Nathan Milford

I get obsessive compulsive kicks with Visio!

An overhaul would probably cure your roaring bolex woes. That is probably the sound of under-lubed gears slowly eating eachother. Do you have the camera on some sort of maintenance schedule? That's one of the problems with owning your own gear (be it a 435 or a Bolex) you have to keep throwing money into maintenance or your investment will be lost. A small adjustment here at 120 bucks and hour labor or a claw polishing there or a complete overhaul. It adds up. I am lucky enough to be able to service my own gear. - nate

http://www.magicgadgets.com/mg_ol_04.htm

And what, pray tell, will be next? Are you filling in the mid-speed stocks? Or are you going for fast and finer?

I've got a set of very nicely maintained Zeiss Primes for 35mm. So well maintained that I cannot easily guess the age. I know the revision of the 16mm primes (mk I, II, III etc..) but what are the distingusing charactaristics of thier 35 mm cousins. I think they are Mk II's as they have a non rotating front... Any guidence would be swell.....

Kodak Chronology of Film: http://www.kodak.com/US/en/motion/products...=0.1.4.20&lc=en

Paul, This has been covered before on the forum a few times. You can use the search function to locate those posts, but here is a quick run down of the issues regarding spooling down film. IT IS NOT FUN or PARTICULARLY SAFE. You would not find any significant saving by down spooling. If you do go that route though it gets messy in the dark room. A split reel would be nice. One problem is knowing when exactly 100' has been spooled in the dark and another problem has to do with the daylight spool winding. When Kodak winds thier stock on the flanged daylight load they wind them in a swiveling patern so the stock blocks the path of light down both sides of the flange. If you spool it down yourself you will probably have to load the camera in darkness as light will be more likely to strike the stock. But, it has been done succesfully many hundreds of times I suppose. - nathan

AHHHHHH! That's what SFP is! I've seen atleast 15 mags come through the shop with the SFP logo on them. Typically older mags.

The forum was hacked. http://www.cinematography.com/forum2004/in...t=0entry18025

jeff@abelcine.com is his e-mail. Yeah. I've seen that 'package' up for sale before. My favorite is the guy 'selling' a Kinor 35 package from obviously hacked or stolen eBay accounts. It's pretty fishy when you have the exact same description and pictures from two different accounts 'located' in Castillion Spain. Oh Well. - nathan

Give Jeff at AbelCine a try: (888) 223-1599 We might hae what you're looking for on the used shelf or we could furnish you with a new camera. Tri-Phase XTRpluses and XTRprods go up to 75fps. - nathan

This guy might be able to give you more info on the NPR: http://members.aol.com/npr16mm/ For the ACL: http://members.aol.com/_ht_a/Super16ACL/history.htm Jean-Pierre and Aaton: http://www.aaton.com/about/history.php

1974 to 1982 - Aaton LTR (#250 to #950) - Most bodes were 16mm only - 32fps Top Speed - Mechanical Drive for Mags - Optional Light Meter - Optional Relay optics for VR 30 tube tap. 1982 to 1985 - Aaton 54LTR (#950 to #1300) - 54fps Top Speed - Super 16 - Optional Light Meter - Optional Relay optics for VR 30 tube tap. 1986 to 1992 - Aaton XTR (#1300 to #1785) - 54fps Top Speed - Magnetic Drive - Super 16 - Light Meter - Relay Optics for VR30 Tub Tap 1992 to 1994 - Aaton X0plus (#1785 to #1900) - 60fps Top Speed - Magentic Drive - Super 16 - Screw-in 15mm front rods - Designed to be upgraded to the XTRplus - Optional port for integrated CCD video tap 1992 to 1994 - Aaton XTRplus (#1785 to #1900) - 60fps Top Speed - Magentic Drive - Super 16 - Screw-in 15mm front rods - Light Meter - Integrated CCD video tap - Aaton Code - LCD Side Display 1994 to present - Aaton X0plus (#1900 and above) - 75fps Top Speed (Tri-Phase Motor) - Magenetic Drive - Super 16 - Screw-in 15mm front rods - Lower power consumption - Upgradable to XTRplus - Optional port for integrated CCD video tap 1994 to present - Aaton XTRplus (#1900 and above) - 75fps Top Speed (Tri-Phase Motor) - Magenetic Drive - Super 16 - Screw-in 15mm front rods - Lower power consumption - Light Meter - Integrated CCD video tap - AatonCode - Side Display 1994 to present - Aaton XTRprod (#1900 and above) - 75fps Top Speed (Tri-Phase Motor) - Magenetic Drive - Super 16 - Screw-in 15mm front rods - Lower power consumption - Light Meter - Integrated CCD video tap - AatonCode - Illuminated Side Display - Built in speed control in .001fps increments - Variable shutter These are sort of rough as there are grey areas where upgrades have been performed where you have amalgamations such as the XC, LTR-X, XTR-j and what not.

The LTR does in fact have that feature. The lateral tension spec on an LTR is a few grams less than on a bi-phase XTR or prod but I have never personally seen a registration problem on an LTR. Is it more steady than an SR1? Who knows. If you have two equally maintained cameras I'd put my money on the Aaton but that is more of a gut reaction. NOTE: I work at an Aaton shop, but I own an Arri. I constantly want to argue with myself!

I have a set of older Schneider Cine-Xenons and I think they're just swell. >8)

Speaking of Schneider: http://www.schneider-kreuznach.com/neuheit...e_art_xxl_e.htm I love the NikeID thing...

Wow. I think the XTR/LTR DX mags are quite easy to load. A minimum of kibbles and bits to move the film through. The 35-III Mags are boggling at first but after a few loads they thread quite naturally. The A-Minima mags are the most truely boggling! I liken it to an intricate tea ceremony. - nate

Tony, I couldn't agree with you more. Going to the cinema has lost most of it charm due to cellphones (including text messaging and picture phones) and careless projection. But, then again I'm anal and super aware of the audience as I know how much effort has gone into making a feature and how much thier passive (and sometimes active disregard) hurts when it's project you've been on.

It looks so nice projected! The DVD looks nice, but it was so much better projected.

Ahh. The Sony reps seemed to think the lens on it was the only lens for it. I can't remember specifically but the lens we saw didn't go too wide and it used servos for the zoom function... - nathan

If you want to go catch some flicks: Cinema Village Anthology Film Archives Angelika NYC The Film Forum Film Society of Lincolin Center The Symphony Space The Two Boots Pioneer

Yup, and you're lenses are tip top and don't reflect everything I've come across. You opted to invest in them and have Tibor do the work. This is why you don't have any problems. The Illuminas we have in rental are tip top as well. We don't sell anything with out making sure it damn well works and works right (and with the impending move to the city I'm sure I'll be spending more time prepping sales items). The glass is beautiful in these lenses, but factory fresh, the lenses need some love. It's true of a lot of the Russian gear. (In the 80's it was true of alot of the Aaton gear, everytime I have an LTR or early XTR open Rich will walk by and say, "Oh! I remember that one! ") People looking for an absolute steal on optics probably pay more in parts, time and labor. How many shops in the world are outfited to work on the Lomo's? Custom machining mounts, adapters etc... One great thing about the Illuminas is that the shims are interchangable with the Zeiss shims. Someone looking to save a buck might be more willing to accept something like the construction issues... Bottom line, I wouldn't buy any off of eBay unless I could check them out first. BTW, Mitch, where did you get the mounts done for your Zeiss still telephotos?

It's not Blu-Ray, but See: Sony XDCAM (pdf) See: Sony PDW530 Recently discussed in Video: XDCAM Dscussion. XDCam Media will cost $30-$40 bucks a disc with a capacity for about 1000 recordings holding a total of 23GB,

Sony came in and Demo'd one for us and left it for us to play with for a few days. I'm quite impressed with the camera thus far. Our main video guyhasn't conducted any head to head tests, but from an operator standpoint it is very attractive. I find it very comperable to an SDX900 for the most part and haven't gone down into the nuts and bolts. The discs look and feel very rugged (as much as tape). They will be coming out with double-sided discs eventually. I imagine that will happen when they scale the technology up for HD applications. You should be able to plug the camera right into a computer via firewire and read the discs like an external disc drive. There is also a nice flipout LCD monitor that will give you the ability to touch your way through the menus and manage your clips on the disc. Our demo unit doesn't have that ability as it needs a software upgrade or something. They also showed us that cute box HD camera they've developed. Has a 1/2" chip Only one lens for it, but if you could get a wide enough lens for it it'd be perfect for car interiors, etc... (I never know how closely the 1/2" mount resembles the Aaton mount!) Sadly the Sony reps had no information on the PlayStation3. Different divisions, but hey, you never know!

Alfter throwing the Optars on the collimator and handling a few, I don't much like them. They 'look' good. We have a shelf full of X vs Illumina tests (mostly zeiss) from different people here at Abel, but what bothers me is thier construction. I threw one (16mm) on the bench and it was sitting nicely at -11 microns but you could push or pull on the barrel and change it dramatically from +18 to -35 microns. This was not due to the mount, but the construction. This seems to be true of the majority of the Illuminas I've seen, this one being the most extreme case (and it was well maintained). Not that people go yanking on thier lenses, but if you start hanging accessories off of them, who knows. The Zeiss lenses don't have that problem. These are just my observations, but I believe there is a reason why they're 'a considerble value.' I love my old Cookes and Schneiders! Who needs a coating? It'll just take away from the effect of my vasoline!