Kalle Folke

David: This is from this article http://www.definitionmagazine.com/journal/2015/10/21/l0yjl91mt9dsl72264mhm85691o4zu: (The main lenses used were the Angenieux zooms, the three short new ones 15-40, 28-76 and 45-150.)

Aaton still services the Minima, so I guess they should have it. Do these manuals usually need to be bought? If not maybe they can send it to you. Good luck!

Hi! I've shot 500t on Super 16 in various dark natural light situations (night club, city at night, apartment with only practicals etc) and I feel that with Super Speeds at T1.3 the film captures what my eyes can see. Compared to modern digital cameras with high ISO I think the 500t/Super Speed combo gives a much more natural low light image. Problem is focus even on Super 16, running around will not be easy :) I'd also bring a china ball on a boom pole or maybe a 300w fresnel to get extra exposure on the most important element in the scene. Just as a compliment to the natural light, not like a big lighting set up. I've pushed 500t one stop and it looked great for night time city shots (but no faces involved). I can't answer all your questions… but I wanted to share what I could :)

Sold.

Hi! I'm downscaling my Super 16-kit and it's time to let go of these beautiful lenses. First got them to use with an Ikonoskop A-cam dII but lately I've used them for s16 film cameras (Arri Sr2, Aaton a-minima and Arri 416). Actually also tried them on a Gh4 (with mft-pl-adapter) and from 12mm and up they cover the sensor in 4k mode. They are in really good mechanical and optical condition. Some paint wear on the housings but all focus marks and text is clearly visible. So what I've got is: Zeiss Super Speed mkII Super 16mm lenses. All T1.3. 9,5mm, 12mm, 25mm and 50mm. Will sell individual lenses or all at once. I'm hoping to get a deal done quickly so first come first served (hope that's the correct english expression for it…). Prices reasonable, please contact me if you are seriously interested and we'll discuss it. Lenses are located in Stockholm but I will ship world wide (but EU preferred). Best regards/Kalle Folke, Sweden www.kallefolke.se

Still available, was "sold" but buyer got financial problems unfortunately...

I just filmed a music video last weekend with a Sony BVP-3P, it's a tube beta camera and the look is really special and I can't think of a way to get it with any other type of camera. The beta tape recorder was broken but we used a analog-digital converter and transmitted the image wirelessly to a Pix240 digital recorder straight to Prores. When the edit is done I'll post it here, hopefully I'm not the only one enjoying these type of things :) The rig was 14kg, but I had a Easyrig so it was kind of ok to dance around with for a evening...

Hi! I recently got a Arri 416 so I've decided to sell my Aaton A-minima kit (I can't have it all, haha). It's ex-rental and was inspected by Aaton themselves before I bought it at beginning of 2015. Batteries have new cells. Everything works just perfect except for the built in light meter dome that I choose to not have Aaton fix since it's more of a gimmick then a useful feature in my opinion. Would prefer a Eu-sale, but I may ship world wide depending on the circumstances. Pick up in Stockholm, Sweden would be great :) Great kit to pick up and start shooting. Contact me if you're seriously interested and we'll take it from there regarding price etc. Best regards/Kalle Folke, Sweden www.kallefolke.se List of the kit: 1x Aaton A-Minima 1x PAL b/w video assist 3x magazines with covers 1x Aaton Cha-3 charger with cables 2x A-Minima batteries (new cells) 1x top-handle 1x Aaton power base 2x rods for power base ca 2,5tum 2x rods for power base ca 5tum 1x manual 2x extra rubberbands for eyepiece 1x cover for video assist port Cables: 1x 4-pin lemo - 4-pin xlr 1x 4-pin xlr male-female 1x long start/stop-cable lemo-lemo 1x "super long" start/stop-kabel with switch 1x start/stop-kabel for top-handle Also empty spools and film cans for re-spooling of film.

Hi, These never get used unfortunately... Heliopan Dark Red 25 Formatt Red 23A Formatt Yellow/Green 11YG Formatt Yellow 12Y Formatt Yellow 15Y Tiffen Yellow 8 All are 4x4 Located in Sweden, but will ship worldwide. Asking 100€ +shipping for all of them!

Yeah, feels strange it should happen. I've only tried with this expired Eterna 400T. My guess is that it's a combination of that being loose and me being new to loading the mags. I've got some fresh Kodak film in the fridge that I will try once I get something worth filming. Also the junk film test Gregg recommended. I'm sure I'll find a way (very much hope so…), I got the camera partly because I get frustrated with loading the a-minima :)

Hi Gregg, Thanks for you input. I bought the kit from Arri rental UK a few weeks ago. The camera and magazines is said to have been fully tested and cleaned by their technicians before they sent it. I'll surely try to get some junk film to test with. I tried to run the camera without the magazine door and it works. I can't see all of the take-up side since the mag is covered by the camera body and on board battery. But I get a decent view and would be able to see the take-up spool. My lab is closed for holidays, but I'll ask for some double perf film when it's open again. Could you clarify how I would do this: "If you can freez the take up sprockets with your fingers and turn the take up spindle you should feel some friction. There will be an allowable range for the torque. If you know your high school math you could measure this torque yourself." Should I do it with the camera running? Where's the take up sprockets (sorry I'm a bit confused partly because of language difficulties…)? Dropped out of high school, so any math could be a problem :) I think the film has been secured to the core, at least it felt like it when I unloaded the roll (and on the prior rolls I did before). I'll pay more attention to the details next time I load and thread the mag and see what the results will be. On my first test I used one 400ft roll to test all magazines so I never tried a whole roll at once in one magazine yet. Appreciate any more thoughts, and I'll report back after I've been able to test some more.

Hi Kenny, Thanks for taking the time. I've attached a photo of how it looks when the take-up side is ready to be closed. You see the small screw that prevents the lay-on roller to touch the core. But seems strange if this should not be how it's designed since all my mags are the same. The scratch noise from the mag started after around 200ft (60meters). Before that it (the film) must have move up and down on the take-up spool. Please explain more in detail how you mean I could tighten the roll when loading. Do I twist the whole roll of film in the direction that tightens it? Wouldn't that create scratches and maybe some kind of static tension (or what to call it, english is not my first language…)? I'm sure I "clicked" the take-up spool down as far as it goes. How do you mean " spooling the take-up incorrectly"? ​I followed this youtube video of how to load the magazine: It's a bit less detailed then the manual and I may have missed some important small detail? One thing that maybe makes the film loose in the transportation chain is that I advanced the film with the spool instead of pulling the film by hand when getting it to catch on the first wheel with sprockets (pins) on the take-up side? I guess this is maybe better to try to solve by hands on testing… but I haven't really had a good opportunity yet, so I'll try with some theory first to avoid missing some important aspect. I'll reload whats left of the roll and try again. Only problem is I don't have anything I want to film right now… and I try to combine all my camera tests with b-roll gathering for a documentary. Thanks again!

Hi all, After starting out my "follow the 16mm dream" journey with a Arri Sr2 one and a half year ago I've now reached the wonderful position to own both a Aaton A-Minima and an Arri 416! Now nothing can stop me spending (loosing) money on personal projects that will go on forever… but every roll is a joy and a great learning experience! Today I encountered a problem with one of the magazines (or with my loading of it maybe?). The film was taken up unevenly and eventually started scratching the sides of the take-up chamber. It made a noise that was quite unusual for the normally super quiet camera. When looking (feeling) for the problem in the changing bag I noticed that the film was cone/wave-like. I tried to even out the film and loaded the mag on the camera once again. After some meters of shooting the sound came back and I unloaded the exposed film. I evened the roll again when putting it in the can. Maybe that will cause scratches on the film? It's only the fourth time I load these magazines so I may have done something wrong that didn't create enough tension. One thing I've noticed is the the lay-on roller arm isn't touching the film and core straight away. There's a small screw that keeps it from coming all the way down. After some more film has rolled up on the core it does engage (or how to explain it). This screw functions like this on all my three mags, and from what I can tell from videos and pictures online this is the way it should be, so not sure if that could cause the problem. The film I used is a expired Fuji Eterna 400T that has been in the fridge at my local lab before I got it. It did feel a bit loose when I loaded the feed side also, can this have anything to do with it's age? I'll keep testing to find out more, but I only brought this mag with me now, so can't compare and test the other mags yet. Anyone who can think of a logical explanation and a solution? Thanks!

Don't have any footage online yet (with the 10.4-52mm), but plan to make a new little s16 collage later on… From what I understand it's based on the 9-50mm zoom. Can't tell you any scientific about it- I just like the look it produces. If the rental place got all those lenses you maybe could to a day of test shooting? If you're working with a tripod and don't need longer zoom range I think the 10-30 would be great. When I've shot in low light I haven't even used the 10.4-52mm at all. Then I always use the Zeiss Super Speed primes. So I can see the point of the 10-30! Also shot a short tv-drama with mainly the 12,16 and 25mm primes, so that range would be covered. Oh… actually used the zoom once in low light, with 500T and a diffused 300w readhead lighting a face from 2meters it actually was quite fine. From my experience 500T with at T1.3 gives a look similar to what my eyes can see in low light, so that's usually what I go for with natural household lights in the dark scandinavian winters! But now 50D season is starting :)

Hi! I have a Cooke 10.4-52mm, it was the first zoom to cover Super16. I think it's amazing. Really small compared to other zooms and minimum focus distance is really great, almost like a macro lens at 52mm. First time I used it I could not believe how good faces looked with it! Not sure about the 10.8-60mm you mention, is it a regular 16mm zoom? If I would guess I think it would have similar character as my zoom… but don't know. The 10-30mm is apparently a huge lens. I'd love to get one some day for low light work! Here's two tests by another person with it on a digital Ikonoskop a-cam dII (a camera I used to have, but now sold to get a "real" S16 film camera): and https://vimeo.com/77497706 Have a nice shoot!

Hi! I can help with labeling, since it's my tests :) Don't know why I didn't label… well next time. 00.00-00.19: 250D 7207. First shots I didn't have my eye to the viewfinder, and that caused fogging. Only realized later after more testing. Film is still quite new to me and every roll is a great lesson! 00.19-00.36: 200T 7213. With 85B-filter. 00.36-end: 500T 7219. The first exteriors look more grainy then they originally where. I cropped the image from a quite low res original. Also it seems to me like gray overcast days shows the grain more. Dancing scene was with a Black Pro-mist 1/4 filter. Since these tests I've done more and have come to a conclusion that what ever I do and how ever I expose I got usable shots :) It's also great to test the stocks in various lighting scenarios to help make a "preview in the head" of what the results will be. For me it's a great new experience since I started in the times of Beta-/DV-cameras with lcd's. Also, I just shot a roll that was labeled wrong as a 250D, when it really was a 200T. I shot outside in overcast (Kelvin around 6600) but after the onlelight from the lab it still looked great! Now I'm sticking to 500T and 250D, when summer comes I'll try 50D also. I think 85- and FLB/FLD-filters etc makes a difference, but that the results will be perfectly usable without them also if it's not possible to use. Film is a joy!

Hi, I've gotten some info from Olaf Matthes via email. He doesn't have a account on this forum, but let me post his answer. Maybe someone else will find it interesting, like I did. Here's the quote: "I don't have that much info on these lenses, but I do have a 35mm Cinar. Overall construction looks similar to your 8mm lens. My understanding is that some time in the 1990s Panther got these lenses custom made in small batches. Since there is no 35mm lens in the Zeiss lens set for Super16 and since the 8mm Zeiss lens would not cover Super16 it makes sense to get such lenses custom made to complement a Zeiss lens set. There also was a 7mm Panther Cinar. Back then Panther was a rental house for cine equipment. So they probably got a few made and rented them out. In recent years I've seen them showing up on eBay from time to time. Mostly the 8mm and the 7mm lenses. From looking at these lenses, I'd say they were manufactured by what is now Optika Elite (or Optica Elite, depending on how you transcribe the Cyrillic letters) in St. Petersburg, Russia. Here's a link to a website showing Optika Elite lenses that were made around the same time (befoe they change to the new lens housings): http://www.reduser.net/forum/showthread.php?121883-Optika-Elite-Super-16-t1-3-Superspeed-Set-%28PL-Mount%29 What's another hint on the Russian origin is the shape of the iris blades. I have an 8mm Optar Illumina that seems to have the same iris blades like the Panther. They have a strange shape that gives a zig-zag pattern when half-closed. The Optar Illumina lenses, however, have slighly smaller lens housings (that also feel a little more "edgy") than the Panther Cinars. That's why I think the Panthers were made by Optika Elite. But maybe Panther just asked them to use another housing, resembling the Zeiss lenses. So lets say the Panthers are either Optika Elite or maybe Optar Illumina. Some people say that today's Optika Elite company was a split off from Optar Illumina, so basically they share the same history (and thus similar design)." I'm also attaching an image he sent of the iris. My Panther Cinar 8mm have a similar looking iris. Take care/Kalle

That was really interesting to read! Where can I find more articles like that? Great way to get a better understanding about lighting.

Thank you. I tried this before but for me it was useless because I couldn't find a way to link multiple clips… If you really need to select the corresponding audio and video track it's not that easy to know which track to select if you have a days worth of footage. I would love if it was as easy as in Resolve. There you just have audio and video files in the same project - choose sync audio based on timecode - and it instantly syncs everything. This of coarse only works if you use a audio recorder with timecode (I usually do)... If it's possible to sync big folders of clips in premiere I'd love to learn how to. Take care/Kalle

Haha, those cameras are great (?)… I had a job at a youth tv-station where I alone controlled four robot cameras, did the picture mixing, did live graphics, controlled lighting and also changed sets during commercial brakes between the shows. Shots like the first one in the video almost became a trademark for the channel :)

Hi! I just got a used Super16 lens to compliment my super speeds. It's a Panther Cinar Super Super16 8mm T1.3. It looks just like a super speed mkIII and has a really solid and nice feel to it. Since Panther is still an active company I email'd them to see if they could tell me more about the lens. The person who answered had never even heard that they had made lenses… But he found some old documents about a couple of zooms and 7mm + 35mm primes. Would be nice if anyone had some knowledge about this lens, thank you!

Thank you Dirk! Very informative and helpful. My TC-generator has a crystal oscillator and should be accurate for 8hours. I'll mostly be fine with much less then that, and also I won't be shooting huge amounts of footage so if it's slightly out of sync sometimes I'll have no problem adjusting manually (if necessary). I think I won't be able to afford more then maximum 2440meters for a project, so it'll not be a massive post production. What I've done when shooting digitally is to start each scene with a shot of the audio recorders lcd to be able to notice any sync offset. Would I need a OriginC+ to be able to include scene/take/reel numbers in the AatonCode? I think I'll sync audio in DaVinci Resolve, and then edit in Premiere CC. I'm not familiar with ATN, FLX or ALE file, how does that work? So I'm not overriding/replacing the continuous TC right? Resolve have worked great for me when syncing audio based on TC for Ikonoskop A-cam DII footage, but if I can do it in Premiere that would maybe be even better. Really great to know that you offer this service, I'll make sure my calculated 3000meters/year keep the whole industry going :)

Kenny: Thank you for the info, didn't know about bloop slate. Would be quite easy to just hold in front of the camera and have the beep sent to the audio recorder with a wireless system. Found an app, but only for iPhone unfortunately… will look more into this. Dirk: Great, I will definitely try it out. I'd like to learn more about how the workflow works with Aatoncode. Say I have one roll in the A-minima- do I need to have synced timecode on all takes on that roll? Will the timecode be embedded in the Prores file? Do I need to take any special considerations to not complicate the post work later? Like if I shoot 20x 122m rolls and after editing want to do a EDL 2k scan for final grading? My audio recorder (http://www.marenius.se/audiodesign/mm-4240.htm) and TC-generator (http://www.marenius.se/audiodesign/ltcgen.htm) has LTC timecode. I have managed to feed TC from the generator to the A-minima. Thank you!

Hi! I'm getting more serious about shooting a documentary on s16mm film. Since I often work alone on personal projects I was exited to learn about AatonCode. I'm about to get a Aaton A-minima. I tested it last week with my timecode synced audio recorder, only to later discover that my local lab don't have a Aaton code reader on their new scanner. I really wan't to use that lab, because one of my motivations to shoot film is to contribute (in a very small, but at least symbolical way) to keeping film alive. I wanted to ask anyway if there are some labs in Europe that offers Aaton code service? Maybe I could use it for some rolls if really needed... Any other recommendations on how to handle audio sync when alone would also be appreciated. I've had some ideas… - To have a mic attached to the mag, recorded on a separate track. Then I could listen to the audio (or watch the waveform) to see "ok, that's the third time the mag is running… must be shot three…". Then sync by eye. - Start each shot by filming the lcd on my audio recorder that can display timecode and also flash a led at each second. Only downside is I'd need to start with close focus and also be delayed when trying to frame the subject to be ready for the "moment" I want to capture. - Almost like above, but instead reach with my left hand info the frame with my timecode generator that also has a lcd displaying the timecode. What do you think? Thank you!

Found one!