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Simon Wyss

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Everything posted by Simon Wyss

  1. . . . that the 100-ft. mag. CKS film path is unorthodox. The 200’s is straight.
  2. Of course one has to acknowledge that the CKS film path is unorthodox, if not adverse. The Eumig C 16 has great mechanics and, yes, the missing lens interchangeability puts it back. It has a usable base attachment.
  3. It’s not the claw’s fault. The CKS has a lateral guidance that functions only with film perforated both edges. https://www.filmvorfuehrer.de/topic/14799-darf-ich-vorstellen-cin/
  4. The 134 T has lens mount threads a little wider than the D-mount one, also different in pitch and flank angle. Adapters can be found, they look like this: I do repair and service of Bell & Howell equipment, give a three years warranty for my work. Let me express that a thorough overhaul can’t harm. Different to a Filmo 70 a little oil won’t do, the old grease should be removed on a complete disassembly. The turret disc, by the way, can be replaced by a new one with D or C or CS threads. In case of interest I’d quote such an upgrade. Greetings
  5. I know the finder optics exactly. The word Scope is just not on my mind for an optical device, have worked with anamorphoseurs. The Möller system may be of interest: https://www.filmkorn.org/faszination-cinemascope/?lang=en. You overload the H camera. We live many years after the camera got conceived. It was designed in 1930-31 as a take-along camera, not wider than the Movikon 16 for example with a turret. The Movikon 16 is from the same time, 1931-32. Originally the H came with a winding key or a crank. Compact lenses have been a goal with many lens manufacturers then. You will find short telephoto systems still after WWII, say the Angénieux P 3. As to upright cameras on tripod Paillard offered an aluminium base to the older models. Beaulieu is a joke in that respect. For Bell & Howell Filmo 70 I plan to make a support that gives the camera the rigidity it deserves.
  6. Fabrice, what do you mean by scopes? CinemaScope anamorphot?
  7. Your are right about the Pathé having a very low optical axis, a low center of gravity, and a big base surface. It is also one of few spring driven cameras that run up to 80 fps. Competitors on that ground are the Bell & Howell Filmo 70-B, -DB, -G, and -S or the ETM P-16 which go up to 128 and 120 fps respectively. A younger Victor 3/4/5 reaches 80 fps, too. If you need such speeds For the other features in combination we have the Ciné-Kodak Special, the Paillard-Bolex H-16 RX-2 to -5, the Pentacon AK 16. CKS’s reflex system is usable until you press the release button. The magnifyer tube is useful. The turret for two lenses and Kodak’s proprietary mounts surely lose ground. A Pentaka 16 accepts a spring drive accessory. Its variable mirror shutter gives you a brighter finder view than a Paillard-Bolex. The younger P.-B. H-16 Reflex models have a big enough base in my opinion. Their turret disc accepts more lenses than the Pathé’s which has recesses. But that can be changed. Optically, Pathé beats Paillard, the double prism system compromises stronger than the pellicle. Mechanically, the H-16 is superior to the WEBO M. No chauvinism intended. An Arriflex 16, although no spring drive accessory to it is known, gives you 100 percent light in the finder, the big base a professional camera must have, reliable mechanics, a rugged turret, and magazine capability. What not many know: bajonet lens mounts don’t center lenses better than threads. In fact the Bell & Howell A and B mounts are the best in that respect, there is a cylindrical fit between camera and lens. The C mount is threads only, with less play. If you can live with a NON-REFLEX critical focusing system, your choice widens. With an ETM P 16, of which I know its mechanics will survive a meteor hit, you can remove the periscope loupe (hence the designation P), so a replacement offering stronger magnification is possible anytime. The ETM P 16 Reflex is rare. The H-16 with serial number below 100,400 have a very accurate set-up system together with the diagonal rackover and 190 degrees shutter opening angle. Still more light reaches the film in a Filmo 70, say, models DA/DL/DR, with a 204 degrees angle plus 15 times magnifying focuser and alignment gauge. An Arco TV-16 has 220 degrees on a variable shutter and a prism reflex finder. My favourites are Filmo 70-DL and P.-B. H-16 S-4.
  8. The German Wikipedia lists four classes 0, 1, 2, and 3. Class 0 comprises everything where the film runs continuously in coordination with an optical compensation, class 1 collects simple advancement movements, class 2 those with additional means for locating the stock such as moving register pins, and class 3 is for fixed pilot pins. Basically equal, only projector mechanisms fit in, too.
  9. Pathé WEBO M, M for membrane. The pellicle or membrane is a microscope cover glass of 0.004" thickness, made non-reflecting on one side. I have such glasses but never got to have them bloomed due to the costs. The volume of WEBO M repairs is too small to justify the investment, at least for me. If someone pays the expense, I will do it. Another pellicle camera is the 8mm Christen DB, also French. Same size of membrane glass
  10. You don’t use spools in the mags, dou you? There are plastic film spools circulating that are not conform with the standard, too wide. Cores can be bad as well. A correct core is slightly narrower than the film and has nothing that protrudes to the sides. Next, the film should not make any jaunt, must be wound evenly from core to head. From the descriptions I can imagine non flat film rolls. Else, a technician should go over the system.
  11. Screen size is Four to Three nonetheless.
  12. Eastman 7302 is the print film. Besides it you have ORWO PF 2 from FilmoTec which is made in two versions. One is plain, the other, V3, has an anti-halo substrate between the colourless base and the photographic layer. That subbing discolours during development. You can also print onto sound recording film, first of all ORWO TF 12 which has a colourless base. Very harsh contrast and more density. Kodak sound recording films are on a grey base. 16mm sound films are made with one perforation row only.
  13. Why then 22 frames per second? Films were shot at 24. 1:1.37(5) is not a final aspect ratio. The regular screen was and is 4 to 3 or 1:1.333. 1:1.375 is the AMPAS camera aperture (rounded). 500 ISO is also wrong, max. film sensitivy in 1939 was ASA 125 (Eastman Super-XX negative).
  14. If you want to fill an average size IMAX screen with standard film, obviously full frame, you easily reach 500 times linear magnification and 250,000 times magnification of the area. The linear aspect is doable with fixed pilot pins mechanisms as it has been done in the silent era. Screening of that order have been reported in the 1920s. The energy, however, that will have to be shot through an 18 mm × 24 mm aperture in order to decently illuminate a 9 m × 12 m surface is considerable. The problem encountered here will bear the designation Cooling. I’m writing Cooling with a capital because air won’t do. You would need liquid gates, I think, and these forbid splices. Prints must not have a single splice. Doable but it takes discipline.
  15. https://cinematography.com/index.php?/topic/24032-arriflex-ii-c-35mm-serial-number/
  16. Spool slowly and keep a finger on the film’s edge.
  17. That Marcel Beaulieu didn’t care much about mechanics but more about electrics. A contact was added next to the governor of the Reflex 8 models to give energy to the light measuring circuit. If the governor is correctly lubricated, it is electrically isolated, thereby the contact dysfunctional. After a number of copies a double contact was introduced. Having one of those examples here I learnt that yesterday.
  18. Shane, what sort of a projector do you use? A Mansfield Holiday M-1000 or a Kodascope Eight 70 or is it an Ampro A-8?
  19. I have just had a RX-2 here that came with a damaged spring washer next to the sun wheel and damaged first and second gears. Obviously the washer which has a too wide opening got jammed between the main spring core and the sun wheel or the holding plate. The owner must have continued to wind the spring with brute force until the washer came free again. I have published something about this. https://www.filmvorfuehrer.de/topic/32163-drama-in-der-kamera-im-gegensatz-zu-sonst/ Major job with complete disassembly and replacement of the washer by a fitting one. These exist. Paillard’s fault
  20. If only the shutter is out of synch, it’s a relatively simple thing to heal.
  21. That’s a good one. I like glitches. Nothing against anybody, just made me giggle.
  22. http://www.davidelkins.com/cam/manuals/manual_files/moviecam/compact_mk2.pdf Two tapped bores should be closed. They apparently were left open.
  23. The most obvious evidence for a misalignment is that the mechanism stops shutter open!
  24. You can clearly see that the film moves shutter open. A technician should adjust shutter and claw timing. It’s a REX-2, by the way.
  25. No, it isn’t. The Reflex models are only more often attacked by untrained people and then reassembled with this fault. REX-2 through -5 are still more prone to that because the front comes simply off after undoing four screws. With the early reflex models things are a bit different, just a bit. The guy is telling nonsense. Camera is out of whack.
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