eggart

Thanks, I sent it in to them today.

Hi,

Is there anyone or anyplace that currently offers professional repair services for Leicina Specials? There is nothing wrong with the motor, it's entirely a problem with the viewfinder system.

Wouldn't that mean you'd have to run the film through the telecine twice to transfer it to video? That wouldn't help to keep costs down...

Ignoring any possible comment on what an enourmous jackass I am, I used the stuff, but that little white spec is still there. I can't see it through the viewfinder though, so I don't think it will be a big of a problem.

Another thing, even at wide open this lens is pretty dim through the viewfinder, but seems nice and bright when I'm just eyeballing it. I can't see anything on the internal elements. It's like there's a pair of invisible sunglasses glued on it. The internal exposure system always says I'm about a stop off my external readings, which are spot on with other lenses. Is this usual, or is something seriously amiss?

It was like this before I tried cleaning too.

Hmm. I have some eyeglass cleaner I bought at Walmart. "Flents WIPE'N CLEAR" It has a picture of a camera on the bottle, and says it does not contain silicone. Would I be an idiot to use this? (I'd have to order anything better online)

I recently got a macro-cinegon lens, and have been bothered by a small white spec of something stuck to the outside of the front element. I'm not sure what it is, I tried to gently clean it off, and it did get smaller, but what's left is stuck there. Should I worry about this, or just leave it?

I've been thinking of trying to shoot through one of those convex security mirrors to acheive a faux-wide-angle look. Has anybody tried this?

Is there a specific adapter that would allow me to use c-mount lenses on my m42 K3?

I have a cheesy notebook like that... What kind of film did you shoot this on?

Thanks for the advice!

Sam

Thanks George!

Sam

Hello,

I'm thinking about shooting a low budget film with Kodak 16mm black and white stock, but I'm not sure whether I should use negative or reversal film. It's mostly woods exteriors in daylight with a few interiors and night scenes. I would probably be trying to use as much natural light as possible, and I know that Kodak's new reversals are faster than their negatives, but how do they compare in contrast, detail and grain size? I might try to have a blow up made for festival screenings, and I'm interested in hearing what anyone has to say about what I should expect one way or the other (including cost differences). And any general thoughts (about lab costs, telecine or personal opinion) would be greatly appreciated.

I don't know if this has been discussed a million times before, but I haven't really found any specific examples. If it has, please feel free to kick me in that direction.

Sam