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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. So the focus ring reaches infinity but the image is not sharp? Easy for a tech to adjust, bring the camera as well in case the flange depth is out.
  2. Ideally you would take the mechanism out of the casting to access both the plunger and the switch, as Simon says, but it won’t hurt to try a drop of oil on the plunger shaft and work it in. You might find it doesn’t help though.
  3. Well spotted, Simon! That Kinoptik might have been for Debrie's only 16mm camera, the Debrie Sinmor from the early 60's. Someone posted pics of theirs here a few years back:
  4. I service and repair cine lenses, I don't shoot with them much, although I deal with client's footage all the time. The zoom is parfocal, as all cine zooms are, subject to age-related wear. If a zoom has had a lot of use without regular maintenance the zoom cams can be worn, potentially causing focus to drop out mid-range. That's something a tech could diagnose. But if you've seen tests that were soft it's probably more likely due to the back-focus being off (or the camera flange depth being out), which causes the focus to drift as you zoom out to the wide end. Or operator error, as you say - some people don't realize they should focus cine zooms at the long end (where it's most critical) and zoom out to the focal length desired. If they eye-focus at the wide end or mid-range, and then try to zoom in, it will very likely look soft. The 10-100 does breathe a bit. Since the 12-120 is the same lens with just a 1.2x extender fitted to the back, it breathes just the same.
  5. The original 10-100 is T2, the S16 factory converted 11-110 is T2.2 (a third of a stop slower), and the Optex 12-120 version is T2.4 (about half a stop slower).
  6. I would agree with John, it looks like the shutter timing may have slipped. I have done enough Bolex repairs where the shutter gear set screws came loose and allowed the shutter to slip not to rule it out, though usually it's the result of someone taking the front off and not knowing how to set the shutter timing again. It could potentially be a loop issue, though it seems unlikely for the same loading mistake to be made repeatedly on separate rolls. If you're using the auto loop-formers to load you can check that the loop is being correctly formed and held with some dummy film. Shutter timing is also easy enough to check. Mark the emulsion side of some dummy film with a sharpie, a long wiggle that covers a foot or so. Load as normal until the wiggle mark is in the gate. Then disengage the motor (turn the MOT-O lever to O), lock the run release all the way to the left and use the rewind lever to manually inch the mechanism forward. With the lens removed, look through the lens port at the gate while inching the film through. You should never see the film move (the sharpie mark helps to tell). If the film moves at all before or after the shutter covers the gate, then the timing needs to be re-set.
  7. One thing I would add would be to do a thorough prep at the rental house and check that your lenses are properly collimated. In other words, the focus marks are accurate and reliable. As mentioned, you shouldn't rely on the video assist for focus, you should tape out whenever you can, but that relies on the lens focus marks being accurate. If you do this at the rental house where you rent the LT, you can ask them to check any lenses that might seem a little out in the viewfinder. Most rental houses that rent out film cameras should have the facility to check lens collimation. If you have an experienced 1st AC they should be on top of this though.
  8. I should clarify, the white area is cropped in a little from the full gate - still 1.66 but with a safety margin. Effectively the projection mask area.
  9. It depends what aspect ratio you want to frame for. The full gate is the white area, 1.66:1. For 1.78 (16:9) you would use the tick marks that crop the top and bottom a little, and the full width of the white area. Combo ground glasses can be a bit confusing, if you don’t need to safely preserve for another aspect ratio, getting hold of a ground glass marked with just the aspect ratio you want can be useful. A rental house may have other ground glasses available.
  10. As pictured, the filter holder is curved to reach up to the gate aperture.
  11. Yes the Arricam manual itself recommends only using the gate filter slot as a last resort, if you couldn’t use a matte box or any other filter options for some reason.
  12. This is not correct. Arricams have the facility to put gelatin filters in the format mask: Panaflexes also have a filter slot to put gelatin filters between the mirror and the gate: Here's a box of Panaflex gel filters: Many other film cameras had provision for filters in the gate - 435s, Mitchells, CP-16s, etc. There are also plenty of lenses which allow for a rear filter to be screwed in, or have a filter slot at the back of the lens. Off the top of my head I can list the Kinoptik 9.8mm, various Cooke zooms and Canon telephotos, many Panavision lenses..
  13. Those are much better! I still don't recognise the mount though. Yes, maybe see what Les Bosher can do. Or you have Cine Facilities in Amsterdam, they seem very competent.
  14. People have been playing with this idea since 35mm adapters were all the rage in the 2000s. Here's just one link I quickly found to an article about someone's attempts to make a large format adapter: https://www.diyphotography.net/get-that-4x5-large-format-look-by-photographing-the-ground-glass-of-a-large-format-camera/ The main problem you'll encounter is that the ground glass has a texture which shows up when you film it. Professional 35mm adapters like the ones made by Letus or P&S Technik etc used a system where the ground glass was rotated or vibrated at a fast rate to make the grain essentially invisible. You also have the problem that the image is upside down, which some adapters overcame with an image flipping prism, others just relied on the camera inverting the image. It was never a great system and died off pretty soon after DSLRs became decent enough video cameras. Vibrating a large format ground glass (while keeping it perfectly flat) is a much harder challenge than a 35mm one, especially DIY, so you'd probably just end up filming a static ground glass and seeing the grain. You would need to mount a Super 8 camera upside down, and use a wide angle macro lens to focus on the ground glass. You could do it, I'm just not sure it would be worth all the hassle.
  15. Those are terrible photos! How about pictures that aren’t blurry, with lighting that doesn’t have the details in shadow? I can say that it’s not a Cameflex mount, which looks like this: From what I can see, it doesn’t look like any of the common cine mounts that you’ll find adapters for, so remounting may be the only option you have. But it’s a bit hard to judge from those pics.
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