Thanks. I got one of these recently. It works nicely but I was a little confused playing with it trying to get it to do all of the intended functions. I also didn't know you could pick any sheet you wanted as your next one. I thought it went linearly. For maintenance, what kind of lube would you recommend using? I was thinking maybe some silicon or something in a very very small quantity just to keep it moving nicely.

one thing you forgot, there is still a SINAR back, the 6x12 vario, or Zoom back, there are two, one has a manual darkslide, like normal double dark holders, the vario has a knob, a rotary slide system (similar to Hasselblad H16/32 backs, just a different knob).

What an amazing system. And thank you for such a comprehensive video.

Awesome channel, keep growing!!

Video needs a retitle to the story of Mercury Works. By the time you get to whatever you will get to I already left the channel. Pacing is bad

Why do you use gloves? 🤙👏👍🇦🇷

Great video. This kind of quality I'd expect from big channels!

Regarding the different kinds of film you can use in a 70mm back (including making 65 work), what is the situation with 70mm print film? I imagine it would be incredibly slow, but would it work?

this is amazing. i never knew about this, may order some stuff for my hassy soon

Mid roll change looks like you should advance 1.5 frames or more. Because of the leader needs to advance into the cassett

Did Bronica ever make a back for 70mm film?

What are my 70mm options for the SL-66 ?

Thanks for this. I picked up a few tins of your 65mm Kodak Vision stock (50D) and have cut a few pieces to use in a few old Graflex 3x4 & 4x5 cameras, but haven’t yet spooled any of it for use in my RB67.

can you recommend others cameras that can shoot 65/70mm? because this is the only video that i found. i'm really interested in shooting like from a eyesball view. A 65/70mm film with a 17 mm lens, but i cant find anything suitable with this camera without an adapter

any kinds of these film for 35mm camera available?

Great products for starting out in 65mm and 70mm film, especially the film notching part of the template! Would be interested in a video on how to develop these cut film negatives. Cant fully picture how the loading onto a converted paterson reel would work. Wont it cause stacking/bunching of the negatives or could you just slide the negatives with a finger to space them out? For two or four frames, maybe a modified insert for the SP445 tanks would work?

I would love to give 65mm film bulk loading a try. First B&W then, maybe color! Thank You for sharing.

The 65mm is the Negative for the TODD AO 65/70 system. The 70mm in the 65/70 TODD AO system, is projection positive print film. The perforations in 70mm print film are identical to the 65mm neg film, and are in-line. The extra width outside the perforations on the print film is where the sound track is added.

one point, to do a 6x9/6x12 shot, it is far easier using 120 rolls as this has backing paper, and a sealing strip, so can be handled in subdued light, without all the darkroom stuff, just a 'holster' or pouch for the rolls, and a bin for the paper waste.

at 38:44 NO, thats NOT the way, you will scratch the rings!- Leica M's have the same issues with the rings, they use a BRASS crescent tool, looks like the star trek ship, from above, two wings with a circular section, this grabs like a strap wrench, and as its made of BRASS can't scar the surface of the camera part.

one other point you missed, there is also a crescent shaped darkslide lock, which allows you to remove the holder (using the darkslide ring, say on a lf camera with a spring back), so you don't operate the system, just remove it!! {the flat of the lock goes parallel to the slide for OFF, or free}.

that x position is a double exposure safety, to stop you re-shooting film or septum 1, as in journalism, where this device was used (to enable off the cuff shooting with a grafflex slr camera), there was no safety features on LF cameras, everything is muscle memory, not just how to do things, but when {some people, like Mat Marrash(LFF KZfaq channel) call this 'the Dance', the series of actions to operate these LF cameras}; these mechanics help with this, esp. on the double exposure issue.

there is an easier way of changing asa mid shoot, have TWO A70 backs, and switch one for the other!, thats the modular concept, on this Hasselblad, or a Bronica or Mamiya RB\RZ ; and why there is the mags in the first place. But I do see this, applying to the 135 format cannon and Nikon 250 &750 backs, which work on the same principle, but using a Nikon F2/F3 or a Cannon Ae1, etc. slr's; because they work by a skeleton and the inserts, which cant be removed like the MF film backs can, you destroy the light sealing of the assembly in the process.

So so cool! I just picked up a SWC and am now dying to try this stuff out! Thanks for being the resource and sharing the info!

Thank you so much, I’ve been needing a video and info like this for years.

How do I identify the perf type I have installed? Using Linhof Technika 2x3 but the extra loaded Linhof cassettes fit my Hasselblad A70. It’s old Kodak Tri-X 320. In the Linhof I count 15/70 perf it moves 50 frames in roll

15 years ago, I got into 4x5 because digital was swamping the market with pro film gear and because Quickloads still existed. Dust is the enemy in the darkroom, and cloning it away in a scanning workflow is a time-and-life wasting chore, too. Quickloads/Readiloads were the answer, but didn't exist for Ektar or Portra, though, so I too went down the rabbit hole of Grafmatics, acquiring a hodge-podge from a couple of Singer ones from the 70's that seemed pristine enough to average ones from the 50s and 60's to some really bodgey ines. Takeaway was there's a slight improvement in space savings but not weight over standard double-sided holders, they can attract dust like a magnet if you cycle them too fast and generate static in the desert, and it was too easy to wreck all six sheets of film with a missing light trap. I also had to buy a minimum of 3 boxes of 10 sheet film at a time to fill 5 holders. Grafmatics are undeniably appealing for their mechanical engineering alone. In the end they're just film shuffling devices that have long outlived their newsroom utility. But for contemplative slow film work? They create more problems than they solve. (Boy, did I miss Quickloads!)

hfs this is unreal

This is an amazing camera 🔥 Is it possible to find more information about it?

This video is really well done! Personality and a camera genius. Please expand on thus channel