daniel mahlknecht

I have one big question abouth that. Appearently some people are using anamorphic lenses on DSLRs, but my doubt is, if these cameras record video in 16:9 aspect ratio full HD, than to obtain a 1:2.35 ratio I will have to crop the image, loosing the fullHD resolution. Also the CANON 5D has a sensor that is more the size of a Vistavision format than that of a 35mm 4perf anamorphic gate, so most lenses should not cover the image area? I own a LOMO round front anamorphic set, has anybody used therse lenses on DSLRs? Are there DSLRs where the aspectratio can be set, or do they all yust 16:9? As far as I understand also the Panasonic 101 and the Sony F3 only record in 16:9, so also these cameras are not suited for anamotphic 1:2 squeeze factor lenses. thanks Daniel

At least they have not deleted the posts sent until now, even the critical ones not. Probably some problems habe appeared after the first cameras have been delivered (like sensor calibration ecc.) and they are buissy and want to resolve them, without having to reply to posts speculating on what is going on. They say they will answer to every direct email within 30 hours (indeed in the past they have answered my questions very quickly).Actually this seems to me more work than post general answes on a forum, but i'm not to experienced in moderating a forum.. daniel

to shoot scope on super16 this would be the first choice I guess. This is a new set of anamorphic lenses made to shoot 1:2.35 on super16mm cameras http://www.vantagefilm.com/en/news/index_45.shtml daniel

Last year Vantage /Hawk presented a new set of anamorphic lenses especially made to shoot scope on super16 cameras. http://www.vantagefilm.com/en/news/index_45.shtml So this would be actually the first choice if productionformat was super16 and screening copy should be cinemascope. daniel

I know that 400euro is a extremely low price, but why not try? In the same sentence I said that they sell for up to 4000 so it was very unlikely that he would sell... With some luck and patience you can get a standard version for 400-500euro on ebay, at least some time ago it was still possible. As for the servicing, I know these mashines quiet well as I have been servicing and installing 8 and 16mm projectors with loophouses in museums. When these projectors have to run every day for 4 months, there will certainly be some trouble, but until now I always could fix things (I faile with the eumigs , I newer understood how tho fix an eumig once it had started to shredder the film) daniel

I would buy a elmo gs1200 xenon for 400 euro, but unfortunately it could get up to 4000 on ebay. In the unlikely case you want to sell anyway for 400 I would be really happy :-) For the 400 I would buy blind, as these projectors hardly break, and if they do I probably can fix it. (I'm in Italy but have a shipping adress in germany) daniel

Hi, actually I don't know if this belongs to the lighting forum, but talking of an exposuremeter, maybe. My Sekonic Marine Meter II actually leaked and has now some water inside. Does anyone know how to open this meter without breaking it? thanks daniel

A friend of mine has used a Panasonic anamorphic adapter (for the AG-DVX 100) whit a squeeze ratio of 1.33x on his Canon Scoopic DS8 and it worked quiet well. But he had to build something to hold the lens, in order it would not turn with the lens, when fokusing (he modified for this a BOLEX H16 Mattebox). daniel

Hm, the latest footage seems to be made to scare away possible customers (me included). As I have not the necessary software to see the DNG files, I can not really judge this immages, but the proRES files look terrible to me... (some say this is a problem of the Prores converter they use). Still this camera remains the first choice for me in the next future. Unless immages really look like this last release of course. http://www.ikonoskop.com/dii/footage/ daniel

Unfortunately I have not, but the most likely problem you might have with the 512A is, that the grease in the takeup mecanism has dried, so you yust need to clean this, and it should work. (if this is the case, then the filmtransport gets imideately stuck). The Bauer is very easy to open. be carefull not to disassemble the the shutter/fade mecanism, it is a bit complicated to reassemble. All the other problems I have had whit the 512A were from wrong use (when using rewind button, or fade button, but in this case reading the user manual will help). To clean the grease you can also use lighter benzine, but be carefull not to use to much. daniel

I shoot regularily single8, and for some years now it has become easyer to get cartiges. It appears to be thru, that Fuji R25N will be available only until 2012. (I really love this film, and I still have fresh cartiges of it). But you will still be able to get other filmstocks easily, at least in Germany there are different places where you can order it. When I need the processed material quickly after shooting, then unfortunately I can not use thr R25N as this has to be processed in Tokyo, and this takes som time (and shipping risks, if you live in Italy :-( ). But all the other filmstocks you can get in single8 cartiges, can be processed in any lab together with the modern super8 film. The only bad thing is, that the newly available single8 films are as super8 on celluloid basis, instead of polyester. This means, that the film is thicker, and in a single8 cartige therefore fit only 12m instead of the 15m of a super8 cartige, but they still cost the same. But frame steadyness is much better in a single8 camera. The R25N and the 200N is on polyester, and in a original Fuji cartige there are 15m of it. Polyesterfilm can not be wetspliced, so you need to edit the original FUJI films with tape splicers or with ultrasonic splicers. But polyester ismuch stronger and durable than celluloid, so there are pro and cons for both formats... daniel

Hi, the label says 520AK-M I hope this weekend I will have some time to try to use the collimator. If I have questions (I'm sure I will have), i will contact you. thanks Daniel

thanks a lot. This helps indeed. I still have to figure some things out, but now I know the direction. daniel

Thanks, this might help. The viewefinder itself is in exellent shape, so I'm sure there is noting broken. Maybe one thing could be. When I recieved the camera, the prism in the viewfinderblock had slipped out. I put it into place as good as I could, in order to be able to use the short and the long viewfinder. But with the long viewfinder, there still is a slight vignetting, as the viewfinder has to be mounted the other way round. I couldn't find a position that would fit perfectly for both viewfinders. So maybe the prism could be the cause of the focusing problems? Or is it more likely, that it's the deanamprphic piece itself? thanks Daniel

Hi, I yust bought an russian collimator. see a picture at: www.dapalmerfilm.com/fotos/autocollimator.jpg I have only what you see in the picture. Do I need anything else to check the lenses? Does this collimator work with anamorphic lenses (I should have checked this before I bought it...). Actually what I want to do with this collimator is check my lens set after I have changed the lensmount, as I might quiet frequently have to switch between OCT19 and PLmount. The lenses I want to test are the lomo roundfront anamorphic primes 35mm, 50mm and 75mm, the OPF18 Zoom (40-240 anamorphic) and the OPF7 zoom (50-500 anamorphic). As the next lenstech is abouth 300km away from where I work, and changes might have to be done over night, I thought I should learn to do them by myself. As far as I understand, I have to put the lens in front of the collimator, then put the mirror in the focal plane where the filmgate shound be, and evaluate the reflection. Am I right so far, or didn't I understand nothing at all? Unfortunately the manual is only russian. thanks daniel

hi, no I don't have the original anamorphic groundglass, I have a clear groundglass, where original markings have been erased. It works perfectly with the sperical viewfinder.

Hi, I yust got a deanamorphic viewfinder for the KINOR 35H. But I cant get a decently sharp image out of it, is this a general issue, or am I making something wrong. As things are now a sharp squeezed image is preferable over the unsharp desqueezed one. In this link you can see a picture that compares the standard with the deanamorphic viewfinder. www.dapalmerfilm.com/fotos/Viewfinders.jpg thanks Daniel

If you are shooting with the recently discontinued Fuji R25n or RT200n I believe that Retro Enterprises are the only lab in the world that can still process this film, they are to Single8 what Dwayne's is to Kodachrome! However, the newer Cinevia/Velvia film can probably be processed at any number of labs around the world. Actually I really like the FUJI R25N, so as long as possible I will probably stick to it. I have used the Cinevia and although I liked it, it can not be compared to the R25N (also runningtime is longer because of the polyester base).

To my first email they answered and told me that it was shipped with air-mail. When I asked for a tracking number I didn't get no reply, but probably a tracking number doesn't exist anyhow. I met Tak once at Waaghäusl in Germany, and I'm sure he works very well. I was yust wondering if there were any similar experiences and maybe solutions that I had not thought of. Next time I will have the films shipped back to my brother in Austria, so no more worries abouth italian post service... thanks Daniel

Thanks a lot, now everything is clear :-)

Actually I also think that Italian post ist the weak link in the whole cain... Wrong adress can't be, as I always include with every roll that I send a printed out return address(so twice in this case), that has yust to be glued on the outside of the envelope. Actually the last hope is to belive that italian postservice is yust incredibly slow (which certainly is thru), and that they are yust trying to get into the Guinnes Book of Records...

Hi, does anybody have experience with sending single8 films to Retro Enterprises in Tokyo for processing? I have bought 10 rolls of fujicrome R25N at FFR-Film in Germany included processing. I have sent 2 rolls for processing to Tokyo, an appearently they have arrived and have been processed there. They were sent back to Italy (according to Retro Enterprises) on the 26 July 2010, but still nothing has arrived. Customs don't appear to have recieved anything and italian post service appearently also not (Italian Postservice isn't very trustworth, but I have never lost a package before). I have also asked Retro Enterprise if there was mayby a tracking number for the package, but since then they did not replay to my emails anymore. Before this I always sent to Fuji Photex GmbH in Willich Germany, and I always got my films back (last time I did so in 2008). Now I'm not sure what to do with the remaining 8 rolls, I wanted to shoot a short fiction with them, but risks are to high, that they might also get lost... Actually I had shot on the 2 missing rolls the test trailer for the fiction... Mayby having them sent to an other country like Germany works better? Has anyone tried this? thanks daniel

I have a set of iscoramas, and I do also rent them and my 8mm cameras (not if shipping is required). But usually only, if I work at least in a camera assistant position as well (if this lenses get broken its not easy to replace them). to see the available gear see my homepage: www.dapalmerfilm.com/databasesystem/index.php?option=com_content&task=category&sectionid=4&id=26&Itemid=42 to see an iscorama example shot with my cameras see: and daniel

Hi, thanks for the remark. I have seen, that modifiing the KINOR to PL-mount would mean that at least 2-3 mm would have to be milled out of the original KINOR body, als flange is 9mm less. As far as I can see this should be possible (I think the KINOFLEX that slow motion inc. was selling some time ago is also yust a PL version of the KINOR with new electronics). I would have this done at studio hamburg, I'm sure they can do a work like this, or that, if it should be impossible, they would tell before doing anything wrong. The problem is, that in order to rent the lenses I have I need to have them with PL-mount, as the RED-one owners I know, don't trust to put the Doug Underdahl OCT19 adapter on their RED. And I'm actually one of the last persons in South Tyrol that are still willing to shoot film... (meaning max 1 project every 2 years) The investment in the lenses was yust to big to have them yust lieing around, and renting the KINOR as a second Unit camera to foreign productions shooting in South Tyrol is also impossible with a oct19 mount, as the normally have their own lenses. By the way, since this year South Tyrol has a Filmcommission, the landschape is great, and I'm trying to put up something like a (low budget) kamera rental ;-) Daniel

the diameter of the inner black sektion is 56mm There is an aditional black ring that is fixed with 4 rubbersuspensions. This must be a cameraspecific thing not directly related to the type of mount, but to the camera where it comes from. thanks daniel