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Erkan Umut

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Everything posted by Erkan Umut

  1. Hi Folks! Does anyone have the instruction manual of Silma 8S macro zoom camera? Scans will be highly appreciated. Best Erkan
  2. Dear Members, I am a Prof. of Cinematography, and desperately need help. I am looking for a member whose has engineering knowledge and/or is interested in the subject. I have a 6-page Chinese (S) engineering document (in .doc or .pdf) related to the 35mm movie projector framing device specifically. Can anyone help me? Your help will be highly appreciated! Best, Erkan
  3. OMG, it's so nice to hear from Charlie again!!! The lamp is 6V 10W. A photo tutorial will be posted soon...
  4. Dear Bengt, I wish I had one. What I need is an instruction manual for my document collection. Best, Erkan
  5. I am looking for the instruction manual of PATHE ELECTRONIC DUOLIGHT in any language. Thank you very much for your attention!
  6. Hi Glenn! Absolutely scans of the catalog. Many thanks! Erkan
  7. Hi Folks, Does anybody have the following catalog to share? Many thanks for all your efforts!
  8. This is the working link for the Cinema Products CP-16R Operations and Maintenance Manual: http://www.scribd.com/doc/82962359/Cinema-Products-CP-16R-Operations-and-Maintenance-Manual Enjoy!
  9. By the way, some of us warned about this before: Our subject and purpose of this post are for a new-born Super 8 camera. Why do we jump to other formats and cameras? :D ;)
  10. Exactly Brian, so correct! Guys, please don't understand me wrong, but will we want to go back to the end 1800's and the beginning to 1900's? More sophisticated cameras do need a group of engineers, technicians, etc., as well as more complex manufacturing facilities. Don't be dreaming so much! Even you want to copy them! History tells everything...
  11. Some cameras accept replaceable 2-perf. movements by native design, not all. But some houses offer the custom-built movements to the non-replaceable cameras. But the ARRI cameras having the 2-perf. mounted, due to low torque, may cause jams in the magazines except AATON specially built for it. Its definitely not a new approach. The exactly same format called TechniScope, designed by Italians, was available on the market in the 60s and 70s.
  12. Never worked with an SR-3 having a bad video assist and B&W before... Maybe you point out the SRIIs having the VAFE made by PHILIPS. 10 years are nothing for those workhorses just after a general overhaul. Then your source should be not eBay with cheap priced offerings thrown away from rental houses. Try other dependable sources such as Visual Products, Inc. in the States, or pay more on eBay for individually used equipment... Forget about to take your time and spend your money with a K-3, even you cannot thread film automatically without frills. Thou its steadiness is not so bad, I and Mr. Kenneth Richter (designer of the RICHTER Auto-collimators and small EMP 16mm helmet cameras, won a Technical Oscar) had checked the steadiness at my home in Istanbul in 1991. When you hit the camera somewhere, you gonna loose its TTL exposure meter system instantly...
  13. I agree with Brian completely! For Super 8, a sophisticated camera well described before, it is a need. But for Super16 and 35mm, there are a lot of 2nd hand sophisticated cameras already on the market.
  14. Once I have tested it: Leaving a lens in cold helps, causing to force the internal grease viscosity gets solidified. But not a proper solution... By the way, interestingly, I never faced with that problem, a lens behaves different when used in different camera mounts in same type...
  15. By the way, I am the admin of the popular ECLAIR 16MM COMMUNITY @ http://eclair16.com. We have been discussed these lenses among the followers a lot of time. They have got good results when the correct lenses are used. Yes, PENTAX and Cosmicar offer good manual lenses as far as I know. I don't like the new manual lenses with the locking mechanisms on the lens barrels...
  16. You are welcome by all means! I should check the film I've shot again just to be more specific and correct, but I have no Telecine possibility at home to share with you unfortunately, and I do not want to transfer it to digital using my projector thou my ELMO is one of the good models. In any case, it may be not correct to compare it with the TV Zooms. I never try to compare it with Kern lenses, etc. of course. But its OK for its price, and available as brand new. Also, its made in Japan from a good company at least. Worth to try... Certainly, keep away from the lenses Friedemann told before. But this lens and similar are different than those. Let me check my literature as I have almost all the documentation form serious manufacturers. What I know exactly is I've tested several times for the back focus on the eclair ACL II and FUJICA ZC1000 C-mounts for its clearance to the mirrors. Everything is proper and perfect. Good built quality. Hope this helps for now.
  17. computar CCTV lens, made in Japan - C-mount - f/1:1.2-16 plus Closed, F=12.5-75mm (very reasonable priced, Cons for filmaking: a little smoother aperture friction than I used to) I had used it on a FUJICA ZC1000 New once, the results were not bad...
  18. Come to Istanbul we gonna have clear days following. I'll show you the best viewpoints... :) Otherwise I'll use my Nikon :) :)
  19. We had been missed you Carl! Welcome again our optics expert! Last night, I made some observations using four S8 gates, molded plastic/machined metal plates, 60X magnifier, and electrical micro contact sensors. The results were so clear: The people, who advocate the need of a pressure plate/pad are so right! There is no any contact between the plate rails and film back absolutely. And I am ashamed! The obsessive passion with the almost all branches of motion picture technology and reading a lot of rare documents in the field for nearly 30 years made me blind and tired. If I were an engineer, would be a very bad one, hopefully I am not, but a technologist. :)
  20. Dear Friedemann, Please don't throw these words. People may think that "It also smells that you are the third person or guaranteed a free camera"...
  21. Dear Lasse, Also you mention: "if the playback speed varied that would be noticable only as "lip sync" problematic - you wouldt be able to tell if it was running too slow or too fast (unless we are talking many fps difference)". Small format sync difference could be more understandable due to the slower speed than larger formats! Film transport speeds, mm/sec. @ 24fps: 456 for 35mm film, 182,98 for 16mm, and 101,5 for Super 8/Single-8.
  22. Dear Lasse, I was busy with my toys including several camera gates with various heat treatments and finishing quality, also one of them adjustable lateral guides (you mentioned as side stabilizer), as well as a 60X magnifier. :) You mention: A ) It was a cost adder hence less money in their pockets B ) They didn't think the consumer's had the brains to figure it out (loading is no longer trivial) C ) Perhaps they didn't have the skills to engineer it in the first place Probably, you are not serious, or angry for some reason. Anyway, "Eastman Kodak's head designer team: Jasper S. Chandler, the father of the system and the 1974 presented 200-foot sound film cartridge; Evan E. Edwards and Lloyd Sugden, the two fathers of the cartridge. Evan A. Edwards and Lloyd Sugden had the responsibility for cartridge design. Edwards was a specialist in molded parts, having worked on the Instamatic 126 cartridge (1963), the Pocket Instamatic 110 cartridge (1972), and held numerous patents on injection molding, molded products, and injection molding machines. Another major consideration in designing the new cartridge was to achieve absolutely smooth transit of the entire 50-foot length of film through the cartridge, essential for steadiness of the film image. To study the dynamics of the film transit, Edward’s group constructed a “dynamometer camera.” This ingenious device continuously measured and recorded the force required to move each frame through the film gate. The pull-down claw, just a quarter-inch thick, was equipped with a strain gauge. Thus force/displacement graphs could be plotted over a wide range of temperatures and humidity levels. The final cartridge design was an assembly of six injection-molded parts, each of different composition depending on their function, and one phosphor bronze spring, bearing on the pressure plate, all manufactured to extremely close tolerances. To avoid the film plane positioning inaccuracies to which previous magazine designs were subject, the new cartridge had a spring-loaded pressure plate behind the film. When the cartridge was inserted in the camera, that plate pushed the film into the camera’s film gate where three locator studs arrested the pressure plate and film in precise position relative to the optical system. Large scale testing of the cameras and cartridges was considered imperative. While cartridges were tested at Kodak Park, the Apparatus Division made over 100 trial cameras that were given to employees to test on weekends. Over 300,000 cartridges and 15 million feet of film were tested before the system was released to the public". 1) Single-8's pressure plate was designed for more rewinding possibility, not for steadiness! 2) Super 8 design killed the Regular 8 having the metal pressure plates! Note: Dr. Arthur Cox, the father of Photographic Optics Science (his successor is Sidney F. Ray nowadays), was the head of designing of the optical components of the Bell & Howell Super 8 cameras. Do you believe your A, B and C? Thank you for your time and patience! Best, Erkan
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