David Sekanina

I would still talk to Simon first - he might know the bonding compound and what solvent to use.

I read that Simon (Filmtechniker) in Switzerland has separated doublets, cleaned them and rejoined them. I guess he could save the prism.

https://www.linkedin.com/feed/update/urn:li:activity:7124126878960922626/

thanks for the info, was looking for a digital S16 sized sensor size too.

I was pleasantly surprised too. Hope your S16 shoot is going well.

Loawa announced a 20mm 1.5X Nanomorph: https://laowacine.com/product/nanomorph-20mm-t2-2-mft/ I checked again if the 20m (white) is also within the ARRI Studio envelope (blue), and it is ? It'll cover S16 nicely, but not S35.

Wrong thread, sorry. I reposted it in the above mentioned thread about the Laowa Nanomorphs.

I forgot to specify: 16mm film coverage - for my Arriflex 16 ST

WTB Arri standard mount lens set 10mm, 16mm, 25mm alternatively 16mm 25mm, 50mm

Electronics that do sinusoidal commutation instead of block commutation make brushless motors run more silent.

found this curiosity on ebay - comes with an underwater housing https://www.ebay.de/itm/285407979263?hash=item4273a426ff:g:O0sAAOSwQ-Nkxn1I

if you have the old standard def video tap, the video signal is composite video, not SDI. You need a composite to SDI converter. Blackmagic sells compact ones.

correct - normally it is on constantly.

On my XTR prod the sound proofing material is a Bitumen based self adhesive sheet, which indeed would soften quite a bit at 60°C: https://www.raumprobe.com/de/material/bitumenschwerfolie-zur-daemmung-und-daempfung-von-blechen-und-metallteilen-kunststoff--11690-04-796

Steve Yedlin questioned this assumption and he has a point:

Oh yes, you wrote not a close up. A small bounce board out of frame reflecting light upwards into the eyes maybe?

I placed a 1.5m soft dome just 2-3 feet away from the model at a very low setting, so the reflection of the light in her eyes is as big as possible. Would i have placed it 10ft away, the reflection would be much smaller. You could also use a spotlight modifier or a Fresnel with barn doors to highlight just the eyes - but to me this always looks a little bit like Star Trek TOS or a Michael Bay movie ?

Correct, that's the text I was referring to. Your misalignment is so big, it shouldn't be adjusted with the beam splitter, but the sensor itself (or the ground glass, if it's in the wrong position). You're potentially chasing multiple misalignments. First make sure the camera is set correctly, secondly tackle the video tap alignment.

First you have to make sure on the camera, everything is in the Super16 position: The PL mount, The viewfinder (older Aatons had a shim to space it between Normal16 and Super16, I don't know if yours has one) and the ground glass (this should be done by a camera technician). Then you can make sure your video tap is aligned properly. Depending on the video tap, the sensor PCB is mounted with screws on a tube that attaches to the relay lens. Some allow some adjustment to center the sensor. The beam splitter has no effect how the image is centered. CORRECTION, the beam splitter should always be driven out completely and the turn the screw back a turn or two, like described in the Aaton manual) If half of your things are centered Normal 16, and the other half Super 16, you end up with a mess. I suggest you send it to a camera technician.

This is truly beautiful Tyler. Wonderful work!

Can't help you - a Blackmagic Cintel makes sense though given the low price of the machine. Good luck with the shoot!

Oh! I didn't know Duncan. Yes this attaches to the camera. I'm new to the 16ST universe ?

i have one with the nut for 100€

sold