Well, this is one heck a movie to own, one of my 80s favourites and thanks to a forum member on the tech forum i now have my own full feature copy.
The print is on Agfa stock so superb quality is guaranteed and the image is as pin sharp as sharp can be. The sound is, as always on 16mm optical, stunning with great clarity and bass.
I bought this at an excellent price and yes, there are some minor base line black lines but for most of the film they are hardly noticeable, put it this way, that Shite print of T2 that sold for around 1500 would have bought you 12 copies of this so that being the case i am very pleased with all my 16mm buys and am very pleased that i changed my mind about getting shot of all my 16mm and sticking with 8. Super 8 is my main stay but no serious collector can ignore what is available on 16 and in both LPP and Agfa non fade stock. Simply superb and better value for money,
This film, IMHO, is one of Harrison Fords best movies, unfortunately the batteries went on my old digi camera near the end but, let these images tell the plot. Belive me, as always, these images do not do this print any justice what so ever, the film is bright, vivid colours and crystal clear.

Join in with your comments on these reviews lads, they take time and effort and if only a dozen people view them and no comments then there seems no point in me making the effort. I always think it's good to see these, like the 8mm reviews it shows what is out there.

That is a nice print and a good film to have Tom. Well done once again.

For your final comments there Tom, I completely agree. Making any reviews for our forums takes time and it is nice when these posts are visibly appreciated by our members commenting on them occasionally.

I agree in that it gives a rough insight into what is still available out there and what type of quality we can expect to find a similar print in. Sometimes for faded prints, this is all that is available now to see, but at least it gives an accurate indication as to how we can expect these to look these days in this era.

come on you blokes out there, give me a reason to put up Daces with Wolves when i view it in the next couple of weeks. There must be more interest out there.

One of my favorites from the 80´s. Great print.

Very nice print Tom,picture and colours look great can’t beat good old Agfa stock.
Sounds like you got it at a good price too,have to agree with your comment regarding the pricing of some films.I do appreciate it’s very nice to own particular prints but it’s got to be at the right price,after all it’s a hobby and personally I would prefer to own five prints for £500than one at £500.
You are going to have to invest in a long play unit 🤣🤣🤣🤣

Agree with with you there Gwyn, i can put up with a few light black lines if the price is cheaper, this and Dances with wolves cost me half what some 80s prints are on ebay for and dances with wolves is three hours long. I know its not perfect but lets be honest how many times will i run it in say,, 5 five years?
A long play unit, without sounding thick i really wouldn't know where to start

By the way, Thank you for the replies you chaps.

The long play units are really good and very simple to use Tom.
There are some I've seen for 16mm machines, like what Gwyn has, that are really robust looking and look very professional indeed in use, from what I've picked up on.

Given how quickly any standard machine on 16 tends to reach capacity, I'd have thought a decent sturdy LPU would be very useful indeed for those that like to watch mainly feature films on their 16mm machines.

I would like to have a LPU, but as most 16 mm projectors have 2300 ft capacity, it´s no big problem showing a feature. One or in some cases two intermissions are quite OK IMO. Screening 35 mm, I´m forced to have intermission(s), as my projector have a 6000 ft capacity ( appx one hour ). For Super 8, my "new" Beaulieu, can handle a full feature, if I only find some big reels. I missed the ones sold on this forum by two weeks or so.

35mm wooooww, i dont think i could manage that but i do see some very good deals with 35mm films, i bet they look amazing, i think if my film room was double the size i could but unfortunately, while it is great having a dedicated room, it is only around 13ft long and 9 ft wide so filling the screen from a short distant with a decent bright and sharp image would be costly i would imagine.

The biggest advantage of super 8 is that you can fill a big screen from a short distance. Its cost me around 180 quid to do this for the 16mm and its still not as large an image. The 25mm lens i have is OK but the image isn't as good as i like it so i use the 35mm primed lens with a zoom converter.

If you get hold of some of the largest Super 8mm Reels Mats, you will find these still work best with a LPU for the front arm at least.

It gives better distance between spool and input guide which helps keeps film guided better striking the input guide initial roller.

1800ft ones are fine just on the projector itself but for 2200ft ones, I always use the front limb from my Spondon LPU just for safety and distance.

A spool requires perfect concentricity to be able to run this close to the input guide.
That is an unbelievably difficult thing to achieve on any spool of 15 inch diameter, no matter how well made.

35 mm can be really cheap, if you are lucky. i paid less than £ 180, for my Bauer B11, A collector friend helped me to service and install everything. I use a Dolby CP65 processor and my vintage Sony stereo amplifier, for the sound. Full features ( with scandinavian subtitles ) can be found from about £ 15 to 100. The biggest issue is having room for everything, I own about 50-60 features on 35. I had no plans collecting 35mm, but ran into a 40 feature collection, at £10 a film and couldn´t resist to buy it.

Given the room and a booth, I am certain I could be attracted to 35mm but it won't be happening so I am more than happy with the images I receive at around an 8 foot width maximum using what I have.

I know some collectors project 35mm at around this same 8ft width in their home cinemas which to my mind, seems a little baffling to be honest at those screen sizes.

I'd have thought this overkill to say the very least but what do I know?

i have to say i am more than happy with the super 8 as our mainstay, with 16mm being a great addition, definatly enjoying it more than i thought i would but will definatly limit it to a max 20/30 films. That allows me another ten, yayy, if they all end up like Witness here reviewed i will be very happy.

Andrew! I´m quite happy with good Super 8 prints like the DIsney/Derann prints I have, but watching 35 mm i something special. The picture quality is stunning and many prints have Dolby surround. I also have titles that have never been released on Super 8. My home cinema isn´t that big, but fortunately there was room for the 35mm PJ, in the projection booth.

Surely you must have a screen width size bigger than that for Super 8mm screenings though Mats?

With 35mm average lamp output intensities, I'd have thought you'd scorch a bloody big hole in the screen at 8ft width!!

10 ft is fine to me. You can´t sit to close to a bigger screen. I have a couple of lenses, so I can change when i screen scope films. My Bauer have a small 500W xenon, so there is no big heating problem.

Crikey, 500w Xenon on a 10ft screen!!!!

At BFCC they used a 250w Xenon no brighter than a 150w modern H.I.D lamp to illuminate a 32ft screen perfectly adequately Mats, using a GS 1200.

I guess that it would be fine with a 30-40 ft screen as well. The Bauer B11 projectors were recommended for small and midsize cinemas.

dont think id like the electric bill

Looks great Tom,the 80s 16mm films really do look superb on screen, the only thing I disagree with is your comment on Harrison Ford's best film,come on Raiders of the lost Ark!!! Ha Ha. This really is a great film (Witness) well done on this one, Mark

Thanks Mark, blimey, yes i almost forgot raiders, but this certainly rates as one of his best in a different type of role.
I do like the 80s and 90s 16mm, so far it does look as though if i stick with this era then the stocks look good, agfa and LPP for the most part, pretty much the same rule as super 8.
I think we struck very lucky with Waterloo in scope and Hannie Caulder ,(both reviewed here), being early 70s films but both on Agfa stock, all be it the first five minutes of Waterloo is faded Eastman but the other 99% is agfa and that early start is forgotten very quickly when viewing it.

Very informative about 80's films on 16mm. Blue Thunder is great and my tv edited print of 48 Hours has great color as well. I will have to watch for more 80's films and Witness would be a killer one to have. My scope print of Tom Horn with Steve McQueen also has nice color, but the movie itself is a bit of a downer.

This was one that was offered to me by a private seller a few years ago, as it happened it is one of my favourite movies and one of Harrisons Fords best so i was very pleased to have been fortunate enough to own this copy.
This is a very good print but it does have a fair amount of base line scratches, (which i was well aware of before buying), but fortunately, these are well hidden with filmguard and the fact that for much of the movie they are only very very light so they are no concern, i am very pleased to own this film along with all our other titles.

That's a lovely looking print, Tom.