brownies come up from the pan, either the brownie would get stuck and they couldn't come up, or they would accidently step on the pan and break it, and we'd have to put it back together."

And his senior partner? John Block can be happy in the knowledge that he aced a grandpa project slightly more involved than building a treehouse. "I wanted to show my grandson that sometimes dreams come true,' he said.

Mel (Marcella Zalianty) is a young creative director at an advertising agency who is engaged to Joe (Philip Jusuf). However, she catches him having sex with another woman and breaks off their relationship. This devastates Mel, who becomes incapable of bearing the sight of him and destroys their pictures together. For revenge she begins flirting with numerous men. However, her best friend Didi (Elmayana Sabrena) convinces her to not become like Joe.

Didi takes her to a local caf, where Are (Bucek Depp), an aspiring novelist, loans books and serves brownies. Although Mel loves eating the chocolate confections, she cannot cook them well; Are, meanwhile, cooks delicious brownies but has not had them since his mother died. The two spend time together and eventually begin falling in love, despite their class differences: Are was once a street child, while Mel has been raised wealthy. They are able to reconcile these differences, and Are gives Mel hints on cooking brownies.

Mel tells Are that she cannot come to the launch, which upsets him. Before she can leave for the dinner, Didi accosts her and tells Mel that she has become just like Joe, breaking people's hearts. After several hours contemplating and cooking brownies, Mel decides to go to the launch but arrives after it is over. She goes to a nearby park where they had often dated, hoping to find him. As she sits crying, disappointed at not seeing him, Are comes behind her and the two confess their love, walking away together and sharing a brownie.

For Brownies, director Hanung Bramantyo used high-definition video; according to Bramantyo, it was the first Indonesian films to use the technology.[1][2] Bramantyo had previously directed several television series and films, but Brownies was his first film meant to be commercial.[3] The title was chosen because Bramantyo liked eating brownies.[4]

Film critic and aspiring screenwriter Salman Aristo, who showed one of his screenplays to Bramantyo at a seminar, was asked to write the screenplay. To do so, Aristo did intensive research into the production of brownies. It was the first time one of his screenplays was used in a film.[5]

A review in Republika wrote that the story had nothing special to offer and that the actors were not all giving their prime performances. However, the review praised the film's soundtrack.[2] Leila S. Chudori, reviewing for Tempo magazine, wrote that the plot was strong and acting generally good, but deplored the film's long stretches of dialogue, writing that she "prayed that the screenwriters would learn techniques to edit the dialogue so that the audience could breathe."[a][4]

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