Nicholas Kovats

Erkan, One can definitely impact exposure and DOF with varying shutter speeds. Not as apparent as changes in the iris but measurable and visible. Cheers! Nicholas

Excellent report by Friedmann. Thanks, Jean-Louis. Very impressive application of a digital stepper motor. Digital PPL comes to Super 8! This will allow phasing such that speed ramps (!) coupled with the shutter will allow precise on the fly exposure compensation of changing frame rates. And the bloody registration pin. Whoa. This is not going to be your family's home movie camera. Looking forward to Friedmann's film tests!

Excellent news, Nick! So happy it turned out ok.

In 100ft rolls? Regular 8 or standard single perf 16mm? I am aware it was discontinued. Wittner is charging big bucks for their remaining supply.

Hilarious! Thank you for that.

I am not sure of the exact dimensions of the Lilliput monitor depicted in Lasses's original posting but check out the P+S Technik Universal Finder Option for 5-6 inch screens. It has diopter adjustment i.e. http://store.pstechnik.de/home/finder-option-for-5-6-displays-loupe/ While not optimal relative to a WYSIWYG OVF it does improve focusing/framing for the operator. I would recommend a higher resolution mini-LCD screen than the "stock" Lilliput referenced above.

Here is an Australian YouTube video illustrating the P+S Technik B4 optical viewfinder in action, i.e. This precision optical viewfinder (OVF) replaces the entire standard IMS to B4 assembly also manufactured by P+S Technik. Here is a picture of forum member Alexander Kirch's personal unit, i.e. http://www.aa-w-transfer.de/download/IMG_7563.JPG Note that P+S Technik employs former Arriflex engineers.

Check out this pricey alternative to the "dog ear" optical viewfinder concept as referenced by Erkan. P+S Teknik actually made an optical viefinder in a Sony B4 bayonet mount (FFD = 48mm). Another forum member, Alexander Kirch had previsouly posted his own unit for sale this past spring. It eventually sold for just over 1,000 EUR (9,000 EUR new) i.e. http://www.aa-w-transfer.de/download/IMG_7568.JPG MTF Services (UK) manufacture a B4/C Mount (FFD = 48mm/17.52mm) adapter, i.e. http://www.lensadaptor.com/b4-23-c-mount-adaptor I would recommend a 15mm rail system with lens support for such a setup.

Thank you kindly, Josh. It can be hard to keep up considering the volume of info streaming by in today's world. There is also a second "smaller" variation which is actually the original format called UltraPan8 2.8. Same principal as UP8 3.1 but it uses the larger perforations of Regular 8 film, i.e. http://vimeo.com/39417454 Jean-Louis Seguin (Montreal, Canada) has built 10x UP8 2.8 and 2x UP8 3.1 Bolex cameras to date. He can be contacted directly at bolextech@gmail.com. The re-manufacturing/adaptation/conversion costs are quite modest relative to typical custom work. He can be contacted directly at bolextech@gmail.com. Various owners have reduced their costs by supplying their own Bolex H8, H16 or DS8 cameras. Don't hesitate to contact me if you need farther assistance, i.e. nkovats@gmail.com. Cheers!

Ernie, Are you aware of the UltraPan8 3.1 Double Super 8 format? It is a spherical film format with a native aspect ratio of 3.1 which is wider than both Cinemascope and Cinerama. The cameras are modified hybrids consisting of Bolex H8 (DS8 mod) and H16 cameras. The machined gate's dimensions are as follows, i.e. UP8 3.1 (Double Super 8) AR = 1:3.1, FRAME = 13.00mm x 4.22mm; AREA = 54.86 square mm Note that the frame width is wider than Super 16 and technically requires re-centering of the lens mount. It utilizes the full 16mm width of Double Super 8 film with the classic Super 8 pulldown. I originally announced the camera system here, i.e. http://www.cinematography.com/index.php?showtopic=57048. Here is an uploaded example of the format. The lens mount was not re-centered and I utilized a Zeiss Tevidon 10mm C-Mount lens, i.e. http://vimeo.com/45620380 By the way the UK Widescreen Association originally interlocked 3x Super 8 projectors many decades ago to simulate classic Cinerama. Cheers! Nicholas - Toronto facebook.com/UltraPan8WidescreenFilm

Benjamin, There are approximately 12-13 Bolex UP8 camera that have been professionally adapted, machined and in use globally. It is a viable precise format with practicable attributes. And it works quite well. Lot's of evidence on Vimeo to back up the previous theory. This Swiss "inventor" cannot expose full width 35mm Academy in a Bolex with a 16mm wide frame/transport system. Think about that statement. I believe the actual discussion revolved around the slitting of raw 35mm stock into multiple 16mm strips. Two minimum. Some of my European colleagues on this forum can potentially clarify this as the original discussion thread was in German. It is possible to mount a 16mm anamorphic projector lenses ( 2x squeeze) on a prime lens attached to a Bolex UP8 camera to achieve an aspect ratio of 1:5 or greater if one is so inclined towards extreme verticals/horizontals.

Benjamin, This forum tends to be an educated interchange amongst film peers. You did not even bother to read my post. UltraPan8 is not a Super 8 camera. It has no relationship to Max8 as it utilizes the full 16mm width of either Regular 8 or Double Super 8 film stock. Are you familiar with these specific stocks? There are no 16mm projector anamorphic lenses used. As I previously stated only standard full frame 16mm optics are utilized. Not Super 16mm, Super 8 or Regular 8 format lenses. Nada. It uses the optical center of standard 16mm optics. There are two perforations per UP8 2.8 or 31 frame. I concur with David Cunningham's post that one could potentially compare it to the long discussed concept of 2-perf 16mm. Another historical antecedant would be Sergio Leone's 2-perf 35mm Techniscope system which is half the height of the classic 4-perf 35mm Academy frame. Here is an overscan example of the Regular 8 perfs in UP8 2.8, , i.e. http://vimeo.com/36944151 Here is an overscan example of the Super 8 perfs in UP8 3.1, http://vimeo.com/45622450

If your interested in zero curvlinear and minimal ultrawide distortion check out the UltraPan8 2.8 format that utilizes the full 16mm width of Regular 8 film in conjunction with 8mm pulldown. The 10.52mm x 3.75mm frame produces an ultrawide native aspect ratio of 2.8, i.e. In this example I am used a Standard 16mm film format wide angle lens, i.e. Angenieux 5.9mm (Cameflex/Bolex Bayonet Mount/Adapter). Since the UP8 2.8 frame dimension is half the height of the standard 16mm frame I used the best part of the optics - the optical center. To calculate the horizontal angle of view specific to the UP8 2.8 format: UP8 2.8 (Regular 8) AR = 1:2.8, FRAME = 10.52mm x 3.75mm, AREA = 39.45 square mm angle = 2 inverse tan( 0.5 w / F) w - width of film (10.52mm) F - focal length (5.9mm) angle = 2 inverse tan( 0.5 * 10.52 / 5.9) angle = 2 inverse tan( 5.26/5.9 ) angle = 2 inverse tan ( 0.8915) angle = 2 * 42 degrees angle = 84 degrees (rounded) The larger UltraPan8 3.1 format utilizes Double Super 8 film. It is wider than Super 16mm and technically requires re-centering of the lens mount. In this example I utilized the Zeiss Tevidom APO Telecentric 10mm lens (C Mount). The lens mount was not re-centered and I shot range of f-stops (f/8-22), i.e. UP8 3.1 (Double Super 8) AR = 1:3.1, FRAME = 13.00mm x 4.22mm; AREA = 54.86 square mm angle = 2 inverse tan( 0.5 w / F) w - width of film (13.00mm) F - focal length (10mm) angle = 2 inverse tan( 0.5 * 13 / 5.9) angle = 2 inverse tan( 6.5/5.9 ) angle = 2 inverse tan ( 1.1017) angle = 2 * 48 degrees angle = 96 degrees (rounded) All Bolex conversions and machined gates carried out by Jean-Louis Seguin (bolextech@gmail.com).

Then there is the Century 3.5mm extreme wide stuffed into a PL Mount. He is asking alot of monies for this scuffed example. Note what appears to be separation of the front element. http://www.ebay.ca/itm/ARRI-Arriflex-CENTURY-Extreme-Wide-3-5mm-f-1-8-EPIC-RED-C300-C500-F5-ALEXA-/370835478160?pt=Camera_Lenses&hash=item5657845690&_uhb=1

Star Wars Episode 7 to be shot on Kodak 35mm Vision 3 500T color negative film (5219) by J.J. Abrams cinematographer, Dan Mindel ASC, BSC. http://www.bobafettfanclub.com/news/film-tv/exclusive-star-wars-episode-7-to-be-shot-on-film-by-dan-mindel/

Once again, Carl, you hit it out of the park! "One way to create a ribbon of low bit sensors is to use nano-technology. For example one could use light sensitive silver bromide particles, perhaps suspended in cellulose acetate."

The prior table did not format correctly. Here it is once again, i.e. No. Part No. Lens Mount FFD (mm) EUR 1 20506 Mitchell BNC-R Mount 61.468 560 2 18384 Panavision PV Mount 57.150 415 3 18431 PL Mount 52.000 280 4 22600 Sony B4 Mount 48.000 500 5 18380 Leica R Mount 47.000 415 6 23499 NIkon F Mount 46.500 420 7 18382 Canon EF Mount 44.000 320 8 22646 Canon FD Mount 42.000 320 9 19906 Leica M Mount 27.800 500 10 22605 C Mount 17.526 70

Thank you for taking the time to answer my previous queries, Lasse. I would like to bring your and your team's attention to the modular PS-IMS lens mount system devised by P+S Technik of Germany. It is essentially a simple robust modular mounting system consisting of an intermediate camera side mount + various lens adapters. They have positoned the intermediate camera side mount as an open standard with various OEM manufaturers. So far the following camera manufactures have been adapated, i.e. SONY PMW-F5 / F55 / F3 Ikonoskop A-Cam RED One PS-Cam X35 WEISSCAM HS-2 / HS-1 SI-2K MINI35 They could potentially manufacture the specific intermediate camera side mount for your camera. This would introduce a much larger range of global users. I have complied the following table for your examination. Note the relatively low cost of the common C-Mount (70 EUR). I suspect that economies of scale would apply. No. Part No. Lens Mount FFD (mm) EUR 1 20506 Mitchell BNC-R Mount 61.468 560 2 18384 Panavision PV Mount 57.150 415 4 18431 PL Mount 52.000 280 5 22600 Sony B4 Mount 48.000 500 6 18380 Leica R Mount 47.000 415 7 23499 NIkon F Mount 46.500 420 8 18382 Canon EF Mount 44.000 320 9 22646 Canon FD Mount 42.000 320 10 19906 Leica M Mount 27.800 500 11 22605 C Mount 17.526 70 Relevant links: 1. Pictures of Lens Mounts: http://www.pstechnik.de/downloads/24404_IMS_Mounts_Packlist_110512_web.pdf 2. A Vimeo video detailing the "PS-IMS-FZ rear element assembly" for the Sony F3 camera. 3. On-Line Store: http://store.pstechnik.de/home/interchangeable-mount-system-ps-ims/all-ps-ims-lens-mounts/#cc-m-product-6012043986

Kodak signed a contract earlier this year to continue supplying film for 6x major Hollywood studio through to 2015, i.e. http://cinemaminima.com/perdiem/756/kodak-stays-in-the-pictures-will-supply-motion-picture-film-to-hollywood-through-2015/ You can find alternative 35mm stocks if you do a bit of research on the net.

Kodak has been court approved to exit Chapter 11 Bankruptcy Protection and plans to continue production of motion picture film. http://www.businessweek.com/news/2013-08-20/kodak-bankruptcy-reorganization-plan-approved-by-new-york-judge

Kodak has been court approved to exit Chapter 11 Bankruptcy Protection and intends to continue to produce motion picture film. http://www.businessweek.com/news/2013-08-20/kodak-bankruptcy-reorganization-plan-approved-by-new-york-judge

Kodak has been court approved to exit Chapter 11 Bankruptcy Protection and intends to continue to produce motion picture film. http://www.businessweek.com/news/2013-08-20/kodak-bankruptcy-reorganization-plan-approved-by-new-york-judge

P+S Technik Germany has started to rent a camera package called the "Kubrick Collection". It consists of a PS-Cam X35 digital camera and two of the most famous modifications of NASA/Zeiss ultra fast lenses for the 4 perf 35mm academy format. A pair of exquisite Zeiss f0.7 lenses fitted in BNCR mount, i.e. 1. 1x ZEISS f0.7 50mm lens S/N: 2594289 2. 1x ZEISS f0.7 35mm lens S/N: 2584566 The lenses were originally modified by Ed DeGullio (Cinema Products) to fit a specially modified Mitchell BNC camera in the early seventies. Back focus is critical, millimeters thin and require a 5x full rotations of the focus barrel "...to allow the camera to rack over from the viewing position to the filming position"! Rental specs can be found here,i.e. http://www.pstechnik.de/downloads/RentalDoc_kubrick_1303_web.pdf The Kubrick collection home page, i.e. http://www.kubrickcollection.com/index.html One of most exquisitely photographed motion pictures ever committed to film by the alien film engineer/director aka Kubrick is his ethereal Barry Lyndon (1975) using these unique Zeiss f/0.7 lenses. Nicholas Kovats Shoot Film! facebook.com/UltraPan8WidescreenFilm

P+S Technik Germany has started to rent a camera package called the "Kubrick Collection". It consists of a PS-Cam X35 digital camera and two of the most famous modifications of NASA/Zeiss ultra fast lenses for the 4 perf 35mm academy format. A pair of exquisite Zeiss f0.7 lenses fitted in BNCR mount, i.e. 1. 1x ZEISS f0.7 50mm lens S/N: 2594289 2. 1x ZEISS f0.7 35mm lens S/N: 2584566 The lenses were originally modified by Ed DeGullio (Cinema Products) to fit a specially modified Mitchell BNC camera in the early seventies. Back focus is critical, millimeters thin and require a 5x full rotations of the focus barrel "...to allow the camera to rack over from the viewing position to the filming position"! Rental specs can be found here, i.e. http://www.pstechnik.de/downloads/RentalDoc_kubrick_1303_web.pdf. The Kubrick collection home page, i.e. http://www.kubrickcollection.com/index.html One of most exquisitely photographed motion pictures ever committed to film by the alien film engineer/director aka Kubrick is his ethereal Barry Lyndon (1975) using these unique Zeiss f/0.7 lenses. Nicholas Kovats Shoot Film! facebook.com/UltraPan8WidescreenFilm

Congratulations, Lasse! And also your team! You have unleashed a long discussed desire for a new Super 8 camera. I am looking forward to the potential mods undertaken by enthusiastic new owners. Lots of questions that you may or may not have time to answer. 1. Will users be able to access and remove the CMOS camera sitting behind the beamsplitter? I was wondering if the resultant cavity would allow modular 3rd party viewfinder optics? I am a firm believer in the precision of WYISWYG optical finders. Using external low resolution bulky LCD(s) as focusing aids is not conducive to portability nor run and gun operation in the field. 2. Fascinating adaptation of the Mekel SP-1R Super 8 transport! Were you in contact with Moris Ambsbery, the creator of the Mekel, or Gil Pendley at Visual Instrumentation Corp (VIC)? 3. Have you started PV/QA testing relative to film stock thickness, i.e. acetate or polyester bases? All in all...outstanding! The secondary effects have started and have revitalized the few who are burning the film mod/manufacturing candles globally. We have re-manufactured approximately 13x UltraPan8 2.8 and 3.1 film cameras to date and I see your team's project as a wonderful compliment to promote the use of film stock. I happen to believe that we have yet to exhaust the incredible informational capabilities of film especially in conjunction with the Nyquist Theorem (oversampling) as applied to digital scans. An example of the UP8 3.1 format utilizing the full 16mm width of Double Super 8 film, i.e. http://vimeo.com/45620380 Nicholas Kovats Shoot Film! facebook.com/UltraPan8WidescreenFilm