CP16R SUPER16 TEST. ANZAC MARCH. PERTH. 2007.

[kevbomb]

Hi, I'm very interested in converting my CP-16R to super 16. Apart from filing the gate, what else needs to be done. If I were to attempt the conversion myself I would not try to re-center the lens. Do you file just the left side of the gate. I have an angenieux 17.5-70mm which I know cover super 16. Do the standard mags and pulldown claw function the same.

[DARANGULAFILM]

Kev.

Unless you have very fine metalworking skills and I mean topnotch watchmaker skills, I would not recommend you tackle this.

I did but I was just plain lucky as well as careful. The final filing I did to come up to my mark was with a piece of smooth steel and then a strip of cardboard glued on the steel, that's how dicky it gets.

[DARANGULAFILM]

There are two approaches :

Filing out the gate into the soundtrack area and remaking the rollers to avoid contact with the emulsion side of the widened image area.

Remaking the CP-Mount with an offset centre to move the optical axis into centre of the widened frame.

This puts the image offset in the viewfinder and this cannot easily be reset.

[DARANGULAFILM]

Paul Hillman's approach of remaking the path with a new gate with the path offset to keep the frame centre on optical axis centre and remaking the rollers as above.

The optical centre and frame centre remain centred in the existing viewfinder frame.

Paul's conversion also includes a new viewfinder screen with Super16mm makrings.

I think Paul may have been at Whitehouse Audiovisual when I went there in 1996 and saw a prototype offset conversion. He is now at Visual Products in Ohio.

[DARANGULAFILM]

Get it too wide and you end up with an ugly double-exposed edge on your frame and maybe a tendency for flare on top and bottom if image hotpsots like sun or highlights off water hit the frame edge.

Get it too narrow and you have a dark crop on an edge or corner.

[DARANGULAFILM]

The gate balls need to be in good condition so the image area they touch is not scratched.

You also need a powerful close-up headband loupe or dioptre to get in to see your workpiece magnified huge.

[kevbomb]

nice footage, I just bought a CP-16R standard 16. I like the wide 5.7mm Can you tell me is that about equivalent to an 18mm lens in 35mm terms I'm just trying to figure this out as I have to buy a lens or two

[DARANGULAFILM]

I'm not sure about the math but the standard 35mm movie frame is about 24mm wide, about 22mm by the time a safe-area is applied.

The standard 16mm is about 10mm wide, so it is pretty close.

Backfocus or collimation of these ultra-wide lenses is critical.

I have shimmed one sharp on infinity at flange and I screw the lens out slightly for critical focus.

Search exposureroom for Fox Featherweight. You will find a clip which was shot with the Kinoptik in an aircraft cabin.

[fredNielssen]

Hello, I live in sydney, and have some 16mm I need telecined, and some I need processed, I was curious as to where you get yours done.

Ps: Cool video :-)

[DARANGULAFILM]

Fred.

Movielab in 101 Eton Road Lindfield near Sydney is your closest. I don't know whether Kelvin is still processing these days. I think he gets his telecine work done by another outfit.

The ANZAC processing was done at Cinevex in Melbourne and the telecine was done by Lemac in Melbourne.

Hope that helps.

[fredNielssen]

Thank you this helps allot.

[DARANGULAFILM]

The conversion was done with care on the kitchen table and after work on a lathe in the rear of the workplace. Bolex do Super16mm conversions on their own products. There is an outfit in Eastern Australia which converts CPs and has the proper viewfinder glass which I don't have. The outfit over your way which does the conversions I do not know, the engineer is named "Brian". Kelvin Crumplin at Movielab in Sydney may know as "Brian" also converts 35mm ARRIs to 2 perf pulldown.

[reticulan5]

Where did you convert your camera to super 16?I bought a EL Bolex super 16 from Switzerland.I,M thinking of converting some stand 16s.Cannot find anyone here.