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Dom Jaeger

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Dom Jaeger last won the day on January 9

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About Dom Jaeger

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

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    http://cinetinker.blogspot.com.au
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  1. As Greg mentioned, the intermediate mount on ACLs is much better suited to adapt to all manner of lens mounts. It was so sturdy and accurate that Chrosziel used it on their early lens test projectors to adapt to various mounts for lens technicians like myself to test lenses. The problem with adapting to C mount is that as well as being a bit flimsy for heavy lenses, it has no locking mechanism, so a lens with a tight focus ring might unscrew from the mount when you try to focus. You would probably be OK with lightweight primes that are not overly stiff though.
  2. I think you'd get better results with a modern full frame cine lens like a CP.2 than a vintage C mount made for 16mm. Not just the optics and coatings, but having good solid focus mechanics that allow you to make fine focus adjustments and read distance marks can really help. If you were just using a full frame stills lens, with a tiny focus throw and unreliable marks, you might be worse off, but you'd probably still find the contrast of a modern lens better than a lot of older C mounts.
  3. Panavision have some large format zoom options if you go the rental route. There are also the three Zeiss Compact Zooms and I believe both Fujinon and Leitz are about to release some full frame zooms also. I wouldn't be surprised if Arri try to produce something to match their Signature Prime range, but i suspect none of these new options are going to be affordable for most owner operators. It's possible more will come, but zooms (and particularly parfocal, constant aperture cine zooms) are much harder to produce than primes, and tend to require specific optical expertise. The modern incarnation of Cooke for instance has not had much success with zooms, and Zeiss for many years was not a manufacturer of zooms for cine formats, outside of their single 10x zoom for the 16mm format. Even now their relatively mid-range priced Compact Zooms are not without issues. Tokina might put out something more than their single offering, maybe Sigma too. I don't really know much about the Sony zooms, different market to where I work, they look like ENG zooms more than cine. If there are low cost full frame cine zooms on the horizon I guarantee they will be compromised in some way - either slow or short range or limited to the manufacturer's cameras with in-camera software correction or poor quality or simply not very durable. It just requires considerable effort to make a good cine zoom, and there's really no getting around that.
  4. The Cooke 25-250 Cinetal zooms have an image circle of about 28mm, which is usually enough to just cover most standard S35 aspect ratios. As Greg said, where are your frame lines on that monitor image? Is your final image going to be all the way to the edges of that monitor? The image circle is smallest at the wide end and should definitely not vignette at longer focal lengths, so check that the matte box for example is not shading the corners.
  5. Don't forget you'd need to buy a Lentequip battery for $350 USD and remove the attachment plate to use with the US adapter, so with postage you'll probably be up to 850 USD. Still about half the price of the Finnish one, even with their discount, but then that one has a lifetime warranty and extra D tap or Lemo outputs. It also seems to be an actual product rather than "yet to be launched"..
  6. Neither of those links have any info or pricing on actual SR3 V lock adapters. Where did you get those prices? The first link to the Finnish company just has facebook links about adapters for SR2s (which are 12V cameras not 24V like SR3s) and a just released prototype for an Arricam LT battery adapter (which would use a DC-DC converter to reach 24V). Nothing about SR3s though. The second one is just instructions for removing the interface of a Lentequip SR3 battery to use on the Rencher adapter (apparently you need to buy a Lentequip battery to use their adapter, so add US$350), but there's nothing on the Rencher Industries webpage itself about any sort of SR3 adapter: rencherindustries.com Oppenheimer Camera make on-board V or Gold mount adapters for Arri 235 and 416 (with DC-DC converters) that sell for over US$2K: http://oppenheimercameraproducts.com/PriceLists/OnBoardBatterySystem09.0116.pdf There seems to be more talk about SR3 adapters than actual products..
  7. The standby switch was used to power up the automatic aperture system in SR2s that had the internal lightmeter and auto-aperture installed, but it wasn't necessary in the models without it. You should be able to control camera run by sliding the switch up and down. See: https://cinematography.com/index.php?/topic/79465-arriflex-sr2-missing-film-speed-control/
  8. PV mount on left, PL on right. PV has the flange wings extend like +, PL is like x. PV uses a locating pin on the lens mount at the bottom, PL has a locating pin on the camera mount at top right. PV flange depth is 57.15mm and throat diameter is 49.5mm. PL flange depth is 52.00mm and throat diameter is 54.0mm. No, it's generally not possible to convert PL lenses to PV as a PL lens will be forming an image over 5mm closer in than the PV flange depth, so you'd need to remove that much material from the back of the lens before fitting a PV mount. Also PL lenses may have a rear protrusion that exceeds the PV throat diameter. Some PV lenses can be converted to PL but they were never really designed for easy conversion. With SP70 mount cameras like the DXL or Panavised Alexa LFs, you can easily adapt down to PL or PV or other mounts with an adapter, as Arri have also found with their LPL mount. On Panavision-owned digital cameras like Alexas we have spacers and shim sets to allow for fairly easy mount swaps between PL and PV. In the early days I think the Genesis was PV only, conversion to PL became an option at some point, though I don't recall the process. After a conversion flange depth always needs to be accurately checked with calibrated test lenses and and an oscilloscope. There are PV adapters that can fit on a PL camera with minor alterations, for the occasions when a mostly PL lens package needs the odd PV lens.
  9. Congratulations Jarin, what a fantastic achievement!
  10. At this point in time I think it's worth paying a bit more for complete kits that have been maintained and properly stored. Notice the corrosion all over that ebay listing. Most of the cables are damaged and there is no charger for the on-board batteries that will almost certainly need recelling. Also, with SRs and SR2s the magazines often have deteriorated paint inside the magazines - you can see the whitish surface of the mag platine. The rubberised paint gets sticky and can jam or contaminate the film, often worse when the kit has been poorly stored like this one. My advice would be to avoid this offering (especially at $4K!) and stick to kits that look OK and have been tested. An SR3 would be a better bet if you can afford it, but demand for 16mm cameras seems to be outstripping supply so the prices are going up.
  11. Replacing the taking lens in a composite anamorphic like a C series is not so easy! You have to completely disassemble everything, possibly re-machine the housing if the replacement is not the same size, reset the iris coupling and re-engrave the iris marks (on a new iris ring). Then you might find the focus marks that were hand-marked no longer exactly match and that has to be redone.. If it’s just an anamorphic front adapter like an Iscorama then sure, you can easily swap out the taking lens, but proper anamorphics are more integrated, and modern anamorphics are really just one lens.
  12. Jimmy Hoffa was one union leader from 50 or 60 years ago. The mafia connections are as outdated as the child coal miner ones. The Boddingtons of the world will always complain about unions because they act as as counterweight to their own power, a check to the gradual stripping away of workers rights and equitable pay that unions (not producers) spent a century fighting for. Here in Australia we’ve had decades of conservative governments erode the power of unions to the point where now it’s illegal to take industrial action in many cases. The result is we now have had stagnant wage growth for years while the business sector has been making record profits. Dozens of companies, including major banks and supermarket chains, have been found to have underpaid their staff to the tune of millions of dollars. It doesn’t have to be the 19th century for workers to get exploited. On a recent big production here I heard the film crew had no lunch breaks but had to eat between takes.. It’s always a tricky business balancing the opposing views of workers and employers, but for freelance workers particularly it’s very easy to have your rights sold out from under you. Unfortunately, as Richard gleefully celebrates, unionised regulations and even government protections seem easy to step around in our industry.
  13. The warning is for long term storage - overnight or even weeks would be fine. Spring steel takes quite a while to deform naturally.
  14. Dom Jaeger

    Tenet

    In Sydney the Ritz and Orpheum still show 70mm projections, in Melbourne we have the Sun and the ever reliable Astor. Sometimes the Melbourne IMAX shows 15/70mm prints, though I’m not sure if they still have their projector, the last 70mm print I saw there was Dunkirk. We also have Melbourne’s Cinematheque which regularly screens 35mm prints of world movies. If you’re a film buff you need to move to Melbourne!
  15. This is the sort of thing “detuning” accomplishes, which is something Panavision have been doing for a number of years now, and other large rental companies like Arri Rental are starting to get more into. Adjusting another lens to more closely match a C series for example is exactly what Panavision have spent those years trying to perfect. You can alter all sorts of aspects of how a lens renders an image, including the bokeh, but it’s very much a lens by lens process. Panavision guard their many detuning recipes quite closely, so you won’t get any how-to guides from me, but some of the ways you can alter bokeh include adjusting element spacings and coatings, internal masking or filtration and adding or replacing elements.
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