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Wilfried E. Keil

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About Wilfried E. Keil

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  • Occupation
    Cinematographer
  • Location
    Germany
  • My Gear
    Moviecam Compact, Moviecam SL, Arriflex 435ES, Arriflex 35IIA, Arriflex SR 3 Advanced (Gecko), Blackmagic URSA 4K PL and others
  1. Mark, you are definetely right: a lens cannot damage the film! I made myself not clear enough. I meant that if you have a filter or anamorphot or something else before a lens you can see from scratches on the filter, anamorphot, etc. disturbance on the film. But this is not here the case. I took a second look on the footage. And also you, Marc, used the anamorhot with a digital camera. But we can see in the footage different things: A lot of fuzz in the gate and also some which is wandering through the image. But that is only a cleaning problem. And the main problem are the scratches o
  2. To the stable image of the 35II-series: I mean not the first one of the series, the Arriflex 35II, which was introduced in 1946 and which was the following model of the Arriflex 35. I mean the later models, 35IIA, B and C. The Arriflex 35IIA was introduced in 1953. The difference to a B (introduced 1960) is not very much: better viewfinder, changeable, ground glass and a better gate. The IIC, which was introduced in 1964 has a few new modifications like a turnable viewfinder and other things. So you cannot see on a photo if it is a 35IIA or B, but if it is a C. (We cannot be sure what Ken Lo
  3. Thanks James for the correction. You are absolutely right "Enter the Dragon" was not shot in Techniscope 2 perf. I was wrong for this film. It was shot on an Arri 35 II C. At the end of the article you linked, you can see in the first photo that it is an Arriflex 35 II C. It has a moveable viewfinder. And Panavision normally modified them for their lenses. Also in the first picture one can see an anamorphotic lens. And on the fourth picture you can see it Maybe you are right that all Shaw Bros production were shot 4 perf anamorphotic, but not all martial arts films in Hongkong. In Hongkong
  4. One thing is to clean the gate, but the other thing is that the vertical scratches are always the same. And they are mainly on the bottom and some of the top of the frame. If it were the loop formers the scratches would be more continuesly on the film. But I had never problems with a K3 and scratches with a loop former. And I used three different ones. Clean everything very carefully, also the lens and the anamorphot and try it again and use also a completely different lens for some shots. Maybe it is a problem with the lens or anamorphot. Or maybe also there is a problem with the telecine?
  5. The Arriflex 35II-Series was very often used as a main camera in the 60ies and 70ies in Europe. One can read very often that it is a 35C, but it was also very often a 35IIB. Also because the 35IIB is existing very often in a Techniscope version (2perf). You can see it on the fixed viewfinder. For example "The Good, the Bad and the Ugly" from Sergio Leone was shot with an 35IIB, but also George Lucas used it at his first films as a main camera like "THX 1138" and "American Graffiti". But also nearly every Asian film in the 70ies and 80ies, who was shoot with Techniscope was shot with and 35II.
  6. Wittner Cinetec in Germany has still some wittner chrome 200 double 8 color reversal stock in a length of 7,5m. http://www.wittnercinetec.com/epages/WittnerCinetec-Super8-16mm-Film.sf/en_GB/?ViewObjectPath=%2FShops%2FWittnerCinetec-Super8-16mm-Film%2FProducts%2F5101 But it is the last he manutactured, because the stock is finished. They also have a machine for perforation.
  7. Just read the new comments: all of the three models have the same noise level... ...if they are well maintaind... ...so that is not the question... In your case the question is money...
  8. You wrote it is a also a money question, so it is a very easy decision: Aation XTR! I own a Arriflex SR 3 Advanced (Gecko) and I would not say it is heavy and I would not say it is not great for handheld. It is a question of accessories and usage! A Arriflex 416 is not so heavy and it is more comfortable then a SR 3, but if you do not need the special features, then it does not worth it`s price! And if you are not familiar with any of this cameras, then you should not prefer any of them because of usage. So the Aaton XTR is not so heavy then the others and it is easier for hand
  9. Thank you, Davis Mullen for you correction. I did not know this two formats. So I learn more... ...now I was more interested and looked up in my "old" book about some some formats. I did not found the two you mentioned. Maybe because it is a book from Germany and the system was never used in Europe. There are so many formats and aspect ratios, especially also in the old 3D filming, which you cannot find in any publication and also not in the web. But I found another format with the aspect ratio 2:1. It is Colorama. It was shoot in 2perf and the print was with skip-frame and without an
  10. In the German Democratic Republic they built the TK 35 as an "portable" projector, which was very often used for mobile cinemas in Germany also after 1990. You can get them with many accessories or without... ...but maybe it is too large and heavy for you... ...so maybe that one you post in the link is better for you...
  11. A new scope? It is older then netflix!!! It is invented by DP Vittorio Storaro (Apocalypse Now and many others) in 1998. It was first used for the photography of the movie "Tango" by Carlos Saura. It is called Univisium. Storaro invented the aspect ratio 1:2.00 (18:9) as a compromise. For him it was clear that the TV aspect ratio 16:9 will have sucess and that in the future many will film digital or 65mm film stock. And the aspect ratio for 65mm is 1:2,2. So he choosed as an average 1:2.00. Mostly he shot himself in Super 35mm in 3perf. Technovision and Clairmont modified some Arr
  12. There are still some labs left, but do not trust the laboratory directory of the website of Kodak. For 16mm and 35mm prints: Germany: TF Cine Nova, Wiesbaden Andec Film, Berlin Belgium: DeJonghe Film Italy: Movie and Sound, Florence For 35mm prints: Italy: Augustus Color, Rom L`Immagine Ritrovata, Bologna UK: Cinelab, London I am sure there are some more. But these are the ones, where I know that they are saying, that they still offer this service.
  13. To come back to the exposure: With the Bolex RX-5 you have at 24 fps 1/65 if you not correct the Reflex system and 1/80 with correction. So your exposure time is lower then with other cameras. You can also change the shutter as Gregg said, but be aware of the different motion blure. You close the shutter a 1/4 if you put it on 1/2 and you have a corrected (Reflex system) exposure time of 1/122 and with 1/2 if you put it on 1 an exposure time of 1/188. But then you have not so much motion blur. You can also use it as an effect to see some water bubbles (I am not sure if it is correct English
  14. I do not know how familiar you are with a Bolex RX-5. If you shoot with sound it is better to use the motor and a 400ft magazine with a barney, if you have it. Do not forget to compensate the exposure because of the RX-system with 2/3 stop. I would set the lightmeter at an other ASA rate, so you do not forget it. Do not forget the different shutters at different speeds. Some tables you find in some manuels are still compensate the 2/3 stop. So be careful. I would always use the Wratten #8 filter. Do not forget to compensate the exposure with 2/3 stop. And if there is the sun use the
  15. I own a Krasnogorsk K-3 and I get a new own many years ago, but I did not used it since more then ten years, because I use now "better" ones. But it is really a good camera to start with 16mm. I also used two other ones from friends. So I think I have a "bit" experience with Krasnogorsk K-3. Normally they are nearly unbreakable! So why do you want to have a service without testing it before? You have to ask yourself if a service worth the money of the camera? And if someone is familiar with a Krasnogorsk or if you have questions someone of this forum can help you. Maybe you need a bit Gate Lub
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