Jump to content

Dom Jaeger

Basic Member
  • Content Count

  • Joined

  • Last visited

1 Follower

About Dom Jaeger

  • Rank

Profile Information

  • Occupation
  • Location
    Melbourne, Australia
  • Specialties
    Cinema camera and lens technician

Contact Methods

  • Website URL
  • Skype

Recent Profile Visitors

44710 profile views
  1. Is it a rental house camera? Was it an SR3 mag or an SR2 mag modified for S16? Anyone do a scratch test before you took the camera out? Looks like multiple scratches, shifting position, all on the S16 expanded area. Was the camera kept clean? Looks like a big piece of something stuck in the gate at the bottom right of every image. Did you notice emulsion dust when you removed the mag?
  2. The issue is the prism rather than the chromatic separation that the prism facilitates. It’s similar to the issue with the reflex prism in Bolexes, where special RX lenses were made to compensate for the optical aberrations introduced by the block of glass in the lens light path. Since compensating for aberrations in effect introduces aberrations in the opposite direction, if you use these adapted lenses without a prism or a correcting adapter it results in similar issues to those being compensated for. As Michael mentioned, spherical aberration and astigmatism are the common issues (which is what you’re seeing with that blooming and softness), but as you stop down a lens the cone angles reduce and the aberrations diminish. It tends to be more of a problem with shorter focal lengths, though this is a correlation associated with the exit pupil depth rather than the focal length itself. In essence, when you look at the back of a lens through the rear element, the further away the iris appears, the less affected the lens will be by a block of glass in the light path. The worst affected lenses will have the iris apparently sitting right behind the rear element.
  3. Those lenses were designed for 3 chip cameras with a beamsplitter. If you use them on a single sensor camera without using a proper (compensating glass) adapter they’ll exhibit those kinds of aberrations unless stopped down.
  4. Those are reasonable expectations. I take issue with your view that we haven’t gathered any information on these questions though. In fact, if you have even a cursory look at (for example) gender balance initiatives or government papers on gender balance, you’ll find abundant research into those topics. Accusing every academic, government agency and business leader looking into this subject worldwide of ‘not gathering any information at all, because it’s a bit too much like hard work‘ is an extremely condescending attitude with little resemblance to reality. I’m not an academic or in any way involved in these studies but a quick google of gender studies for instance easily brings up papers that list the many reasons women’s participation may be lower in certain fields, including factors like the field may be traditionally male dominated (engineering, trades etc), women make up less than 50% of the working population, family prioritisation and child-rearing etc, etc. In many cases a target of 50% participation is not realistic or suggested. A lot of initiatives recommend setting smaller goals to simply increase participation slightly. What can sometimes be used as a gauge are things like the percentage of university graduates in a field, which at least narrows down the question of whether a group is interested in something (barriers to university entry notwithstanding). Time and again for women and minorities those numbers dwindle as you move up the leadership ladder. There are more studies that look into why that might be happening too. A lot of the time it’s quite obvious when there are certain demographics under-represented in a field. You don’t need to study whether women are not interested in or suited to writing screenplays for instance. You can easily compare statistics from similar jobs in related industries - in the realm of published fiction or creative writing degrees women are very well represented but the numbers for screenwriting are abysmal. In the UK for instance only 16% of screen writers are women, despite writing roughly half the fiction bestsellers. The study of whether male and female brains are biologically different is another well covered area, and generally finds that there are far more similarities than differences. If people are genuinely interested there is a mountain of research that debunks a lot of commonly held assumptions. https://www.nature.com/articles/470332a Untangling the influences of cultural and societal conditioning from genetics is an ongoing puzzle that many scientists and academics are investigating, but no studies would accept that cinematography for example is such a masculine interest that a 94:6 gender ratio is to be expected. So there has been plenty of research into all this, from lots of different angles. The question still unanswered by Phil and others who baulk at things like this (pretty mild really) Oscars initiative is, having found obvious instances of disadvantage or under-representation, what measures should we undertake then? Or should we just do nothing and hope things evolve over generations? It’s a difficult problem, and certainly screaming out accusations of sexism and racism to anyone who is thoughtfully approaching these topics is of no help to anyone. I can understand reservations about setting blanket goals in terms of diversity - demanding that a historical drama uses minority actors when those minorities were not actually present seems pretty silly to me - and I can sympathise with Stuart’s points regarding actions that create bitterness in those who have traditionally benefited from the system, who now feel the sting of discrimination themselves. But I can also see the need to sometimes kick-start change with incentives or protests that shift the status quo. Sometimes all it takes is a small push to get a ball rolling.
  5. I recently learned never to agree to work on a Beaulieu R16 ever again. Way too many wires to desolder just to access the mechanism:
  6. 3-in-1 or sewing machine oil would be fine. The user-accessible oiling points are only to lubricate the bearings for the sprockets and counters. The movement is a seperate, much more precise assembly that is lubricated with specific greases, a job for a repair tech. If you’re interested to see what the oiling points lubricate, see the pics of the underside of the platine, roughly 12 or 13 pics down in my Arri S blog post: http://cinetinker.blogspot.com/2019/02/arri-16st-service.html
  7. I’m curious what you think those proper solutions are, if you think even a small incentive to broaden inclusivity like this (that is in no way enforceable) is a bridge too far. I can agree that these are difficult things to address, but your position always seems to be that it’s impossible to detect discrimination based on statistics (ie comparing participation rates to population stats), and that even if you do suspect discrimination you can’t determine an end goal in terms of participation rates, so any action to redress it is dangerous. Under those prescriptions it seems the only course of action is to do nothing at all. For what it’s worth, I’m hoping these sorts of incentives won’t be required for too much longer anyway. The simple fact is that in the last few years films with more diversity - in terms of both casts and crew - have generally done better at the box office than ones with less diversity, and get more international screenings. Some of the most popular entries in blockbuster franchises have been helmed by black or female directors (for the first time) and many of the top grossing films of the last 10 years have had a female protagonist (compared to hardly any in the previous decade). Executives notice this kind of thing. But I do think it took some people challenging the norms and being outspoken about entrenched bias to get this far.
  8. I think interchangeable ground glasses were introduced with the IIC.
  9. According to my own information on a thread from 8 years ago, the 1.4/16mm Schneider was for 1” CCTV, so it won’t cover 35mm. Not sure if it will clear the IIB reflex mirror either, so be careful. I think my info back then was from an online Schneider lens archive, but the site’s no longer active.
  10. I don’t remember where I got my information from 8 years ago. I was working at a different rental house with lots of older lenses, but also Schneider used to have a very good online archive of info on all their older cine and CCTV lenses. Unfortunately they removed the archive sometime around 2012. Schneider lenses are quite difficult to gauge because they made a variety over many years with modifications along the way. I never came across a 10mm that covered S16, but I think there was a 1” CCTV version that covers. I don’t know about those Angenieuxs sorry.
  11. Seems like another storm in a teacup to me. Like the hand wringing over the ‘banning’ of Gone With the Wind that turned out to be nothing more than adding an introductory explanation of context. While the idea of quotas or positive discrimination can be problematic, this is not ‘forcing’ anyone to do anything. It’s a stipulation for being eligible for one award in a contest that 99.99% of films will never be remotely likely to get nominated for. It’s a small token gesture to answer the thoroughly valid charges that the Academy overwhelmingly votes for the same demographic (by and large their own demographic) year in year out. Remember the Oscars So White backlash to consecutive years of all white Best Actor nominations despite acclaimed performances from black actors, or the snubbing of exceptionally talented female directors for Best Director? Well this is the token response. Unless you’re one of the usual suspects vying for Academy recognition (and only for Best Picture), nobody making films will give a toss. I suspect these days a lot of people don’t give a toss about the Oscars anyway. If by some remote chance this gesture leads to more films like Get Out or Little Women or Wonder Woman or Black Panther, then great. But let’s not pretend it’s ‘enforcing’ anything. Nobody has to follow those guidelines if they don’t want to. And even if they are followed, the idea that this will take away chances for someone else is a bit like complaining that giving small businesses a tax break will unfairly take money away from Jeff Bezos or the Walmart Waltons.
  12. There should be something out there that will fill the gap, third party lens support extensions like this: https://www.ducloslenses.com/products/support-post-extension or https://woodencamera.com/products/uls-extension-long?_pos=3&_sid=49e357d17&_ss=r I’ve made plenty myself over the years, simple job for a machine shop.
  13. Rolling shutter is associated with digital cameras where the sensor reads in a sequence rather than all at once (global shutter). Film cameras are basically global shutters so they don’t exhibit rolling shutter artefacts. Flicker is the right term if you mean the fluctuating light when a light source frequency is out of sync with the camera exposure frequency. I’m not knowledgeable enough on LED lights to give advice, so maybe someone else can help you there. But I suspect avoiding dimming them is a good idea. Spring powered Bolexes don’t run accurately enough to sync them to a flickering light source anyway. Film speeds and exposure times are just estimates, and will vary as the spring runs down, so even if you replicated 24 fps with 133 degree shutter or 1/65 sec exposure on your digital camera, your Bolex will be drifting around those settings. I think to avoid any flicker issues with a Bolex you probably just need to avoid light sources that are problematic as best you can. But maybe others can advise you better on this.
  14. Could be a few things. The obvious one is when the MOT/O lever is set to O which means the motor is disengaged (easily fixed by reading the manual 😉). Otherwise, I’ve come across cameras where things are loose or poorly reassembled and the mechanism has jammed. A common one is if the I/T lever (or knob in later models) feels loose or doesn’t switch properly. Usually I need to open the camera up to access the mechanism to see what might be wrong. I recently had one where a little set screw in the shutter hub had unscrewed to the point where it was hitting the housing and stopping the shutter. Worst case scenario the spring motor itself is broken. Check this recent thread for some tips on a jammed Bolex: https://cinematography.com/index.php?/topic/84752-bolex-h16-reflex-winding-issue/&tab=comments#comment-532855
  15. You could check the battery voltage yourself with just a multimeter (a simple one is not expensive) as well as whether the 12v socket has been wired to bypass the normal power socket and power the motor as well as the bloop light sync thingy on the side. What voltage is your battery pack? What’s the motor need? Can you remove and test just the motor with a power supply or flying leads fro your battery? Does the camera turn over manually ok? If electrical stuff isn’t your forte maybe taking the whole kit to an electrical shop (or better yet a camera tech) would be a good idea. I would use heat shrink to cover those exposed battery terminals, or at least some heavy duty duct tape.
  • Create New...