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Ethan Brake

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  1. Thanks. Knowing that and watching the video again, I can see basically how it works. I am curious, what would a less simple design involve?
  2. Thanks for the video, that's the best view of one of those I've been able to find. I'd like to know mechanically how it actually works. I've found a couple pdf manuals for the platter systems from Film-Tech, but they don't explain how that mechanism works.
  3. I was hoping someone could explain to me how the drive system on a platter works, pertaining to the film speed. Obviously, as the film empties off of one platter, it has to turn slower. What adjusts the motor to keep it turning at the appropriate speed so the film doesn't unravel onto the floor?
  4. Thank you very much aapo lettinen, that was a very informative response that cleared up my confusion on that matter.
  5. Maybe this is obvious, but I can't find any information on this. On the magazine to an Arri 16sr1, there appears to be a raised part of the pressure plate that would touch the image area. It is also has it's own subtle springiness to it, separate from the rest of the pressure plate. When reading about super 16 conversion of these cameras on cinematechnic.com, they recommend making the image area contact-free. Also, when watching a video on loading the magazine of an Arri 416, the pressure plate has a raised area as well, but it appears to be machined as a solid part of the pressure plate, not
  6. Dom Jaeger, I have yet to look at that pdf because it makes my browser crash for some reason. I'll have to wait until I have access to another computer.
  7. Using optical design software I can, in theory, design a perfect lens for my application. But in practice, I have no experience whatsoever in actually constructing a lens, and dealing with the manufacturing imperfections of real world glass. Although it's something I've never done before, I do have plenty of experience in using cad software to design parts and then machining them out (I have a relative who owns a machine shop), so making a good barrel wouldn't be too difficult. I'm just wondering, if I can precisely control all other aspects of the design and construction, would stock lenses b
  8. I've been mulling what it would take to make a lens from scratch, particularly a projector lens. With proper machining equipment, I believe I could construct every part of the lens except the actual glass elements themselves. As far as designing the optics, instead of ordering custom glass elements, I could take advantage of the low cost of mass produced elements from companies like Edmund Optics. However, I'm wondering just what kind of tolerances in the glass thickness would be acceptable. For example, in an old episode of "How It's Made", they show the construction of a Canon EF 500mm F4 L
  9. Much appreciated for the input, just wanted some info and viewpoints that weren't a decade old. I figured that digitally blowing it up would probably be the best option, but now I'm sure after looking at the prices given for digital printing by Video & Film Solutions (After days of researching, I don't know how I didn't come across their website before...) They are much lower than I expected, and had I known that, I probably wouldn't have even considered the optical blow up to begin with. Hopefully one day, I'll have a budget large enough to skip the blow up and just shoot 35mm film to beg
  10. First post on this forum. I must say, having never actually worked with film before, I'm glad I found this website. Very informative. DISCLAIMER: Never having worked with film, my knowledge comes entirely from the internet, no hands on experience. So if I say anything that sounds absurd, just let me know. Having always used digital cameras, I want to shoot a movie on Super 16mm film, and have it finished on 35mm film. I've been trying to work out the workflow to get from the exposed negatives to that final print. I want to have it photochemically color timed, preferably without ever having a
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