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Matt Figler

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  1. Have had the exact same experience over time with my K3. For the first few years it sat nice and flat, but the spring & pressure plate is not very robust & overtime can weaken. I've also noticed the pressure plate is quite flexible material so it too can sometimes be ever so slightly bent out of shape & not hold the film flat enough. There are a few small screws that hold the spring tension of the pressure plate -- You can see this issue pop up in this recent video, where the film is flat on the sides but out of focus in the middle. Who has a good recommendation for someone who can tune up these cameras, check FFD + pressure plate?
  2. I've always found this a good reference for sharpness + contrast with super speeds...wide open or looking into extremely contrasty situations you might consider them to have a very vintage look, but I tend to be surprised by how they well they can sharpen up.
  3. Purchased a film camera movement from them last year. They were great people to deal with. Prepare for some import duties to be paid to the shipper, that was the only thing that I didn't prepare for and it added up!
  4. Thanks so much for the thorough reply Dom. Your numbers are very helpful to get a ballpark sense. I'll be bringing the camera into a house to get a true depth calc. I'm curious to see how the results compare, luckily both lenses were very recently collimated BUT, I realized that I actually rounded a little on the 18mm measurement which should put it close to the .20mm mark that you mention. here is the special little camera, I'd been wanting to do this for years but only recently figured out it was possible.
  5. hey having a related issue, anyone have some math advice? Original thread here
  6. Hello, I have a special little S16mm PL mount camera and I need to adjust the FFD. The FFD is a little too long not allowing me to hit infinity nor have my marks line up on wider lenses. I will need to either replace the mount or machine some metal off to make it work properly. I'm trying to calculate how much I would need to reduce the mount by to have it properly spec'd. Can anyone help me with the math required to determine the difference in FFD? I pointed the camera at a focus chart and have noted the discrepancies below. Thanks! 12mm Zeiss lens T1.3 Lens barrel marking sharp at 18 inches Actual tape-measured distance 13 inches Difference 5 inches 18mm Zeiss T1.3 Lens barrel marking sharp at 18inches Actual tape-measured distance 15inches Difference 3 inches
  7. Sorry for re-directing this thread Rich. If anyone else needs a comparable Arri Bayonet/standard to PL Adapter get in touch -- For sale @$300 USD + ship. Will throw in a pl mount rear cap for free also.
  8. Was lucky enough to have Mo as an Adjunct Professor for a semester of what was called advanced lighting workshop when I was in Film School. Of ALL the classes I ever took his was the most hands-on, practical and inspiring. Mo is the real deal one of the most renound clt/gaffers around, great story teller and amazing communicator. Everyone in the class wanted to be a gaffer after that semester. I imagine this class has some overlap, truly hope you enjoy it and pick this man's brain.
  9. Matt Figler

    Super 16

    Tamron 24mm F2.5 + PANASONIC 1.33X
  10. Matt Figler

    Super 16

    It's hard to say as this was the only combo I've used it with on s16mm. It's a funky lens for sure and something that would allow focus closer than 4-5 feet would be nicer, diopter are a must from my limited experience. Much has been written on this lens and its also limited to lenses with 77/72mm front I believe.
  11. Matt Figler

    Super 16

    Appreciate it, didn't have the patience to shoot any charts on my 100ft daylight loads :rolleyes:
  12. Matt Figler

    Super 16

    Good convo & just because this topic popped up, here's a recent experiment I did with S16 and 1.3x Anamorphic. I wanted to understand the usefulness of the format even with this sketchy windup camera setup. The extra FOV obtained by the 1.3 squeeze was great (since there are very few wide lenses for a K3) and shooting through the 'sweet spot' of the anamorphic was bonus.
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