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David Sekanina

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Everything posted by David Sekanina

  1. Not entirely sure if your question was rhetorical, to make a point, that such a PL mount is indeed hard to source, but if you'd like to have a few manufactured at a local machine shop, I can measure the Aaton LTR hard front on our CMM and draw up a matching PL mount for it and send you the files in October.
  2. The 16M is an MOS camera, very similar to the 16ST, but built to take only 400ft mags.
  3. When I bought my first 16BL over 30 years ago from the Swiss TV, they both had NPRs and BLs in my price range. The NPR was more silent than the 16BL. So is the LTR (still sub 10K) and XTR (closer to 20-25K)
  4. It's the widest one, and yes, being 1mm longer than the Elite 20mm should pose no problem, as the ground glass sits quite a bit further back. Best I could do ?
  5. In green you see an S16 Optica Elite 20mm lens compared to ARRi Studio (blue) and Loawa anamorphics (yellow)
  6. Hmm. Dom posted these dimensions a few weeks ago, which are for the Alexa Studio (with rotating mirror shutter) I now compare this with the dimensions given for the Loawa anamorphics (in yellow) and they are all within the Alexa Studio dimensions. So I don't know why Loawa tells you it won't fit a 35mm camera, let alone a 16mm camera, which has more clearance. ?
  7. For those interested, the reason the mirror on 35mm cameras sits closer to the PL mount, and further away from the film plane than on 16mm cameras, is because the mirror has to cover a taller frame on 35mm cameras, hence in order for the mirror not to collide with the film plane, it has to move forward. ?
  8. I don't have the clearance dimensions for the SR3, but because I'm also interested in these anamorphic lenses, I checked the fit for an A-Minima (pink lines) and the Y16 (black), and all three lenses (yellow lines) have enough clearance on these two cameras. So unless there are some S16 lenses that only fit the Aaton, but not the SR3, they should fit.
  9. I don't know. Maybe because you watched 'Eyes Wide Shut' 300 to 400 times?
  10. The longer you search for meaning in something, the more "patterns" you start to see, that aren't really there. Similar to some people over-analyzing the Zapruder footage and finding new silhouettes etc... But I could be wrong - as long as you're having fun doing it, great ?
  11. Thank you Martin for your insights!
  12. let's go for a beer Simon, I'm buying, you've been a bit grumpy these days ?
  13. David Watkin shot Out of Africa on Agfa 320, to lower the contrast, from what I read in the ascmag. So the choice of film for the original negative and how much it was pushed or pulled was probably the biggest contributor on contrast. David Mullen on Agfa 320
  14. Isn't the digital press their biggest revenue now?
  15. I wouldn't design film cameras if I didn't believe in film ? Just thinking, no one will be able to replicate this at such a scale, should (for whatever reason) Kodak decide to stop manufacturing motion picture film.
  16. I agree Dan. I was mesmerized, but I also fear, should Kodak get into financial trouble again, it might be the end of motion picture color film, judging from the sheer size and complexity of the operation. I don't know what ORWO is truly doing and at what scale.
  17. I see. For frame by frame shooting you would need a capping shutter - and only works if there is nothing else moving in the shot. This is a silly idea, but if it's a short sequence, shoot it multiple times. The image change has to happen during the 180 degree transport phase of the film, so there's a theoretical 50 50 chance. So when you shoot let's say a 5 second scene 5 times, hopefully in one of the shots, the image change happens during the dark 180 degree transport phase. Yeah it's a crude and silly idea ?
  18. I can confirm, when shooting modern LCDs and OLED screens I had no rolling bar or other artifact like on a CRT. check around the 3m25s mark:
  19. If you struggle for space you might also go with their new EPOS4 Micro 24-5 controller
  20. To fit into an LTR/XTR I'd start with a maxon EC 60 flat pancake motor (or one of their frameless ones, which are based on the flat), with added Hall sensor and MILE 1024 cpt encoder and an epos4 Module 50/5 (to do the silent sinus commutation instead of block commutation of their Escon controllers) and build the rest of the function into a new motherboard that takes the epos module board. No Chinese crap.
  21. Wonderful Tyler, also the music fits perfectly. Looking forward to see the final doc. Did you use the car for the one 'dolly shot' ?
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