Adriano Cimino

Hi Stephen and congratulations for your work. It's not the first one I watch from yours, although it's the first one in color. A little technical question: which light had been used in the sequences in the luthier's lab (for example at min. 1:10 circa)? It's not the small framed lamp only, is it? And which stock was it? Bye, go on, do more!

Hi, I am resurrecting this old thread to ask if Gregg - or anybody else - eventually managed to arrange an extension eyepiece for the ACL. Thanks.

Admitting my ignorance on Optics does not imply I intended missing you any respect, at all. Contrariwise I'm glad you shared some of your knowledge, and I thank you again for your answers.

To be "apodictc" in this issue one has to know the optical science behind the visible outcome. I confess I mostly ignore it, that's why I am asking here. I perceive the typical "Cooke look" * in sunset-like, vivid colors, well rounded contours frequently coming out from Kinetals or Panchros. My (empirical, experiential) question is if other, non professional Cooke series - Ivotal 25 and 50 in particular - do give a similar look, in order to integrate the set I have with more accessible lenses covering the missing focal lenghts, or I better wait for some lucky appearance of C mount Kinetals in the market. * (I borrow the marketing expression as a joke: we're talking about lenses quite older than ourselves).

Thanks so much. There's a lot to be known for a conscious choice. However simply, maybe simplistically posed: would there be a remarkable difference, a rough gap in image quality between a Kinetal and an Ivotal ? "Quality" also in a broad meaning: sharpness of the figure; depth of field; contrast; the warm color shift that's typical of the professional Cooke series...

Hello everyone. I own three Cooke Kinetal C mount. Finding it difficult to complete the set for their rarity, I am wandering how do the Kinetal's image "cut" with other models' one of the same Taylor-Hobson firm: Ivotal, Telekinic, Serital, and so on. Could anybody explain the evolution of Cooke lenses, if and how their resulting image could be compared side by side (take by take) with each other? Thanks for your answers.

I eventually asked a lathe shop. The man - quizzed about that most strange a thread - measured the Schneider-Kreuznach front as follows: diameter: M49.7 step: 0.718 Although it is not point-perfect, the newly made adapter goes two good turns inside, and stays steadily blocked on the lens. It works for 10mm and 16mm Cinegon; 25mm and 50mm (and hopefully 75mm) Cine-Xenon.

To anybody interested in fitting filters on the Grand Angle Special: The answer to my question is: diameter: M45 step: 1

Hi, happy Easter and thanks a lot for your help. I don't know if it'll work - I am worried about the right STEP of the thread - but I found a 49.5 to S VII AND a S VII to 62 adapters, sold by the same shop in Germany. I will try them out. The clamp-on solution is urbane, but it is expensive and a little cumbersome, when in need to change lens quickly. I actually have a clamp-on thing for the Schneiders. It is quick as there are no screws - just to be pushed in - but it's made of plastic and only takes one 2x2 filter a time, without frontal thread. But it is a possibility indeed.

Hi, Unfortunately, RAF camera, who makes the adapters, is in Belarus, so it's possibly a mess to have them now. 49.5 mm is a weird size: here no photo shop has it.

Thanks everyone for the answers. Yes, I contacted ICE Film telling them the serial number (which, by the way, is C2227). Still received non answers from them, though. It's a pity as it (that is: the pictured one) was a beautiful camera indeed. Bye and thanks again.

Hello everyone, the question is about an unusual selling practice and a possible "scam", I don't know if this is the right place to pose it. I happened to see an Aaton XTR on sale on Ebay, with this unusual picture: a cardboard telling you could only purchase the camera on Buy it now price. You have to contact them, then they put the thing back on sale for you to click the magical button. After one day the advert disappeared. I actually had a contact by email (info <info@sjsal.com>). They answered, delivering a dozen of pictures of the camera, which appears to come from ICE Film (London rental house?). Has anybody had a similar experience? Does anybody know this email address? Thanks.

Thanks for the answer, and happy to know one more lab that develops S8.

The question is a routine one on this forum. Nevertheless I've found no straight answers to my case, so I submit it here. I've exposed S8 carts of Kahl UT18, namely expired back in 2013 (9 years now). I metered them at normal speed (50 ASA) in a mixed sun/shadow open-air situation (the main subject - the humans - were in shadow, mostly). Slightly overexposed, maybe (the camera meter pointer on the "+" side of the right-exposure interval). Should I develop them normally, or I better ask the lab for a +1 push process? Is there a general rule on developing old stock by pushing it? Thanks for suggestions.

I opened a new topic for a new question on this lens. Does anybody know the filter measure fitting on it? I have got the Arri standard version, don't know if it's different from others. Thanks.