daniel mahlknecht

Is it possible to combine this zoom with a rear anamorphic atachment made for LOMO zooms? thanks Daniel

I forgot, the COOKE zoom on ebay looks strangely non symetric, is this normal? http://cgi.ebay.com/25-250-COOKE-ZOOM-LENS...=item2304d84083

Hi I'm looking for a reasonabely good lens for my KINOR 35H, that eventually can be converted to anamorphic. Roundfront primes would be first choice ovviously, but I have to compromise with my budget. I'm not so sure if the LOMO 35 OPF-7-1 (25-250 zoom) will give a good sharpness, how is it compared to the COOKE 25-250 Zoom (1st generation)? I found this one on ebay http://cgi.ebay.com/25-250-COOKE-ZOOM-LENS...=item2304d84083 can this COOKE be used with the rear anamorphic lomo atachment? I'm also considering a FOTON 37-140 with front anamorphic atachment, but I have some doubts abouth picture quality. I have a feeling that a front anamorphic atachment will not work as well over the whole zoomrange like a rear atachment, maybe somebody knows more about it. thanks Daniel

Hi, Thanks, I also meant the left, not the right, guess i mixed up the directions in my head... I need this Ground glass for the Kinor I bought from you :-) thanks Daniel

Hi, I found some KINOR 35H (at lest I hope 35H) groundglasses on Ebay, but the seller doesn't seem to know exactly what he is selling, as he says that all his ground glasses are anamorphic. To me it seems that only one of these could really be anamorphic, can somebody recognize which of them? (to me it seems the one in the right upper corner marked with 3). http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=390112763952 thanks Daniel

Thanks for your answers. has anyone actually shot with an anamorphic FOTON Zoom and compared it to the roundfront primes or other Zooms? It ia a lot ceaper than the other lenses, does this mean a lot less image quality or yust less speed and smaller zoomrange (and more flaring because or the square anamorphic adapter)? Would the FOTON fit the KINOR 35H also with the rear anamorphic adapter? I heared different opinions on this. Regarding the idea to use the round anamorphic lens part of a round front Prime lens, and put it in front of a other modern sperical prime lens, does this really work, or did I understand it wrong. thanks Daniel

I guess I will look for round fronts then. If somebody is selling some of them I'm interested. They should have their original OCT19 mount, as I have not the money for PL Versions, also because I would then have to cange all the mounts on my spherical lense on my KINOR and the Konvas M2 too. I'm eventually also looking for a Zoom, but I'm more interested in primes. thanks Daniel

As I had understood it, in handcranked filming, the Handcranker has to keep the right speed, what helped him was a musictune with a corect beat to crank folowing this rythm. No guarantee that this in 100% thru... daniel

Hi, I just bought a Kinor 35H, and am now looking for anamorphic lenses for it. I'm not sure if I can get round fronts for an afordable price, and would tend to buy sqare fronts, but not all of them seem to fit the Kinor. I'm also thinking of an FOTON Zoom http://cgi.ebay.de/Zoom-lens-FOTON-3-5-37-...=item518f9d10a8 and a rear anamorphic atachment http://cgi.ebay.de/ws/eBayISAPI.dll?ViewIt...e=STRK:MEWAX:IT , of course mounts would have to be changed to OKT19 or PL. thanks Daniel

resolved the power problem, I put an aditional mini XLR Plug into the handgrip, and wired it to the original plug. As a Powersource I used two makita tool bateries, they have just 1,4Ah instead of the 1,7Ah required for 300f/sec but the camera and the exposuremeter now work. I thought to use later on two NP1 Litium bateries, but I was not sure if it was a good Idea to put them into a row to obtain the required 24-32V. As soon as I get some time I will try the old polavision films, and then I will see if the single8 idea is really impossible. Daniel

Yesterday the Mekel 300 arrived, and as far as I can see, it wouldn't seem too difficult to adapt to single8, as the takeup winder is right there where it should be also for single8, just no pressureplate is there. I thought I might try to fit one of an old single8 camera and the takeup windersprocket too, as the one built in is more like super8 style. But first of all I have to try to get the a working powersource. then I will shoot the two polavisionfilms that came with it (expired in 1983 so probably there won't be anything). Daniel

Hi, thanks for your answer, yes I intend to shoot highspeed only, as for regular schooting I use a ZC-1000 which has already a very steady picture. There were rumours of a reloadable single8 cartige to be released soon, and I was placing my hopes into it once single8 really should be discontinued. I yust like the zc-1000 much more than the super8s I have tried. The 60m spool sounds also interesting though. Can the Mekel be stopped, once it has reached maximum speed? I have a redlake 16mm Highcam, and because of its rotating beamsplittersystem stopping the film once started is impossible, meaning that you have to shoot always a full load of film once pushed the trigger. Daniel

Hi, I just bought a MEKEL 300 Polavision Highspeed camera, with the intention to modify it for single8. Has this already be done? Or is it a better idea to reload the Polavision cassettes with super8 Filmstock? Thanks Daniel

Hi, actually no super8 camera shoots natively 16:9 as far as I know. Max8 or superduper8 modified cameras get closer to 16:9 so you have to crop less of the frame as if you were shooting regular super8. Best choise if you ask me is to shoot anamorphic with an 1,5x anamorphic lens. Here ia an example http://vimeo.com/7863772 Daniel

Hi, one question, would it be a problem, if single scenes (in my case the POVs of the Aliens) are shot on 16mm? The rest of the film is single8 and super8 (80-90% of the film)? Thanks Daniel

I prefer the Bauer Studio series, like the BAUER T610 microcomputer stereo. They are very gentle with the filmtransport, and even if they jamm (because of broken perforation or splices ecc.), they do no or little harm to the film. The ELMO GS is great, and surely more rugged, but when something happens the film is likely to be more damnaged, and it is also noisier than the BAUERs. Daniel

I prefer the Bauer Studio series, like the BAUER T610 microcomputer stereo. They are very gentle with the filmtransport, and even if they jamm (because of broken perforation or splices ecc.), they do no or little harm to the film. The ELMO GS is great, and surely more rugged, but when something happens the film is likely to be more damnaged, and it is also noisier than the BAUERs. Daniel

actually between the film and the lens, not the camera and the lens...

Hi, actually I use a modified Bauer T610 super8 projector (with the sync components for 25f/sec and a special led lamp of telecine Fälker in germany). I film directly the film without any screen or something between the camera and the lens (as a result the image is upside down and has to be turned in final cut). I use my old JVC GY700WE CL with an selfmade c-mount adapter and a Kern Yvar 75mm lens and some macrorings. Actually I'm very happy with the results too :-) This kind of telecine does not work, or at least not really, with cmos chip cameras, yust in case you want to try. The FUJI R25N in combination with the single8 pressureplate also contributes to the sharpness. Daniel

Hi, I just uploaded some super8 (actually single8 shot with a Fujica zc-1000) shot anamorphically with an iscorama lens. In this particular case I used a 25mm fix lens and a ISCORAMA-ANAMORPHOT 1,5x - 36. If you use a zoom lens then the ISCORAMA-ANAMORPHOT 1,5x - 54 works better, as you can use your lens from abouth 11mm on without vignetting (I have tested it on my Bauer A512 and the Beaulieu ZM4, as well as on the original Fujica zc-1000 Zoomlens). The second part of the roll I shot in 4:3 without the iscorama so you have the direct comparison. No cropping at all was used on the footage. watch the footage on http://vimeo.com/7863772 The sharpnes of the anamorphic footage is great, unfortunately the compression on vimeo has diminued it a lot. daniel

The NIZO professinal does not need this extra battery, that is what makes her really better compared to the 801 macro, as I doubt that the sound sync features will be used often. Still if it was not for the new Kodak T64 I would also prefer the BAUER I love how the handgrip design. Does anyone have da manual that describes how to change the exposure reading in the Bauers? I know that they can be modyfied. Daniel

I use a Bauer A512 that is the same camera, but has an other lens (6-70mm). I like it very much, but recently I use more my NIZO professinal, because the Bauer does not recognize the new Kodak 64 ASA stock and would overexpose slightly. Of course this can be corrected manually with the manual iris control. The features of both cameras, the nizo and the Bauer are very similar, and I like especially the longtime exposure feature that allows to shoot in nearly total darkness timelapse.

Finally I got to shoot myself with the Z7, and can now describe the problem better. If I record my audio to CH1, there is never a problem. Recording to CH2 it happens quiet freequently, that it turns itself off while CH1 keeps working. Then you have to switch the selection switch between ch1 and ch1-ch2 to ch1 and then back again and everything works again until the next ch2 blackout. It seems that although the switch is a mecanical one it resetts itself. We solved the problem for now by putting the main mic always on CH1 and the second mic on CH2. A Friend of mine had the same problem with his Z7. If I'm making the mistake, would be fine, but I fear that there is something wrong with the camera... thanks Daniel

Hi, we used Ch2 for the camera mic in auto mode and Ch1 for the soundmixer in manual mode. The problem was on both channels. The problem is, that it is difficult to test why this happens, because it can also be that for 3-4 tapes everything is fine. We shot in 1080i 25p. thanks Daniel