Bruce McNaughton

Yes, that comes back to my original comment, that the 10mm Switar is perfectly fine for super 16 use and that you dont 'measure' the sharpness drop off when you are viewing a normal scene. Interesting that you mention 'overscan' in your editing programme... The super 16 frame, when printed to 35mm (1.85:1) is used pretty well edge to edge. Most oxberry operators try to get the absolute maximum out of it, left and right. So what you get on your film you pretty well see on the big screen. Bruce

Rachel If your 10mm is giving you a dark side , your lens port is not correctly lined up with the gate. I know that this is obvious but if it were correct, you would enjoy a full super 16 frame Bruce

Alian You have only 2 choices really... Frame for standard 16 ignoring the extra picture area in the old soundtrack. Print your super 16 neg to standard 16 (this will automatically ignore the soundtrack BUT it might scratch your neg as printers are not relieved as cameras are... However if you decide to release in super 16 your framings will be a bit 'lopsided.' Or frame your picture so that you can extract a standard 16 image from the middle (or actually anywhere) and still use it later as super 16. No magic wand... just 20% more quality (with super 16) Bruce

Looks like I've overstated the position. All lenses fall off in sharpness at the edges. Go to a Omnimax screen and you wouldn't give the time of day for the quality of the picture at the edges, grain swirling around like a whirlpool. The 10mm Switar covers the super 16 area but JUST. The corners are just inside the darkening (vignette) circle which is the edge of the lens. If you shot a resolution chart you would not like the result at the edges. BUT on the screen, with your best eyeglasses, it is not apparent in a normal scene, especially when your attention is drawn to the centre and/or the action. I'm only talking about the lens under test conditions, not general usage. Sorry. Bruce

We convert Bolex cameras, all models, to Super 16 daily. You can definitely cover the super 16 frame with a 10mm Switar. The quality at the edges is low but no one is measuring that. The Bolex makes an excellent super 16mm camera because there is no need to buy any new lenses. When we convert a turret model we supply a new turret. The middle port and top ports are re-centred for super 16. We leave the lower port standard, so that the turret locking plug still does its work. With this locking plug and the chrome turret 'holding' mechanism in place, you have a very solid lens mount. Retaining the standard 16 port is thought to be valuable by some (for shooting standard 16) but you can extract standard 16 from the super 16 frame when you go through the mandatory telecine or Oxberry stage. Bruce McNaughton

Dear Dudu If you use a 3 blade shutter projector, like a Kodak pageant you won't have to synchronise them. The result will be a flicker-free perfect image regardless of the speed of the camera or projector. Other equipment will require synch motors on both pieces of equipment or complex encoders/readers/slave motor on the projector Regards Bruce McNaughton

Hi Marcel Yes we convert the Konvas and the Kinor to 2/3 perf. Most European owners go for 2 perf. The Konvas is more difficult, having a common drive shaft for claw and magazines. Our conversion price is $USD5,000. The Kinor is a more straight forward operation, $4,200 Regards Bruce

I am interested in Cameflex 400ft magazines, motor(crystal) and 16mm magazines and a 16mm gate insert. I am trying to resurrect an old girl back to shooting status. Best regards to all Bruce McNaughton

I am interested in Cameflex 400ft magazines, motor(crystal) and 16mm magazines and a 16mm gate insert. I am trying to resurrect an old girl back to shooting status. Best regards to all Bruce McNaughton ****************************************************************************** Can anyone tell me how to erase this duplicate posting??? Bruce ******************************************************************************

Guess I 'd better put in a plug for our service. My company Aranda Design in Melbourne converts all 16mm cameras to super 16. Even the 'impossible' Arri BL. We started with Bolex and have converted more of these than any other make. Turnaround is 5 days plus freight each way. I'd be glad to talk to anyone with a Bolex. http://www.design.arandafilm.com.au Regards Bruce McNaughton

Daer Jaq Yes, like all 16mm magazines, the soundtrack area has to be cleared of potential scratching. This means all rollers and guides. Bruce

Dear Nitin I am about to announce that this super 16 camera is sold... just not quite sure how to do this on this forum... can't find a 'sold' button. Settlement should be any day so I am holding off until the deal is done, BUT... I am converting another one as we speak so I might leave to ad as is to cover the new camera Dear Patrick Yes the Zeiss vignettes from 10-13mm. All of our clients go with this and enlarge the wide scenes slightly on telecine (or on the Oxberry if they are blowing up to 35mm) This saves buying or renting super 16 lenses. These babies are expensive (to buy) Interestingly, a 12-120 Angenieux vignettes so little (on infinity) that you can get by without any enlargement. But let's not start that argument about which is the better lens... Bruce

Hi Leon Thanks for the question..Many people ask me this because for some reason the BL is considered to be impossible to convert to super 16. One of the U.S.conversion houses put it in print and it seems to have been accepted as fact. No one in the U.S does the conversion that I know of... We actually convert cameras that other conversion houses send on to us. Sure it is a tricky operation but we have done many of these now, along with all other makes of 16mm camera. We also do 2/3 perf conversions to any 35mm machines. Regards Bruce

I have a beautiful BL with a Zeiss 10-100mm zoom, two 400 ft. magazines, Jensen controlled crystal motor (synch and variable speed) and original road/flight case. This beauty has been carefully converted to super 16 by my company The Aranda Group, Melbourne Australia. I am asking $USD4000. This represents a big saving on the price of a comparable camera plus the conversion cost. Email contact is bruce@arandafilm.com.au Telephone contact is [+613] 5964 4066

Hi, just logged on to this forum for the very first time. We do 2 perf conversions on all 35mm cameras so if you want your 2C done email us on bruce@arandafilm.com.au Bruce McNaughton