lluis

Sorry but there is, at least, 3 generations of this lens. All cover fully s-16 and they are f1.5. The first/older one is T1.8 or T1.9 (I have seen both) and they have a big spherical aberrations on the corners at s-16. The second ones (which Ikonoskop use) are the 921 series T1.7 and they have other optical design and excellent performance, as good as the old Zeiss 9,5 but with more coverage. The last ones are the same 921 series design with other bigger housing for follow focus, PL mount... (only see in pamphlet). Sure 10mm Switar is excellent lens, but not plenty s-16 coverage. All the best

The Ang 15-150 was designed for 1" tube video c-mount and for Arri cameras also. I think that the optical quality is similar to the others st16 Ang zooms (12-120 or 10-150). Canon 'TV-16' means the 16mm diameter coverage of the 1" tube video, which is a little bigger than super 16 area (14.5mm). Since these old lenses were designed to use without prism in camera it's possible to think that will be good optical corrected for super 16 movie cameras also... I have the Canon 15-150 TV-16 converted to Aaton mount and it works really good (specially also for its price): good sharpness and contrast (surprising for a video lens!!) with a little desviation to green color (easy to correct later). I consider it better than the old Angenieuxs zooms that I tested, which were specially soft until T4-5.6... (and not super 16). All the best, Lluís

Prueba aquí http://www.design.arandafilm.com.au/Arri16BL.html

All the Cooke Kinetal lenses cover super 16, except the 9mm. They are warm tone and very very sharp. I have used them with my Aaton with apropiate adaptor.

I didn't test any 16-100 poe Vario-Switar, but in some web pages it's considered a full super 16 coverage. I have the 17-85 compact Vario-Switar and it covers the format!!

With all my respects I condider Scoopics M or MS are much better and reliable than any K3 in all parameters, specially in the quality of the lens (Canon has macro and wideangle), auto loading and steadiness (K3 don't have lateral pressure and the pictures always jitter...). Probably in the MOS categories (after Arri st) Bolex EL would be the best, anyway that the Scoopic viewfinder is brighter. K3 is the only Arri system mirror movie camera on the world which stop suddenly the movement when you cut off (all the others have the natural inercie...), because it tries to make animation... Consequence: with the very early age the main axis of the mirror begin to play... All the best.

The 3 Scoopics M that I tested, repaired and modificated had the same fault (due the age): lost of pressure in the pressure-plate, what means lost of back focus... specially critical in wide angle and wide open... Every lens (specially zooms) will be sharper at 5.6 than 2.5... It's obvious. I tested these Canon zooms, with the correct pressure-plates (40/50 gr/cm) with film and 20x magnifying glass and they were surprising sharp, even at T2.5 (f1.8)!! It was impossible to get this results in all the old Angenieuxs (12-120/10-150/9.5-57) that I tested (which needed at least T4 for reasonable sharp).

Absolutely really. May be I was the first. I did it myself, but it wasn't an easy work.

XTRs are simple and reliable cameras, but it must to be had a good maintenance. The main (and expensive) fault is the wear away of the main unit axis, where the claw system, due a many milles of a lack of lubrication. Better is to take the camera to Grenoble factory for inspection. Each Aaton camera are subtle mechanical different. Incredible but they were constantly improvement. Your XTR must to be until 54 fps, Aaton code (better with reed leds, not yellow) and internal photometer (64-800 or 50-640 ASA). Camera can be prepared for the old (and not desirable) B/W video assist, with the internal beamsplitter and video optics (there are differents -and expensive- recent options for that).

Because at crystal speed the movement of the axis motor "force" all the gears to be controlled "up and down", to let the precise speed controlled. If there is a minimal play between gears it originates a internal vibration which causes the flicker. If the camera run by the mechanical power the moviment is always "up" and probably the flicker doesn't exist.

Film fogged at the edges: bad load or old stock or light leak from the camera lid or from inside the camera (disappeared black cement which unite the platine). Flicker (probably visible only with cristal speed): excess of play in the shutter gear or others gears, or lack of lubrication.

I disagree here completely. Scoopic M/MS lens are great, sharp at all stops and focals with minimal distorsion!! Much better than all old Angenieuxs that you'll find. Years ago i converted it to super 16. I used it with my XTR S16 with zeiss HS and Cooke zoom. I can use both shots because differences are minimal. Are your lens properly collimated? (I have repared some Scoopics which were bad opened and then descolimated...). All the best.

Sure you can remove it loosen the 2 screws. There are 2 pins for centered guides... Probably the unit are "patched" due its age... I removed it many times (to clean it) making nail handle in the corners. Don't loose the micro plate (in contact with the body) because it colimates the screen... Many luck.

Only the 1" video C mount lens will cover plenty s-16, but below 12.5mm I think all of them are unusable due the back lens elements are pronouncing, with the exception of the 10mm Zeiss Jena and the Schneider (only the biggest front one). Kinoptik (5.7 and 9) are "reasonable" cine lens that will perform OK in this format. There are the newest (and "prohibitives") PLs Zeiss, Cooke, Elite, Optar and Century (6,7,8 or 9.5mm wide angles). I think only the old 9.5 Zeiss and the Optars have Arri bay. Some 10mm Switars will be OK. Also I have used the old Zeiss 8mm with success, but only if the lens and camera mounts are absolutely centered. The minimal corner vignette will be cut in a 16/9 TV or 1,85 projection. Hope this helps. All the best.

http://cgi.ebay.com/CANON-SCOOPIC-16M-16MM...1QQcmdZViewItem (I am not the seller)

I have the Canon Scoopic 16M repair manual. Its a wonderful mechanical guide about this camera and was very useful when I converted it to super 16. It doesn't have special part about lubrication... just notes how to do it in each internal part (necessary to open all the inside camera...). All the best.

Some times I have matched an Aaton fiber optic screen with tape and later perfectly cleaned with cotton with dissolvent (and later lens cleaner), without leave marks.

The Zeiss lenses that you have come from Contax SLR 35mm still cameras and will perform much better that your Angenieux zoom at any stop. I have used it full open with great results. Of course 2.8/5.6 will perform better...

(After air) Alcohol isopropyl mixed with a fluid lens cleaner is a perfect solution for remove spots of dirty or grease. It doesn't affect to the lens coated (only the acids affect it). For haze in interior elements a mix of H2O2 with amoniac is infallible.

Attention Boris: it isn't the definition of 'retrofocus' (it'd be near of the 'hiperfocal' definition). Of course that the lenses retrofocus (or telefoto inverted) were a design by Angenieux for movie cameras, and later the best aplication for all reflex SLR cameras. It consists to 'extend optically' the rear focal distance (in wide angle lens) to let the position of the mirror. All the best,

Believe me or not I have used some C mount primes TV lenses (1" coverage) with my bolexes s16 with great performance. The most of the C mount lenses weren't designed for 3ccd, so why to speak of chromatic aberrations? Canon TV-16 series (Rune Ericson used them with the first s16 world film) are also great. Time ago I adapted the Canon 15-150 to Aaton mount (covering fully the s16 format) with really good performance, much better than all the Angenieuxs that I have tested (no mention the inaccessible 11.5-138 or the 7-81...). In my opinion I'd try to test every one lens before (remember Century or Optex: they know the possibilities of the some video lenses in the movie field). All the best, Lluís

But stopping down to 4/5.6/8 the spherical and chromatic aberrations, due the video prism, are insignificants. Here I have an idea about the differences in color and light trasmition for each lens. Using c mount B/W cameras (no prism) with a HR monitor it's possible also to note, with all T stops, the differents in resolution and contrast. I consider this FIRST TESTS the quickest way to evaluate them (putting each lens test in each vertical track of the time line and select and deselect the track). Although I am seeing only the central part of these lenses, this way confirm me, point by point, the later film test. By the same way that my two Switars 25 f1.4 (rex and non rex) weren't the sharpest in my video/film test I have also discovered that the Vario-Switar Compact 17-85 has been as good or better that all my primes. It has been a real surprise since this rare and small lens covers fully the super 16 also.

Sorry I can't understand it all. A pictures would be apreciate here. Anyway the original LTR mags aren't very safe now for s16, they should be to changed the orientation of the film path (it was at the '80 when discovered pressure marks in the s16 area due the newest T grain film... and the XTR was born).

I have the Arri Lightweight FF and I use it in my XTR as well as different rented SRs. Really it works with no problems (even it's possible to use it in both sides with zooms). It has different gear drives. With the use, in some units, you can notice a play between the gears, that's possible to reduce it by adjusting all the screws/axes/gears.

I did personally this full conversion years ago (I am DP as well as camera technician). It wasn't precicely easy since it was necesary to recenter with microprecision all the camera parts... The zoom, really sharp, covers very good the projection format. The camera is fully stable, except at 64 fps. I use it like B camera and for time lipse shots.