Film comes in long rolls in metal or plastic cans. After you open the can you need to tape it up tightly so that light does not leek inside. Inside the can the film is generally kept in black bags made of a special light proof plastic or paper. Be sure to fold the flap on the black bag under to close off the opening before you put the roll back in the can.

You should have a pair of film rewinds to wind off the film to the daylight spools. The winding needs to be done in darkness, or dim safe-light if the film is not red sensitive. The long roll will need to be put on a split reel in order to be used on a rewind. When you take the long roll off the split reel pull the end of the film tight and tape the end of the film back onto the roll, if you do not the film on the core will get lose and the next time you pick up the roll it may fall apart and unwind in a big scratched up mess.

If you work with black and white film, some types are not very sensitive to red, and so can be handled under a dim red light for a short time. Safe-Lights are very dim, and have a deep red filter that blocks all but very red light. Since the light is dim you will need to stay in the dark for a half hour or so before you can see much. Also it is best to not point the light at the film, but rather to light up the background and see what you are doing as a silhouette. Some color films say that a dim green safe-light can be used, but those filters are so dark that I think it is better to just work in total darkness and to not fog the film.

The simplest type of movie film processing tank is the rewind type. There are two reels under the solution, and the film gets wound from one to the other so that the emulsion is kept wet with the solution. There are some problems with this type of tank though, since the chemicals can not freely flow to the surface of the film. If you use this type of tank try these guidelines: process 50 feet or less at a time, double or triple the times given for the solutions to be used in a spiral reel type tank, do not use "fine grain" or low activity developers. The developer used in a rewind type tank should contain Bromide, i.e. about 2 to 5 grams of Potassium Bromide per liter of developer, and be a highly active fast working type of developer. The longer the roll the more the time needs to be prolonged. I have developed 110 feet in this type of tank, but the developing, fixing, and washing time becomes very long. You may be able to get acceptable results if you use fine grain slow speed type film stocks.

Some rewind tanks have an adjustable reel that lets you click the top flange into 8mm, 16mm, or 35mm gage width. The reels need to have a tight clip that will keep the film from slipping out when you crank to the end of the reel. Some rewind tanks have a motor that winds the film back and forth, a friction clutch reverses film direction when the tension at the end of the roll is sensed.

Spiral reel movie film tanks are like large versions of the common spiral film processing reels used for still picture film, but hold a longer length. Because the length of the film is longer for still photographs a special method of loading or winding the film into the reel is usually needed, generally a modification to the upper half of the reel. Plastic movie film processing reels like the one shown in the photograph take about 30 feet of 16mm or double 8mm, and a similar model can take about 50 feet of supper 8mm movie film. Larger reels of this type made of metal have been made to process 100 feet of 35mm film.

This type of reel only has a spiral grove on one side, this helps in loading the reel, but might tend to trap air bubbles that may make spots on the film. Try wetting the film by putting water into the tank for 2 minutes, shaking the tank, and then emptying the water out before putting the developer in, and then shaking the tank again.

You can save money and adjust the formulas to compensate for your type of processing tank, or the type of film stock you are using, if you mix your processing solutions from scratch. You will need the required chemicals: developing agents, preservative, alkali, acid, fixing agents, hardeners, and wetting agents. The equipment is simple: a scale or balance that measures to the tenth of a gram up to 100 grams, a 1000ml graduated measuring beaker, and an accurate thermometer ranging from about 55F to 125F (about 15C to 50C). If you mix larger batches you may be able to use two or three gallon plastic buckets.

If you mix solutions but do not use them within a hour you should put them in air free containers. Collapsible bottles are sold specifically for this type of storage, you can squeeze the container with the opening up to get all the air bubbles out then close the valve. If you need to use firm bottles, you can drop glass marbles into the bottle to bring up the height of the fluid so there is not much air at the top. Used solutions do not keep as well as fresh solutions, but may keep longer if there is no air in the bottle. Always label your solution containers before you fill the container, to avoid filling the wrong container or forgetting which solution was is in which container. Always make a label to mark your solution bottles with the appropriate hazard warnings. Always keep the chemicals and solutions in a locked cabinet so that only you can get to them.

Motion picture film stocks are becoming unavailable as the photographic industry approaches extinction. Some 16mm film stocks will probably be discontinued before their equivalent 35mm film stocks. Some 65mm/70mm film stocks may already be a difficult or impossible to find. So in building your cine film recorder you may get the longest working life if you use a 35mm cine film camera.

The last Motion picture film stock to be discontinued will probably be color positive film since it is used to make release prints for theatrical exhibition in movie houses. Color positive film stock contains silver bromide just like Black and White film, but less of it. You can develop color positive film stock in black and white developers and get a black and white image, but the maximum density is lower because of the lack of silver. If you can get some of the CD-2 developing agent you can make up a color positive developer since the other chemicals in color positive developer (other than the developing agents) are the same as for black and white positive developer. The CD-2 concentration is about 4 grams per 1000 ml. You should also decrease the Sodium Sulfite to about 2 grams per 1000 ml. Color positive film gives a usable black and white image when processed in a developer made with CD-2 and fixed in a simple Hypo solution, but if you want to get bright colors, the silver needs to be removed with a silver bleach, and then a second fixer is used to clear any remaining bleached silver.

Color Negative and some color intermediate film stocks have more processing issues than the current color positive film stocks since they use Jet backing. To remove the Jet backing the film is dipped in a strongly alkaline solution for about 15 seconds then washed with spray jets in warm water, then developed in a developer that is like the color positive developer except that CD-3 is used as the developing agent and some baking soda (not baking power which is a mixture) is added. You can develop black and white images on color negative stocks without bleaching the silver out if you use CD-3 in the developer, or just black and white developing agents like Metol or Elon. You can get semi-color without bleaching the silver out if you use CD-3 as the developing agent, this is sometimes called bleach bypass or skip bleach. To get bright colors you need to bleach the silver out after the first fix bath. There are various silver bleach baths that can be used, but the best are the ones that remove all of the silver, since any traces of silver left in the film will de-saturate the colors in the color film. If you use CD-2 or CD-4 on color negative and intermedate motion picture film you will probably get major color shifts, and so you should not use the wrong color developing agent. The same goes for developing color positive stock in CD-3, AGFA (tm) color print stocks gave perhaps usable color, but some Eastman (tm) Kodak (tm) stocks may give an image that is too far off, so if you want to do color you would probably need to use both CD-2 for the color positive film stock and CD-3 for the color negative and color intermediate film stocks.

If you want to do color, but do not want to bleach the silver, you should reduce the developing time and dilute the color developer with water since the extra density that the silver adds to the image makes the image too dark. Color positive print stock can have its developing time reduced from 3 minutes in full strength developer to 70 seconds in 1:1.5 diluted developer if the silver is not going to be bleached and you want to reduce the contrast.

Motion picture color films are developed at a solution temperature of around 95F. Increasing the temperature may shift the color toward the magenta, and decreasing the temperature may shift the color toward the green.

Color reversal films can be developed as a color negative, you just need to adjust the exposure and add extra filters when the negative is printed onto the positive film. The advantage of color reversal films as a color negative is high film speed and no Jet backing to remove. To develop color reversal films as a positive you just process the film in a Black and White positive developer that has reduced the Sodium Sulfite to about 4 grams per 1000 ml and increase the developing time about three or four times, so that the image on the film is very dark when looked at on the front, and quite strong when viewed from the back. After being developed in a Black and white developer the film washed, put in stop bath, washed some more, then exposed to bright light, then put into the same or similar solutions used for color negative development. Color reversal films usually use CD-3 for the color developer. The full process for making color reversal is, 1=black and white developer for 3x to 4x normal time, 2=wash and stop and wash, 3=expose to bright light, 4=develop in CD-3 developer, 5=wash, 6=fix in simple Hypo, 7=bleach silver out, 8=fix in another Hypo, 9=wash. If you skip steps 7 and 8 you will still get an image, but darker and with more contrast and less color. To process color reversal film as a color negative just skip steps 1, 2, and 3. To get more contrast and less color in a color negative on color reversal film skip steps 1, 2, 3, 7, and 8. Color reversal film can be used to make a color positive from a negative image (such as a negative color image on a cine film recorder monitor, see DANCINEL.ZIP (tm)) by skipping steps 1, 2, and 3. Using color reversal film for a color positive in place of using color positive film has the advantage of greater film speed, which would speed up the filming in a printer or cine film recorder, but at the expense of larger grain size. If the reversal film emulsion gets too soft and gets damaged try reducing the temperature from 95F to 85F or 75F and increase the developing times. When the color developer is used as the second developer in color reversal process it is better to develop too long than too short, since over development is not going to occur because you are trying to develop all the parts that were not developed by the first black and white developer.

Color negative and color positive films can be processed color reversal, but may experience some color shifts, and would need more exposure.

Since DANCINEL.EXE (tm) can display images in negative or positive on the cine film recorder monitor screen you would probably not need to process black and white reversal film in reversal solutions, you could just process it like a black and white positive film. In the event you need to photograph a positive image and get a positive image on reversal or positive film the steps for black and white reversal are: 1=develop 2x to 4x in positive developer, 2=wash and stop and wash, 3=bleach in black and white reversal bleach, 4=clear in black and white clearing bath, 5=wash well, 6=expose to bright light, 7=process in another black and white positive developer, 8=fix, 9=wash. Black and White positive film, or thin emulsion camera negative films can be processed black and white reversal if you increase the first developer time but you will need to do tests, if the result is too dark increase the first developer time. In general if you process positive and negative films reversal you need to increase the exposure a stop or two, and if you process reversal films as a negative or positive you would decrease the exposure a stop or two. Newer black and white emulsions may have been altered to use different chemistry, but older films and films not designed for the newer reversal chemistry would probably work in the traditional black and white reversal formulas. There are solutions you can use in place of steps 6 and 7 to darken the film after the bleach and clear solutions, these are useful when the flashing by light is not practical, they directly convert all the silver bromide into silver or silver sulfide.

If you want to make color negatives in your cine film recorder that can be used in a printer to make color prints for projection, but do not want to deal with the Jet backing used on color motion picture camera films, some of the newer color intermediate films may be free of Jet backing. Also 35mm C-41 process type color print negative still films are free of Jet backing, and can be used to make a motion picture color negative if you have a camera in your cine film recorder that can accept KS- 1870 and KS-1866 type perforations. Since motion picture negatives usually use BH-1866 perforations, printing from a KS-1870 color negative may require a special step printer that allows for such combinations (not all labs have such a printer). C- 41 still film can be found in 100 ft bulk rolls, which might be processed at a one hour or pro still photo lab, and spliced together later to make a printing roll up to 2000 feet (tell the lab not to cut your negatives, and to process only). If your shots are short, you could use 36 exposure rolls of still film in your cine film recorder and splice them together on a good editing splicer to make your printing roll to sent to a motion picture lab for printing. Printing still film at a motion picture lab will require them to adjust the color timing of the printing light, something they might charge extra for. To be able to thread 36 exposure rolls of still film into your movie camera, in the dark splice 15 feet of black leader on the head and tail, then thread the camera and look through the lens opening while advancing the camera a single frame at a time until you see the color change showing that you are past the head splice, then advance a safe distance more.

Once you have exposed your film you can process the film yourself in about an hour, or send the exposed film to a professional lab. EASTMAN (tm) 5060/7360 is one of the easiest films to process since it gives you a direct positive image with only two solutions and some rinses in water. The direct positive process has only a few basic steps.

You can purchase ready made photographic solutions, or mix your own from the following formulas. Although home photography lab work has been a popular hobby for many years, people and governments have become increasingly concerned about exposure to chemicals. Some of the chemicals used may be harmful if you get them in or on your body, and there may be laws against pouring the waste down your drain. Instructions for processing other types of movie film may be available from books at your local library. The following information on processing film is given as an example of how film might be processed, please familiarize yourself with the manufactures text on appropriate handling of photographic chemicals and use the following information at your own risk.

EASTMAN (tm) 5360/7360 are probably only available in long rolls of 2000 feet packed one or two rolls per can. The long rolls on cores will probably need to be ordered directly from the EASTMAN (tm) Kodak (tm) motion picture products division. Motion picture labs will sometimes sell short rolls of print stock, such as 5360/7360, to customers if you ask, but may mark up the price quite a bit.

If you cannot find 5360/7360 you may be able to use a negative image on the film recorder's monitor and use black and white positive, negative, or reversal film in the same developing solutions as given for 5360/7360 to get a positive image on the film. You may need to do tests and adjust the exposure and developing time. Increasing the exposure would make the image darker when working from a negative image on the monitor. Increasing the developer time increases the contrast and makes the image darker requiring less exposure time. Decreasing the developer time when working from a negative screen image reduces the image contrast and density requiring more exposure time. My cine film recorder frame loader program DANCINEL.EXE (tm) can display frame images in negative for this purpose. See the downloads section for more information about DANCINEL.EXE (tm).

If you purchase 16mm film be sure to ask for double perforated, holes on both sides, sometimes also called silent perforation, if your camera has sprockets that need film with holes on both sides. 16mm sound cameras can generally shoot both single or double perforated film, if you are not using the sound galvanometer (a.k.a. galvo) or magnetic stripe (a.k.a. magstripe).

To process 100 feet of motion picture film you will need a rack or a rewind tank. To build a processing rack make a square out of PVC pipe using 90 degree corners about three feet on each side. Attach a film hanging clip to a heavy rubber band at the opposite corners. In the dark (or under very dim red safe light if you are using red insensitive film) clip one end of the film to the rack and wrap the film emulsion (dull) side out around and around in a kind of helix so that no part of the film overlaps. If you put small bumps on the rack every two inches the film will not be able to slide sideways and accidentally overlap. When all the film is on the rack you can trim the tail and clip it to the other rubber banded film clip. The rubber bands keep the film taught when it stretches in the solution. You will need one or more tank wide enough to plunge the rack into and have the solution cover all the film. To get even processing you should pull the rack out of the tank every 60 seconds and then put the rack back in the tank. You might make your tank out of marine plywood and paint it with epoxy paint to keep the chemicals from soaking in. Putting blocks at the ends where the PVC that does not have the film rapped around will keep the rack from rubbing against the sides of the tank and scratching the film. The tank for the rack should have a plastic drain valve at the bottom to empty the tank. DANCAM.EXE (tm) could automate the processor if you use solenoid valves to fill and empty the tank and stepper motors to agitate the rack (having the motors run slowly would give you control over the processing time.)

A simpler alternative to using a rack and tank is to build a tank that has two spools in a tank and wind the film between the two spools continuously. For a rewind tank to work you will need to have spools that have some kind of firm clip that will hold the film so that when the end of the film is reached you will feel the supply spool stop without the film coming off the supply core. It will take about one minute to crank 100 feet of film from one spool to the other spool in a rewind tank. The cranking motion will need to be continuous, i.e. crank the film from the right spool to the left, then immediately reverse the cranking when the end is reached. Commercially available rewind tanks are available, some even have motors that automatically do the winding for you. Do not try to process more than 100 feet of film in a rewind tank. The time the film needs to be in the solutions should be doubled if you use a rewind tank. Do not use "fine grain" developers in a rewind tank, developers meant for developing prints, or rapid processing, work much better. Strong developers work better in rewind tanks because the film is in contact with the solution for a small portion of the time and then wound up tight so the bromide generated by the developing process cannot wash out of the film emulsion as it would if the film was suspended in the developing solution with the solution free to flow around the exposed image areas. Rapid developing solutions normally have some Potassium Bromide added to the solution to act as an anti-fogging agent, and so the small amount of bromide generated by the image's development is only a fraction of the bromide already in the developer solution and has a less detrimental restraining effect on the developer's activity. Rapid developing solutions produce grainier images, and so should only be used on very fine grain slow speed films. The rewind tank is the easiest to make but the hour of continuous movement of the film back and forth through the solutions has a tendency to scratch the film and make small spots.

Spiral reel tanks are also available that will process from 30 feet of 16mm to 100 feet of 70mm film. The spiral reel works like the popular 6 foot reels that many amateur's use for home film processing use, but are much larger to accommodate the longer length of the movie film. Spiral reels work well but need to be shook and pounded to dislodge air bubbles that otherwise make spots. If a few scratches are not important to your work you can fill a two gallon bucket with solution and un-reel the film into the bucket and and move it around to keep the film for sticking to itself, not unlike cooking spaghetti. I actually did the "spaghetti" process once and it worked better than I thought it would, you just need to be gentle to avoid abrading the soft emulsion side of the film.

When you are through processing the film you will need to carefully hang it up to dry. Never use any paper product such as a paper towel to dry off film! Very soft cotton cloth such as clean warn under shirts cut into rags work best. A small amount (5% to 10%) of denatured alcohol in the final rinse water may make the film dry faster. If you add a photo wetting agent to the final rinse only add one or two drops since to much may make streaks on the film. When working with wet film make sure that the emulsion side never touches anything (except the film base if the film is wound on a spool.)

The chemicals to process 100 feet of 5360/7360 only cost about two to four dollars, but given the labor involved you may decide that the about $40 a lab might charge would be worth the extra cost.

The developer solution brings out the image on the film. Developer solutions are destroyed by contact with air and should be stored in a full tightly capped bottle. Special collapsible plastic bottles are available from photographic stores that allow you to squeeze all the air out of the bottle before putting on the cap. About one liter (quart) is used up in processing 100 feet of 16mm 7360, and about two liters of developer are used up in developing 100 feet of 35mm 5360 film. If your tank requires more solution, e.g. several gallons, then you can discard the volume of solution used up in the processing of the film, and replace the discarded portion with fresh solution. For instance, if you have a tank that uses two gallons of solution, and you process 100 feet of 35mm film, after the film is developed you would drain off two liters of the used developer, and then add two liters of fresh new developer, this would make the developer ready for the next roll to process. You may need to add more fresh developer if the solution has been stored for a few days, or make other adjustments to the amount of fresh developer you need to add in order to keep the developer's activity the same, but in general it is better to over replenish rather than to under replenish.

B&W CINE FILM DEVELOPER SOLUTION:

Warm water, i.e. 100F (45C)........................... 600 ml
p-Methylaminophenol Sulfite (a.k.a. Elon, Metol)... 2.5 grams
Sodium Sulfite, Anhydrous........................... 40 grams
Hydroquinone........................................ 10 grams
Sodium Carbonate, Monohydrated...................... 80 grams
Potassium Bromide.................................... 2 grams
Cool water to bring up the volume of the solution to. 1000 ml

Dissolve the chemicals in the order given one at a time. Make sure all the p-Methylaminophenol Sulfite is dissolved before adding the Sodium Sulfite. I generally filter the mixed solution through some rapid filter paper to remove any un-dissolved particles that might make spots on the film.

After the development you should rinse the film in water for about a minute. Although not required, the fixing solution may last longer if you use a "stop bath" after the development to neutralize the ph of the film (the developer is alkaline and the stop bath is acid.)

B&W CINE FILM STOP BATH:

Warm water, i.e. 80F (35C)............................ 600 ml
Acetic Acid, 28% stock solution........................ 30 ml
Sodium Sulfite, Anhydrous........................... 40 grams
Cool water to bring up the volume of the solution to. 1000 ml

The Sodium Sulfite can be reduced to 10 grams per 1000 ml of stop bath solution if the solution is disposed of after the first use. The Sodium Sulfite helps keep the solution from staining the film brown when some of the developer gets carried over into the stop bath by the film.

B&W CINE FILM RAPID FIX AND HARDENING BATH:

Warm water, i.e. 90F (40C)............................ 500 ml
Ammonimum Thiosulfate 60% stock solution.............. 225 ml
Sodium Sulfite, Anhydrous........................... 15 grams
Acetic Acid, 28% stock solution........................ 50 ml
Boric Acid......................................... 7.5 grams
Aluminum Sulfate.................................... 10 grams
Cool water to bring up the volume of the solution to. 1000 ml

After the fixer the film should be washed carefully to remove all fixer from the emulsion. If you wish to make the film scratch resistant you can rinse the film in a hardening bath mid way through the half hour wash.

B&W CINE FILM SUPPER HARDENING BATH:

Warm water, i.e. 80F (35C)............................ 500 ml
Formaldehyde solution 37% by weight.................... 10 ml
Sodium Carbonate, Monohydrated....................... 6 grams
Cool water to bring up the volume of the solution to. 1000 ml

Formaldehyde is toxic and can cause health problems. The solution does work though, and can make the film more scratch resistant. You can use the supper hardening bath before the developer for most types of film to prevent handling scratches, but I have not personally tried using the supper hardening bath on 5360/7360 film before the developer. Using the hardener after the fixer would almost always be acceptable (that is after the fixer has been washed out of the film with a 10 to 15 minute wash.) If you use the supper hardening bath before the developer be sure to wash the film in lots of water and drain well before you put the developer in, you may also have to adjust the developer time since the flow of the developer might be slower in hardened film. If you use the supper hardening bath be sure that your work area is very well ventilated, and you might employ proper respiratory apparatus if needed.

B&W CINE FILM FINAL RINSE:

Water, i.e. 70F (21C)................................. 500 ml
Denatured Alcohol..................................... 100 ml
Kodak PHOTO-FLO (tm) solution........................ 2 drops
Cool water to bring up the volume of the solution to. 1000 ml

When processing film all the solutions need to be at the same temperature to avoid distorting the gelatin emulsion of the film. You can bring all the solutions up or down to the required temperature by filling your sink or bucket with warm or cold water and submerging the bottom of the solution bottles until they read the proper temperature on your thermometer. If you put the solution bottles in warm or hot water be sure to open the caps while they come up to working temperature or else pressure can build up in the bottle making the bottle explode which might splash toxic or corrosive solutions on you and your work area. Do not use a water bath hotter than about 95F (36C) to warm the solutions.

Be sure that you empty the tank of each solution, and drain the film for 15 to 30 seconds, before you put the next solution into the tank.

The complete process for developing the direct positive motion picture film is:

TIME AND TEMPERATURE FOR 5360/7360 FULL PROCESSING:

B&W CINE FILM DEVELOPER SOLUTION........... 4 minutes at 70F (21C)
B&W CINE FILM STOP BATH.................... 2 minutes at 70F (21C)
B&W CINE FILM RAPID FIX AND HARDENING BATH. 4 minutes at 70F (21C)
WASH WATER................................ 10 minutes at 70F (21C)
B&W CINE FILM SUPPER HARDENING BATH........ 4 minutes at 70F (21C)
WASH WATER................................ 30 minutes at 70F (21C)
B&W CINE FILM FINAL RINSE.................. 2 minutes at 70F (21C)
HANG THE FILM TO DRY......................... 6 hours at 70F (21C)
CLEAN AND LUBRICATE THE FILM WITH MOVIE FILM CLEANER..at 70F (21C)

It is possible to shorten the number of steps and still get acceptable results if the maximum solution life and film hardness are not important. Cleaning and lubricating the film may make the film run more smoothly through the projector, and removing the dust that got on the film while it was drying may reduce the accumulation of scratches on the film. Movie film cleaner may contain chemicals that cause brain damage, cancer, and other health problems.

TIME AND TEMPERATURE FOR 5360/7360 MINIMUM PROCESSING:

B&W CINE FILM DEVELOPER SOLUTION........... 4 minutes at 70F (21C)
WATER RINSE................................ 4 minutes at 70F (21C)
B&W CINE FILM RAPID FIX AND HARDENING BATH. 4 minutes at 70F (21C)
WASH WATER................................ 30 minutes at 70F (21C)
HANG THE FILM TO DRY........................ 12 hours at 70F (21C)

When doing washes or rinses you should change all the water every minute. This means draining the tank and filling it completely again. If you just let the tap run on the top of a full tank some contaminated water will settle to the bottom of the tank and the film will not be evenly washed.

Be careful not to splash any fixer on processed film and to wash your hands after touching the fixer bottle. If you use a rewind tank the times given for the processing solutions above will need to be about two to four times as long, i.e. the development time would go from about 4 minutes to about 12 minutes or so.

If the "light" areas in the image on direct positive 5360/7360 come out to be not light enough increase the exposure of the film by increasing the exposure time, say from 15 seconds to 30 seconds, or open up the lens aperture from f/8 to f/5.6 or so. If the dark areas on direct positive 5360/7360 are not dark enough increase the development time, say from 4 minutes to about 6 to 8 minutes. The dark areas on 5360/7360 are not totally black normally, and get less black if the film is old and stale, so try to use fresh film for the best results.

When you project the film on a movie screen for the first time the heat of the movie projector lamp may make the residual moisture in the film fog up the projector lens. If your projector's lens fogs up you probably did not let the film dry fully before winding the film up on the projection spool. A simple trick to make winding the film onto a daylight spool from your drying lines easier is to stick a pencil or wood dowel through the spools hole and turn the reel by rotating the dowel between your fingers like operating a small screw driver. You should clean and lubricate your film before you project it, otherwise the image may jump up and down on the screen, and the film may jam in your projector and get torn or burned by the heat of the lamp.

Hopefully you should not have too much difficulty getting your computer animated films to come out well, and you will enjoy seeing your computer animations run smoothly on the "big screen".