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Daniel Klockenkemper

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    Los Angeles, CA

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  1. I think the Vantage spot diopters will do exactly what you want: https://www.vantagefilm.com/en/products/optical-tools/vantage-diopters I got a similar effect with a homemade version:
  2. Hi Selinica, have you looked up the patents for the system? This one seems to be related, and has some drawings and dimensions: https://patents.google.com/patent/US2780142A/en?inventor=Bouwers+Albert It sounds like an interesting project! What are you using to model the optics?
  3. For starters, tell them not to tape the film to the core. It's hard to make an exact diagnosis from the pictures. Certainly, the film coming out of the lower sprocket started to accordion and got sucked into the upper sprocket. But without physically inspecting the magazine, I can only guess that it was either loaded incorrectly - most of the time, it's from not following the film path correctly, too much slack somewhere, not closing the sprocket guides, etc. - or that there's some mechanical issue like the belt slipping or a gear being broken. Has your friend tried turning the m
  4. Skyfall, released in 2012, came out in the middle of the theatrical transition to digital projection. (In Jan. 2011 there 16,522 digital screens in the USA and Canada; by March 2015, the number in the USA alone had increased to 38,719, which was about 97% of US screens according to Wikipedia.) They probably thought there were enough unconverted screens that a small number of prints was still worthwhile. I actually saw a 35mm print of Skyfall in a discount theater, I think it was a $3 ticket, and it was a strange experience. The print was very beat up and had noticeable scratching, but
  5. I agree 100% with Tristan. You need someone who is not just adept at rigging, but rigging to automobiles. Every car is built differently, and will pose a different challenge because of that. Especially with a camera package upwards of 40 pounds - this is well beyond a GoPro suction cupped to a windshield. There are so many qualified people in LA; and with so many of those people out of work right now, you should have no trouble finding someone eager to take a gig! Even with proper rigging, I hope you're aware of the increased safety concerns inherent in driving shots, and with h
  6. Your question, "What are 'good' lens flares?" is definitely a matter of opinion! You should read this interview in Film and Digital Times with Christophe Casenave and Dr. Benjamin Völker, respectively a Product Manager and Optical Designer at Zeiss, regarding the design process of the Supreme Prime Radiance lenses, which are intended to flare in a specific way (in contrast to the non-radiance Supreme Prime lenses, which control flares very well). They compare lens characteristics to wine tasting. Personally, I agree with Stuart; for me it's less important what a lens flare looks like,
  7. It's been brought to my attention that the pictures and details from my listing are being re-used by scammers. Because scammers copy legitimate sales posts, the scam often looks very convincing at first, though small red flags can still give it away - in this case, the scammer using my pictures had horizontally flipped them (probably to defeat a reverse google image search), and was also out of the country while negotiating the deal. I had no issue with speaking to buyers by phone or video chat, providing additional details and pictures upon request, and backing up the details with
  8. Here's the relevant quote from p. 308 of the Set Lighting Technician's Handbook (4th ed.) by Harry Box: I can't find any mentions of requiring a dimmer for tungsten fixtures smaller than a 20k. I've seen a dimmer board op 'sneak' up 10k fresnels out of an abundance of caution in an older installation. I've never seen anyone bother with this for a 5k, and can't remember ever having a problem striking a 5k right from the switch.
  9. http://www.tinyurl.com/cinelenses is one of the most extensive compilations of available cinema lens makes, models, and technical data, though it may be impossible to keep up with every rehousing variation. The Vantage T1 lenses don't cover full frame, but you should note that Vantage has a new, similar lineup of full frame lenses called One4: https://www.vantagefilm.com/file/edee/2020/07/vantageone4-20200710-010154.pdf Might I ask what particular optical qualities you're searching for? "Vintage" just means old, and just because a lens is old doesn't mean that it's optical quality
  10. Yes, you can. Even if your motor isn't the mirror parking model, at most you'll only expose one frame (and that frame will be overexposed anyway because the motor was slowing to a stop). The anti-halation backing prevents light from propagating too much into adjacent frames. It's a good idea to make sure the shutter is closed though, so that dust doesn't find its way into the gate. You can also switch magazines in the middle of a roll (to change from low speed to high speed stock, for instance). You would flash about 14 frames.
  11. I've made up brackets like this for when I've had to mix lightweight and studio components. There are lots of inexpensive rod clamps available these days, so customizing things to your needs is easier than ever before. Of course, you might have to budget a generous amount of time for inexpensive parts to come from overseas; if you need something quickly it's always more expensive. What matte box are you trying to use? It's a bit unusual for Super 16 accessories to be studio format; almost all of the S16 cameras I've used have been primarily set up for 15mm lightweight rods.
  12. CVP maintains the most extensive catalog I've encountered so far, and includes images taken with each lens so you can see the illumination falloff for yourself: https://cvp.com/tools/cameralens
  13. One piece of advice I've heard - the more similar two choices are, the less it matters which you choose, since the results will be similar in the end. I think that applies here, since the two lenses are incredibly similar in almost every way - practically zero breathing, with negligible distortion or other aberrations. It's like they were designed to meet the same specification... On paper, the only notable difference between them is that the LWZ has an interchangeable mount option. While I generally have a slight preference for Zeiss, sometimes I prefer a different look for a project
  14. Hi Elliott, I'm guessing you're going to be shipping your film somewhere else for processing. Film is pretty resilient. The worst that could happen is that the film in the center of the reel relaxes a little bit and has some room to move around; as a result, any bits of dust or debris that's currently sandwiched between the emulsion and the base could possibly make small scratches if the film moves around as the reel becomes less taught during transport. If you have to send it to the lab this way, make sure you note that the core is missing before you send it to the lab. I think lab
  15. Hi Brian, There's certainly both a technical and philosophical difference between the two - the incident meter tells you how much light is traveling through a particular point in space on set, while a spot meter tells you the actual amount of light reflecting off of a subject towards the camera position. If you wanted to indulge your inner Ansel Adams and think in terms of the zone system, a spot meter would be the way to go. If you know your acquisition medium well enough, it might be possible to use a spot meter exclusively. But in practice, I've almost always relied on my incident
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