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Dom Jaeger

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    Melbourne, Australia
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    Cinema camera and lens technician

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  1. Yes, East Germany (Pentacon, Zeiss Jena) and Czechoslovakia (Meopta) were large manufacturing centres for Soviet cameras and lenses, as well as Ukraine.
  2. Fantastic Miguel, what a great use of your considerable talent. Congratulations on the awards.
  3. It looks like someone less than capable has been fiddling with your camera unfortunately. Nothing worse than bad technicians when it comes to camera damage. I'd be concerned that the flange depth and ground glass depth are correct, not to mention light leaking through that gap. Has the gate been altered? It's like they thought they could shift across the ground glass to cover a widened gate or something. Or maybe the front has been shifted forward so the mirror/shutter could be extended. Got any more photos of the gate, mirror etc? If it's too late to get a refund, I think you will need to have an Arri tech look it over. That's a very nice video, clearly someone who knows what they're doing. Thanks for the link David!
  4. Generally if the shutter timing is out the smearing remains constant. It's rare for shutter timing to shift around, and in a K3 because it's locked by fixed gear meshing the shutter timing is harder to throw out than say a reflex Bolex (where just removing the front will lose the timing). If the movement of the film during the exposure phase is irregular, like it is here, it's usually because of a loop issue, loose pressure plate or something like that. The film is being pushed or pulled through the gate when it should be held steady, with the claw sometimes picking up a perf and sometimes missing it. K3s are notorious for bad loop formers, loose sprocket guides and weak pressure plates. If someone inexperienced has tried to modify the gate there could be introduced issues as well. If the loop formers are still installed, they should be removed. A plunger button retracts them when the lid is closed but often the mechanism doesn't work well and they don't retract enough. Check that the sprocket guides are locking in and not allowing the sprockets to jump perfs. Check that the pressure plate locks in properly. Run some dummy film through and watch the loop to see if it stays steady (if the loop formers haven't been removed press the plunger down to simulate a closed lid).
  5. I just noticed that there's barely any frameline between the frames in your example, but it's probably just light bleeding across because it's a bright image. At any rate, maybe just check that the edges of the gate aperture aren't shiny bare aluminium. If necessary, you can blacken them with a bit of matte black touch-up paint.
  6. Has someone filed the bottom of the gate? Normally you would have a thicker frameline.. Because lenses invert the image, the top of the image is at the bottom of the gate in camera.
  7. Do a scratch test with 5 ft of fresh stock, before removing the film mark it with a sharpie where it enters and exits the mag, then examine the film. If you find a scratch, note where it begins relative to your marks, so you can identify where in the film path you have a problem. Test each mag. Scratch testing before a job was standard procedure in rental houses during the film days, along with shooting a steady test.
  8. He shot A Woman Under the Influence on an Arri 2C and an old Mitchell BNC, having scrounged whatever equipment he could find so at a guess the lenses would have been the standard cinema lenses most commonly found in the US in the early 70s, something like Cooke Speed Panchros or Zeiss Standards on the 2C handheld shots, maybe Bausch and Lomb Baltars on the Mitchell. A lot of shots were done with telephoto lenses, so possibly also some Kilfitts or long Cooke’s. See: https://edisciplinas.usp.br/pluginfile.php/5219054/mod_folder/content/0/Cassavetes%2C John%3B Carney%2C Ray. A Woman Under the Influence.pdf?forcedownload=1
  9. I started at Sammy's in Sydney in the 90s, by the 2000s they had been bought by Panavision. Here's a Samuelson catalogue from 1984, with the same address and telex etc: http://www.samuelsonfilmservice.co.uk/wp-content/uploads/2013/04/SFS-1984-Catalogue.pdf But they had been at Cricklewood Lane since the 60s: http://www.aoassocies.com/wp-content/uploads/2013/03/the-samuelson-story.pdf
  10. Very high end lenses that were unfortunately released only a few short years before the industry transitioned to digital. As someone else mentioned, they suffered the same fate as the 416. I enquired with Zeiss recently about parts for one, they have nothing. The only other really nice, modern S16 lenses are Cooke SK4s, but they are only T2 and Cooke only made three focal lengths to extend their S4 range down to 6mm. Also quite rare. The Century 6mm is also excellent.
  11. Early Mitchell mount (the screw-on 4 lens turret type) is shallower than Arri, BNC/BNCR mount was deeper. Neither can be simply adapted to PL, let alone Arri Standard. Not even sure who would offer such a service, converting to a mount that was discontinued in the 60s. If you did look into it, it would be a lens by lens custom job, and depending on the individual dimensions and focal length, some may not work.
  12. The Tokina 11-16 is not a full frame lens, it was made for APS-C sensors, so S35 size frame. I've checked over a few examples of this lens, including the Cinema version. They are actually pretty good lenses, quite sharp in the centre for a S16 crop. A little bit of chromatic aberration is probably the worst aspect. If you don't need the much greater range of a dedicated S16 zoom, and only want a wide angle option it's not a bad choice. Apart from the issue of stray light bouncing around inside the camera due to a larger image circle (which can be a problem whenever you use 35mm lenses on 16mm cameras - just make sure there are no shiny reflective surfaces in the mirror cavity near the gate aperture) the only other possible issue with this zoom is parfocality. While the Cinema version is better than the stills versions, I have found there is the potential for the zoom mechanism to have internal play that can cause focus drops in one direction of the zoom barrel. You also need to have the back focus very accurately set, which can be a bit hit and miss. Ideally shoot a test or have it checked by a technician before using one on anything important.
  13. Thanks for the links. Most camera or lens shims are simple ring shapes with holes for screws, which I find pretty easy to make with a circle cutter and a good quality hole punch. I’ve collected all sorts of shim material over the years, but my main source is a book of Artus plastic shim sheets that’s lasted me years: https://www.artusworld.com/product/15-sheet-shim-stock-package/ I’ve used laser cutters, but I found with plastic they can create melted edges with a raised lip and the final dimensions can vary from the drawing. Probably needed to use a better quality laser cutter. From memory, the Cooke 20-100 (like a lot of older cine zooms) uses aluminium ring spacers to set back-focus. Without the proper tools (a collimator and a test projector) and experience it can be hard to gauge exactly how much you need to add or remove. You can keep adding small plastic shims or removing material with careful sanding (making sure to keep the thickness uniform), but it becomes pretty tedious having to refit the mount to check each time.
  14. If mechanical means - clamping or punching to expand the press fit - isn't working, use a gap-filling retaining compound like Loctite 609.
  15. You don't really need to worry about the Bolex prism with most zooms, from my testing they are not very affected, especially ones that are fairly slow like f/2.8. Any lens stopped down to around f/2.8 or f/3.5 or more won't be affected very much, nor will any lens over 50mm. Those zooms should be OK, but as Simon mentioned if you want the best image quality a telephoto prime lens should perform better than a 10x zoom from the 60s or 70s. There are some pretty silly prices being asked for some telephoto C mount lenses though. You shouldn't have to spend more than a few hundred dollars, ie: https://www.ebay.com/itm/354270790552 A zoom will be a lot more versatile if you don't have many other focal lengths, or want to quickly frame your shots. Just make sure to lock off the turret with the top lock and the bottom port lock if you have it. Is your camera modified for S16? There is no such thing as S16 film as such, there is only single or double perf film and almost all film you buy today will be single perf. So whether a lens vignettes depends on whether your camera is modified for S16, not the film you use.
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