chuck colburn

Looks a little suspicious:

optimo on ebay

....or a good deal

I would asking to see the serial number on that one. lol Judging by the rest of the stuff he's selling it's either a surplus buying operation or one hell of a pawn shop. Those lenses are not just floating around. Buyer beware.

Jay,

I'm sure you already know but just in case... Mitchell movements need to be oiled everyday and if shooting 128 f.p.s. basically every take. So if you power that puppy up don't forget the camera oil on the movement elsewise you will end up with a door stop. lol

cheers,

Chuck

Hi,

 

Looks like the camera was recently serviced, anybody wanting to shoot high speed would do well to change the first roller to a larger one, especially with very soft Kodak stock.

 

The movement is not the original one from the camera, the serial no has been ground away! Probably not an issue as Ken Stone knows what he is doing.

 

Stephen

Morning Stephen,

Your probally right about the service being recent. I sawall that Losoid BBR grease (the red stuff) oozeing out of the bearings on the drive side.

That's some that is done quite often in still micro/macro photography. Check out Bjørn Rørslett's site and see what he does at times ;)

 

http://www.naturfotograf.com

 

Cheers, Dave

Morning Dave,

Great site for Nikon lens info mayby not the latest but very in depth. The part about telextenders is really great. I've told people for years it's best to keep to the manufactures recommended model of ext. for a given lens. This is not to say that you can't use an off brand unit with whatever lens it's just that sometimes the lens maker has designed a given unit to perform best with a given or series of lenses. Anyhow great site.

thanks.

Chuck

thanks chris... but are you talking about a flash light, or something like a hmi?

One of those xenon bulb type flashlights or one with a bright LED will work fine. A medium focale length lens wide open is good.

Actually behind the lens filter holders (when there is a gel in the holder) increase the flange focale depth "optically" by about 1/3 the thickness of the gelatin filter. This would be appx. .0015". The flange depth of the camera should be adjusted for proper "C" mount depth (.690") with a filter in place. After that a gel should always be used even if it's just a clear one. This is important with those extremly short focale lengths found on super eight zooms. .0015" is a huge back focus error at 6mm.

Thanks Andy,

 

I frequently use my Leitz Optivaron and Cinegon on the Fujica without sharpness problems...I hope it will be the same with the Beaulieu lens!

 

 

Regards,

Benjamin.

If the Fuji camera is standard "C" mount (1" by 32 t.p.i. at .690" flange focale depth) then it should work fine. If you are near an optical repair shop or a motion picture equipment rental house, their lens tech can pop it on their autocollimator to confirm front and back focus.

Thanks Joe,

 

Will the Reglomatic reveal a gap in the lens like with removing the Leicinamatic from the Leitz Optivaron?

 

 

Cheers!

 

Benjamin.

Yes it will. A little opening where the gear drive meshes and a couple of screw holes. I'm pretty sure the Optivaron was made by Schneider.

hi, brad!

sorry, i was not too clear about my reply but what i meant was that it was totally unnecessary to stack two lenses together as mounting a wide-angle lens backwards wherein the front element is towards the mount and the rear element is pointing at the subject creates a much higher magnification and a sharper rendition compared to a regular lens pulled away from the camera body with several extension tubes. of course to date i don't know of any accessory for film cameras to facilitate that but we've successfully mounted a backward-mounted lens with lots of gaffers tape (sorry, in the philippines we need to improvise a lot). since a wider lens covers a wider field of view, a backward-mounted wider lens projects a bigger image on the film plane thus creating a larger magnification. in still photography i have an adaptor ring with a nikon mount on one side and a 52mm thread on the other such that you can screw on a regular nikon lens (pre-digital) backwards. my attached photo was created with such contraption! i hope i've made in clearer to you and thanks for the reply!

If you are going to use just one lens in reverse you get a reversing ring and either extension tubes or a bellows unit.

One nice thing about those fast 200's is when combined with a 1.4x extender you get a 280mm f2.8 and when used with a 2x you get a 400mm f4 and it all fits in one case.

Almost perfect for the standard size TV screen. lol

There's 8 and 15 perfs as far as I recall.

Hi Max,

Did'nt know they had two different formats. 8 perf would be like the 2 perf. Technoscope for Imax. lol

Well source impedance an amplitude levels aside, (you will probally need an external preamp) that your computer is expecting to see, what the heck it's cheap enough to fool around with and mayby you can use it with a camcorder someday that has an external mic. input.

cheers,

Chuck

OK... Well, how much would an actual IMAX camera run then? I'm guessing at least $200 K like Christopher was saying. Has anyone ever heard of those being found used? How much does the film stock for it cost?

 

I know IMAX is just another 65mm camera like the other ones. Are there any differences between it and all other 65mm cameras?

Morning Brook,

Imax is not anything like standard 65mm five perf pulldown. It's like a giant VistaVision camera where the film moves through the camera body on the horizontal plane (like a still camera). Can't remember the number of perforations per frame (15?) but it's a lot.

Jim,

 

thanks for the response. Grinding down the sprocket grips sounds a bit sketchy (if I did it anyway!), is it still possible to get it modified professionally? If so, is it an expensive procedure.

 

Cheers,

 

Ben

Best done on an indexing or spin grinding fixture and a surface grinder. Can be done on just a lathe. Talk to your local machinist he will know what to do. They are commonly referd to as sprocket teeth.

Mitchell movements (sliding pin registration) have been used in film chains but I believe a fixed pin shuttle type movement ( Bell & Howell 2709) adapts easier to thru the gate projection. It has always been considered the best form of registration for sprockted film. And is easier to make then a Mitchell type movement. Good for about 32 or so frames per second.

I work for a Non-profit filmmaking society and we just purchased a set of prime lenses for our Arri 3. What is the procedure of testing lenses and the camera. Is there a link out there that outlines the step by step procedure??? I am savy on the camera, but I don't know how to test properly.

I don't know when was the last time you had your camera checked in a shop but it might be worth your while to take the camera body and what ever optics you have for it to a cine tech and have him/her pop it up on the autocollimator. This will confirm your flange focale depth and ground glass depth on the body and tell you if the individual lenses are properly set for infinity focus. A good shop will have a thru the lens projector which will point out any other optical problems with the lenses that don't show up on the autocollimator. It's a good way to qualify the camera and lenses for not too much money. Probally less then film testing.

cheers,

Hi guys,

I have to shoot a commercial in which i need to know the exact spot of sunrise.

I have to shot actors while the sun is rising on their faces and I need to know exactly where to put the camera in advance and be ready for the shot. Of course I can go there at sunrise but I gues there is more an elegant way...

I know there are all sorts of calculators

Any suggestions???

thanks

I believe the Naval Observitory is in charge of when and where the sun rises. I think it's where the Dick lives too.

Alan Gordon has had a Mitchell/Todd-AO AP-65 kit for $98K for quite a while.

Sort of the 65mm version of the S35R/MkII minus the high speed and with a pellicle mirror instead of a mirror shutter.

 

http://www.alangordon.com/s_filmcam.home.html (pic)

 

http://www.alangordon.com/s_filmcam65.html

 

More likely to be in workable condition than the beat up 70mm instrumentation cameras that show up on eBay.

Those 70mm instrumentation cameras you see now and then would not be useable nowadays as they not only use 70mm stock but the perfs were Kodak standard (square perf) which I believe is no longer availble. (best to check on that though) and they were generally odd formats like 10 perf excetera. You might check with Max Penner at Paradisefx and ask what became of the Showscan 65mm cameras and lenses.

Hi,

 

from what I know (and what Samuelson says) the Super America was built with options of Arri SB, Arri PL and BNCR mounts. So the FFD should be:

 

SB 52.00 mm

PL 52.00 mm

BNCR 61.468 mm

 

Cheers, Dave

Hi Dave,

BNCR flange focale depth is 2.420 inches. Which as you say equals 61.468mm.

And 65mm would have longer lenses with a lot of depth of focus, compared to 35mm.

Yep. The widest lens was a 28mm.

Hi,

 

Registration will be perfect, however the film will run behind where it should (FFD will be long). If you are using fast & wide lenses you will have focus issues.

 

Stephen

Quite right. I was on a 65mm shoot and the 1st forgot to put the plate in once and the footage was still useable. But then again the fastest lens was f2.8 which I'm sure helped. lol

Hi Rob,

Does it cover S16 thru the whole focale length range?

thanks,

Chuck

It uses 1000 ft. Mitchell mag, but I never work with this.

i´m not sure about if working well with Arri 35-3, i think that is best option to attach an original arri 35-3 1000 ft mag

 

I ACCEPT OFFERS

 

thanks

That's interesting as the Mitchell mags were belt driven.

Hello everyone

 

I am shooting a 16mm student short film, which is using experimental techniques to tell a story. I want to get a severe vignetting effect when doing stop motion animation of a young woman moving through the streets at night. I want it to look a bit like tunnel vision.

 

Which lenses (or other techniques) would give this effect?

 

Many thanks

Kathleen

Use a hard matte in front of the taking lens. That's how they use to do keyholes, binoculars etc.