Robert Lewis

Hi J. Thank you so much for your advice. So ... two strap wrenches - one on the barrel of the lens and one on the "flange" or "collar" and, with just that little more grip than I could get with my hands, off it came. Once again, many thanks. BOB

Hi J. I hope you don't mind me addressing you as "J". I am sorry that the pic was not so helpful to you. The lenses carry exactly the same markings, except for the individual lens numbers. Looking even more carefully at the two lenses, the "flange" or "collar" seems to be in precisely the position one would expect if it had simply been screwed on to the lense to which it is fitted using the the threads on the lens. Certainly the lens which does not have the "flange" or "collar" has a thread which is right hand or clockwise. There are no holes in the periphery of the "flange" or "collar" and I suspect that it is simply screwed onto the normal lens barrel thread. As I said in my earlier posting, I haven't tried any significant force such as a strap wrench might deliver simply because I wanted to obtain advice first. I will attach what I hope will be more helpful pictures. Thank you very much for endearouring to assist me. Regards, BOB

I have managed to acquire two Sankor 16D anamorphic lenses which are in what can only be described as superb condition. However, one thing is puzzling me. One of the lenses has what I will describe as a "flange" on the end which is mounted nearest to the standard projector lens. The attached picture shows the two lenses and, in particular, the "flange" to which I refer, The "flange" makes it impossible to mount the lens on the projector bracket, because it will not pass through the mounting bracket. Everything about it suggests that the "flange" might unscrew from the barrel of the lens leaving the two lenses identical. It shows no sign of being willing to be "unscrewed" however, and rather than use force with the risk of causing damage, I am wondering if anybody happens to be familiar with the lense and knows whether the "flange" is, indeed, removable. The barrel of the lens without the "flange" is threaded, and I suspect that the "flange" simply screws onto the barrel thread. Any advice would be gratefully received. With thanks in anticipation.

An update! I am pleased to say that I have now been offered a Sankor 16D lens. :)

I am looking to buy a (second) Sankor 16D anamorphic lens so that I can match lenses on two matching projectors. (Yes, I know am a bit of a pedant!! :rolleyes: ). This lens has a 52mm diameter rear barrel. I would be happy to consider an equivalent lens (i.e. with a 52mm rear barrel) such as a Kowa. If anybody has one they would be willing to sell, I would be very pleased to hear from them. Thanks and best wishes.

I am thinking about the possibility of producing some film titles using desk top publishing software on my computer, then filming them from the computer screen on 16mm film. If it can be done successfully, as an alternative to using the traditional type of titlers which several camera manufactures used to make or simple "d.i.y" title boards, it seems to me that all sorts of things become possible. Of course, it could be a silly idea! I have checked out previous threads on the possibility of filming a computer LCD screen, but haven't found any feedback from anybody who has done this. The advice I have picked up on seems to be that it is best to use daylight film, or tungsten film using an 85 filter, but I am wondering if any anybody can advise on whether one should over or under expose and, if so, to what extent, or, alternatively, suggest a suitable exposure setting for daylight film rated at, say, 250ASA. Needless to say any general advice on filming LCD screens would be greatly appreciated.

I just came across this thread. I really must keep a better eye on the London Communities section. I thought it might be of interest if I said that I emailed Kodak UK on the issue of the non-availability of Kodak 7285 on 100ft rolls a month or so ago and I thought my request was not at all unreasonable. I suppose it might be said that I would say that, however. I set out below the content of the message I sent: "Sunday, October 11, 2009 6:11 PM Subject: Ektachrome 100D (7285) on 100ft rolls Please can you explain to me why it is that I am not able to purchase Ektachrome 100D 16mm colour reversal film on 100ft rolls in the United Kingdom. Many 16mm cine cameras are limited to 100 ft rolls, and your company produces a variety of negative stocks in 100ft lengths. However, not all of us wish to use negative stock and prefer a reversal stock. This stock is available in 100ft lengths in the USA and in Germany, but every supplier I have approached here claims that they are not able to supply it in 100ft lengths simply because your company will not make it available here. You will know that it is possible to purchase 400ft rolls, but as I say many cameras can only accept 100ft rolls. It is clear that your Company does produce 100ft rolls because it is supplies the stock to suppliers in other Countries. To force British customers to go to the trouble and expense (not to mention the general inconvenience) of importing the stock seems be be not only most unfair but it is an obstacle in the way of those who still prefer to use film. Is it really asking too much that a product which is available in other Countries be made available here? Even supplying through a single retailer would be very welcome, and it would mean that a very high quality product would be more easily obtainable here. I hope you will take the trouble to reply to this email.". I did not get any response, but I have reminded the Company that I am awaiting a reply. It will be interesting to see if the wait is worth it.

Thank you Mark. I am most grateful for your help.

Hi. I am confused about what should be simple and I would be grateful for advice. I have Bolex REX5 which is fitted with a Kern Vario-Switar 18-86OE zoom lens. So, exposure is ttl. Until now I have used only daylight film and the built in exposure meter takes care of everything. However, I have been given a number of rolls of 200T film and I would like to use them in daylight. I know I need to use a 85 filter, and I have two types of filter - a "drop in filter" which, when fitted, is taken into account by the exposure meter. The other filter is, of course, the Bolex "behind the lens" filter which is not taken into account by the exposure meter. The normal speed of the 200T film is 200ASA, but with an 85 filter this is reduced to 125ASA. Now, if I use the "drop in filter", do I set the exposure meter for 200ASA or 125ASA? I understand that an 85 filter absorbs 2/3 of a stop. The difference between 200ASA and 125ASA is 2/3 of a stop. I have a feeling that I should set the exposure meter at 200ASA and the effect of the filter reduces the actual ASA to 125, because if I reduce the exposure meter setting to 125ASA and use the filter, I am doubling the required reduction. Am I correct or mistaken? If, on the other hand, I use the the behind the lens filter which is then not taken into account by the exposure meter, do I set the set the exposure meter at 125ASA and simply use the filter or is this also doubling the reduction in ASA? I really would appreciate advice on this.

Hi Robert. Nice B & W film. What I would expect from a Nizo. What stock did you use? One more technical question: When I viewed it, I sensed there was a "pulsing" in the image. It could be that I am imagining it, but if I was not, is this resulting from the uploading of your film, or transfer? Please don't misunderstand - just wondering. It doesn't impact on your work. It is still nice to see B & W. Regards, BOB

Hi Ashley. I have to say that I am not an expert, but yes you will need a meter. I am sorry that I am not able to advise you which type or make of meter is the best for you, but what I can say is that I have an REX4 fitted with a Kern Vario-Switar 18-86OE zoom lens. This was made especially for Bolex and so takes into account the refduced light which gets to the film caused by the prism. More importantly, it is through the lens metering and so no separate meter is required. So, with this lens (which has an excellent reputation) you have the combination of zoom with through the lens metering. I find it to be an excellent lens. Hope this is helpful to you. Regards, BOB

Thanks Karl. I double checked what I said in my earlier message, and, of course, I was wrong. One step on the shutter control lever is half a stop and not one third. In the past I have found the exposure control to be very good, so if the prism does absorb one third of a stop I hadn't noticed it. It was suggested to me that 50 ASA (250 ASA rated film when the highest rating the lens exposure system will allow is 200 ASA) can be corrected by setting the shutter one notch down thus reducing the exposure by half a stop. I guess I should just try that and see.

I have a couple of 100ft rolls of Kodak 7222 negative 16mm film which I wish to use. My camera is a Bolex H16 Rex4 with Kern Vario 18-86 lens. The film speed for daylight use is 250 ASA, but the lens exposure setting will only go to 200 ASA. I understand that I can overcome this difficulty by stepping down the camera's shutter. Can anybody advise whether one notch on the shutter control lever (which I think is one-third of a stop) is the correct adjustment? I would be most grateful for any advice on the point.

Hi Bucky. I am new to the forum, and have recently been getting more interested in Super8 filming. I first got a Nizo 561 and just recently got a Canon 814 AZ Electronic. As I understand it most cameras have an 85a filter built in, but Kodak recommend that with Ektachrome 64t film an 85b filter should be used when working in daylight. On the Nizo I followed the advice generally given that the 85a should be switched off and an external 85b filter fitted and used. I believe the same advice is given in relation to the Canon, so if you fitted an external 85b filter, I suspect that you did not cancel the 85a internal filter. The result would be that unintentionally you finished up shooting through both filters. With the Nizo to cancel the 85a internal filter, a simple switch has to be turned. On the Canon, however, you have to cancel the internal filter using the key which is stored on the bottom the camera just in front of the mounting point. This has to be screwed in to the aperture on the top of the camera which is plugged generally. I hope this makes some sense. Bob Lewis