David Sekanina

Tyler, there is a wonderful SMPTE Journal 10.5594/J03852 "Designing a 65mm Motion-Picture The ARRIFLEX 765". You should buy it, it's a wonderful read and worth every penny. While it only scratches the surface of some of the problems ARRI ran into while developing the 765, it would hopefully change your view a bit. The journal shows the difficulty of developing a 5/65mm camera. The challenges developing an IMAX camera are exponentially more difficult.

https://www.wittnercinetec.com/epages/WittnerCinetec-Super8-16mm-Film.sf/de_DE/?ObjectPath=/Shops/WittnerCinetec-Super8-16mm-Film/Products/B672333

Thank you so much David! I remember reading, that they lit the spaceship in this manner, almost 25 years ago. I was so confused why they did it this way, as it made no sense at all.

Wow, I stand corrected. I never expected such a good result, not even close.

Yeah, the price for the 535B is very high. I see most go for 6-8000$, 3 perf ones for 12500$ FJS somehow manages to sell at their high prices, their XTR prod was listed for 24500$ and was sold.

westcoastcinevideo has a Penelope with 2 and 3 perf movement for sale - so does fjsinternational. Probably the same camera.

AM camera currently has multiple Moviecams for sale - Tyler Purcell helps out Andree with the sales. You can ask him for details.

some Universities have small PVD chambers - you could ask them.

Check Australian telescope forums - if there are any, and see what companies they used to have their hand polished mirrors coated. I've asked Edmund to send me quotes for other custom jobs, but not recoating prisms. Edit: I think I show my age - building your own telescope was a hobby amongst teens in the 70s and 80s. Today you probably just buy one.

? please don't do that - try to find a local vacuum deposition shop (some are small and coat mirrors for DIY telescope makers) or ask edmund optics if they're willing to coat your prism. (Masking the faces that you don't want to be coated)

"Mr Teoli's posts are a bit on the eccentric side" I don't mind eccentric, but his posts border on spam - thankfully there is an ignore function in this forum ? It was very interesting though to read all the answers.

I love that website design - it's like time traveling ? ?

wonderful Jürgen - just ordered one ?

What I don't understand is why BMD does not put a better sensor into their scanner. ?

I recently bought the book "Digital Cinematography" second edition by David Stump ASC. It has the most comprehensive List of Panavision lenses of the books on my shelf: Primo L-Series Primo close focus lenses Primo Classic Series Primo Zooms Macro Zoom PWZ PNZT Primo 70 Series Primo Artiste Panaspeed Sphero 65 Super Panavision 70 Panavision System 65 Ultra Panavision 70 Panavision 65 Vintage Standard Primes SP Super Speed Z series Ultra Speed USZ Series Primo X lenses Panavision Fraziers Lens System FLS Flare Lenses G Series Anamorphic Primes E Series Anamorphic Primes C Series Anamorphic Primes Panavision AL Primo Anamorphic T Series Anamorphic Lenses T Series Anamorphic Zooms Front Anamorphic Zooms AWZ2 and ATZ Ultra Vista Lenses Super High Speed Anamorphics But you probably have to get in touch with Panavision themselves for datapoints like weight.

hmmm.. curious this is from their FAQ on their website: what are the techical specs of my scans? 21.4 Megapixels, 13 stops of dynamic range and 16 bit color depth. JPG, JP2 and JP2 RAW files. Your images are scanned using our state-of-the-art Cintel scanners. RAW files are converted into JPG and JP2 files using our unique SILBERSALZ35 color science.

Silbersalz uses a Cintel Blackmagic scanner - not a great scanner

"Arri has lots of 416 and SR3 parts, decades worth. Rumor mill is that Aaton does as well..." There for sure is a shortage of hard fronts, mirrors, prisms, motors, relay lenses, elbows for the Aatons and SRs already now. From what I read, only a few hundred 416s have been manufactured, so I doubt they have decades worth of spare parts for that camera too. But I might be wrong.

FYI I bought a Canon XL-S a few years ago but its rubber eye cup was missing. I could not find an original replacement. So I bought a Nikon DK-19 eye cup, and while not a perfect fit, it sits very nicely on the eyepiece.

Please donate them to cinefacilities or AM camera or another repair shop. ♥

So many clever ideas in one camera: the ease on how to adjust the loops without fiddling the film onto the next sprocket the beautiful mechanism that lets you slide back the movement without losing sync with the mirror the displacement magazines of the SL are marvelous too And most of the ideas were there at the beginning, with the Super America, and then got refined and more compact with every new iteration of the camera.

Despite their age, the Noritsu scanners are very nice, and better than the flatbed scanner I used for my samples. They might just have sharpened the image a bit too much.

While inspecting his beautiful Moviecam movement today, out of curiosity I googled him again, as I tried to get in contact with him two years ago via LinkedIn, only to find out that he passed away last November. The Moviecams are such beautiful pieces of engineering!

and another with an exposure closer to yours