Mark Dunn

he's head of cinematography at the NFS, which probably keeps him busy in between commissions.

That was William's son, Claude. William dropped dead at a film industry shindig in 1921, a forgotten pioneer.

Get 'em while they're hot- Minolta sold its photo business to Sony this summer. My guess is Sony won't be very interested.

Oops, look here. Too late. http://ca.konicaminolta.com/products/consu...acc_meters.html

These products have been discontinued.

No problem. http://en.wikipedia.org/wiki/Shoelaces#Shoelace_tying

There are reassuringly few bulbs. I was relieved to find my Steenbeck took the same bulb as my slide projector. It's the 3-letter codes- FEX for blondes, DXX for redheads, etc.

You just need a coin or a piece of metal, or even stiff plastic, of the right size. Try a few out but don't lose them in the slot!

Your picture didn't post, btw.

Using similar triangles, I make it a 20mm.

You're 20m above the alley, you need a 25m horizontal FOV.

35mm. film is about 25mm. wide, so by similar triangles you need a 20mm.

Yes, not your average drug- funding heist. They'd be after MP3 players or laptops. Someone stole it who DOES know his Switar from a hole in the ground. A very discerning thief, though. Did he leave the CP-16s?

It's only projection which uses the double (or even triple, IIRC, for 8-mm) exposure. If you think about it, you'd get some odd double-exposure effects with a moving subject if cameras did it.

I didn't know this was common any more, but polyester base is thinner, so you can fit more on a standard spool, or get 500' in a 400' mag.

Just shove it down on the 16mm. pins really hard. Or better still, run it through a Steenbeck first. That'll show those titchy little perfs who's boss.

I suspect that wasn't an accident. Nikkor FFD is 46.50mm. Bingo.

And yes, it's a matter of debate just how hard you screw in an M42 lens, so you could affect the focus. My optics is very rusty, but I assume it's less critical with 35mm. stills than 16mm.

It's the ratio of focal length to aperture diameter. So, at its simplest, a 100mm. lens with the iris closed down to 40mm. is at f2.5 . If its maximum aperture is 50mm., it will have f2 on the barrel.

Some cheaper zoom lenses for stills do change in focal ratio- it increases at the long end. Presumably this is the design constraint on cine zoom lenses, where this wouldn't be acceptable.

An adapter can only lengthen the FFD, it can't shorten it. You'd need a correcting lens, presumably.

Pardon? M42 IS a screw thread. By design, the M42-mount K3 has the correct FFD for M42 lenses- 44mm. To use such a lens on an Arri S the lens would have to be inside the mount, and it still might foul the mirror.

That's what I meant to say.

You'd have to match the flange focal depth, which is generally quite a bit longer on cine cameras to allow for the spinning mirror. So even with a mechanical adapter, your lenses would be too far away from the film. They'd work as macro lenses, but they wouldn't focus normally on their own.

For example, the Arriflex FFD is 52mm. Canon EOS FFD is 44mm.

PS: Here's a FFD list; 35mm. camera FFD's are all shorter that 52mm. (Very handy. Must bookmark.)

http://www.a1.nl/phomepag/markerink/mounts.htm

Rocky Mountain developed one for me five years ago, but it cost a packet- about $20 plus shipping IIRC.

PS- just had a look- it's $36.50.

http://www.rockymountainfilm.com/ektamovie.htm

T stands for transmission and takes into account the light absorbed (and scattered?) by the many elements of a zoom lens, so it depends on the lens. For the Angenieux 12-120, geometrical stop f2.5, it's T2.2 and so on. The loss of light also occurs in still camera lenses, of course, but the small differences can be corrected in printing, whereas in film, shot-to-shot consistency in density is much more important. Failing to allow for the T-stop would introduce an unnecessary variable to be corrected in printing or telecine.

It's at least- what- 25 years old, and much grainier than modern stocks. Surely it's not worth the trouble for a few rolls of film. Unless you already have a slitter, perforator and empty cassettes.

Leo- they mean invert, as in convert neg to pos, not flip (or flop in my book).

As far as I'm aware all film has had an anti-halation layer for years. It's the blackish coating on the base and it dissolves in processing.

help us out here, OP- the Scoopic is 16mm..

Wittner sell that, too. http://www.wittner-kinotechnik.de/katalog/...mm/d8_filmm.php

Oops, my mistake, that's just double-8.

I think Wittner are putting 100D is cartridges, at a price.

Both are tungsten balanced, so require filtration in daylight- 80A for K40 and 80B for 64T (the T stands for tungsten).