Our event takes place just after the J.L. Fisher 11th Annual Mixer and BBQ Lunch at J.L. Fisher 1000 West Isabel St., Burbank, CA 91506 which takes place from 9:00 am to 4:00 pm on the same day. We are located within walking distance of J.L. Fisher.
We will be providing overflow parking for the J.L. Fisher event at the Hot Rod Cameras parking lot. You can park with us and take a golf cart ride over to J.L. Fisher, and then back again at the end of the BBQ Lunch for our after-party.
May 27 – 28, 2017: ShareGrid Anamorphic Lens Test
We will be participating in and providing technical support for the ShareGrid Anamorphic Lens Test. This will be the most comprehensive comparison test of anamorphic lenses where the results will be viewable.
Effective May 1, 2017 CinemaTechnic’s labor rate for Cine Lens and Motion Picture Film Camera repairs will be $150.- per hour.
Jobs currently in-progress and jobs estimated before May 1 will be billed at the previous rate of $125.- per hour.
The minimum labor charge will be 1 hour for professional Cine Lens inspection/repair. This covers inspection and written estimate for up to 5 prime lenses or up to 2 zoom lenses. This “estimate fee” is charged as a minimum fee if the repair work is not approved, and waived if the work is approved.
A non-binding verbal estimate based on a quick (10 minute) visual inspection is still available at no charge for supported professional Cine Lenses only:
Except for limited service for Leica-R lenses, we do not service still photo lenses or any autofocus lenses.
For ARRI and Moviecam Motion Picture Film Camera inspection/repair, the minimum charge is 1.5 hours labor for camera bodies. This covers inspection and checking the camera’s calibration settings. In many cases calibration adjustments such as Flange Focal Distance can be accomplished during the initial 1.5 hours.
The minimum charge for Film Cameras will be reduced to 1 hour for any subsequent service for the same camera body within two years of the initial service.
Inspection and adjustment/service of film magazines is at an extra charge depending on the number of magazines in the camera package.
Customers are advised to keep in mind that ARRI no longer supports film cameras (Moviecam merged with ARRI), so if parts are needed delays will be inevitable and costs cannot be estimated in advance.
The following motion picture film camera models are supported:
As it always goes with remodeling, it took far longer than planned. But the first of my new workshop rooms was finally completed the last week of February.
The photo above was taken just after the completion of painting. It seemed so big before I put all my machines and workbenches in there.
This room will eventually be the Machine Shop and Prototyping Workshop. But for now I will be doing all my work out of this room. That will allow me to take my time to complete the Clean Room. I don’t want to rush that project.
Almost as if on cue the first jobs arrived just as I was getting the last of the tools into the room. I’m looking forward to a very busy March. A lot of long delayed projects will be getting the green lighted.
CinemaTechnic’s new workshop is located inside the new Hot Rod Cameras building in Burbank at 722 N. Mariposa St. I hope to see you there soon…
Now that 2016 has come to an end, I want to express my gratitude to all of my clients who have supported me in this critical first year as an independent California business.
Some of you are long-time clients that have been with me since the early days of CinemaTechnic, Inc. of Miami, as far back as 2001. I’m very glad to have you back.
Some of you are new clients and trusted me with your cine lenses. I’m pleased to get the job done for you, sometimes in shorter time frames than anyone else could provide, making sure your lenses were in top shape and ready when you needed them.
Know that I work on your lenses with as much care as if I owned them myself. I was once a cine camera and lens owner-operator and I know how much you invest in and depend on your equipment.
I was surprised by the amount of film camera service business I got in 2016. Although it is a small part of my business it still exceeded expectations.
Big things are in store for CinemaTechnic, LLC in 2017. We have outgrown our tiny Hollywood office and will be moving to a much larger space in Burbank in January 2017!
The new space opens up a lot of possibilities. I will be able to set up my precision metalworking and prototyping area, which will allow me to get involved in modification and development projects.
The photo above which shows a set of super-rare Dasla 4k Digital Cine Primes (rehoused Leica-R’s), one of my most interesting service jobs of 2016.
CinemaTechnic is pleased to announce the limited availability of Super 16 / 2k Digital Cine conversion for the Zeiss Vario-Sonnar 1.8/10-100 T2. We have found a source for a few new old stock conversion kits. These kits were thought to be unavailable since the late 2005 demise of Optex.
Zeiss designed the f1.8 Vario-Sonnar 10:1 zoom for regular 16mm. These lenses were produced beginning in the early 1980’s. That was many years before the Super 16 format became popular. This lens, produced in substantial numbers as a companion to the Arriflex 16SRII, won’t cover Super 16 or 2k digital.
In order to cover Super 16 and 2k digital cine formats, the minimum image circle has to be increased by 20%. This can only be done with additional optics, which are positioned just behind the lens’ original rear element. These new optics follow the Barlow lens principle and increase the image circle diameter by 20%.
The lens above was converted with one of these new kits. The conversion optics are nicely integrated into the included PL mount. This is a great value. PL mount option for the original Optex kits was $650.- just for the mount!
Your lens will receive a new group of high-quality multi-coated optics that will get mounted just behind the original rear relay optics. You can see the housing for these optics integrated in the black cone of the PL mount.
The conversion optics are made by a world-class company specializing in optics for scientific research an industry. They are the original designers for the Optex Super 16 conversion kits. They also designed Optex’s renowned line of Super 16 prime lenses. You can be assured that your lens will be converted without compromise, maintaining the original optical quality the Zeiss Vario-Sonnar zoom is known for.
After conversion, the lens becomes a 12-120mm T2.4 and covers Super 16 at all focal lengths and focus distances greater than 5 feet. The increased coverage is important for 2k shooters as it ensures coverage of all 2k windowed modes on Super 35 sized sensors. Also sensors such as the Blackmagic Pocket Cinema Camera which has a sensor slightly larger than Super 16 film, are covered.
Pricing and availability
Cost for the conversion is $2147.- including PL mount, standard installation and calibration at our facility in Hollywood, CA.
There are only a handful of these new conversion kits remaining. Get yours before they’re all gone…
NOTE: In response to questions from many 2k digital users: The Zeiss 10-100mm T2 is the only 16mm lens that can currently be converted to Super 16. The conversion for the Cooke 9-50mm T2.5 is no longer available (one of my customers got the last one years ago).
There are no other conversions available now or in the past.
We have some lenses available that are rarely available on the used market, such as the Optex/Canon L 300mm T2.8, the Canon 11-165mm T2.5 and the Cooke S4 6.0mm 9.5mm and 12mm. Also available Zeiss Distagon 9.5mm T1.3, Zeiss Mutar 0.6x “Aspheron” Wide Angle Attachment and Zeiss Vario-Sonnar 11-110mm T2.2 Mk.3.
All lenses are inspected prior to sale, serviced as needed, and focus adjustments are covered for the first 180 days.
I’ve been hearing from a lot of motion picture film camera owners about the difficulty in finding service and maintenance support. I can still provide service for the following film cameras:
Arriflex 16SR 1-2-3 including HS and Advanced versions
Arriflex 35IIC / 35IIIC
Arriflex 35III Mk. I and Mk. II
I have all the proper tools, supplies (lubricants, etc.) and service documentation for the above camera models.
Labor rate for film camera service is the same as for cine lens service $125.- per hour. There is a 1.5 hour minimum for the first time inspection/test and estimate on a particular ARRI/Moviecam film camera. The minimum is waived if the same camera returns for follow-up service.
Spare parts availability is very limited. New spare parts are not available from the manufacturer for any of the cameras listed above. If parts are needed for repair, I will utilize my resources to find the needed parts. A research fee may be charged for time spent sourcing parts. Owners should expect delays in service. For this reason it is very important to schedule service well ahead of any potential shoot dates.
I have also been hearing about the difficulty in finding ARRI film camera accessories. Many new owners purchased their camera packages on auction sites and are missing important accessories. Although the cameras themselves are not difficult to find on the used market, accessories are another matter. Availability is limited and prices have started to go up for the first time in several years.
2016 seems to be shaping up as an evolutionary year for the cine equipment business – which is not, in my opinion, a bad thing. I feel that history of the evolution of motion picture technology shows that there are revolutionary periods where many significant new technologies get introduced within a short period of time. This happened most recently between 2007-2010, and prior to that in 1972-1974 (hand-holdable silent 35mm cameras), and 1952-1954 (Cinema, CinemaScope, 3D) and 1927-1930 (sound-on-film).
In each case, new technologies get introduced, and filmmakers don’t have time to determine the best way to use them. In some cases the new technologies affect the filmmaking process negatively. Think of the early talkies (early 1930’s) where there was zero camera movement – because the noisy camera was encased, along with its operator, in a sound-proof booth the size of a phone booth. Or more recently the early CinemaScope films that were shot like stage plays using one big wide master shot – because the early anamorphic adapters had too much distortion to be used in a close-up.
During the revolutionary periods the equipment manufacturers and film producers also get confused not knowing which technology to back. Think of the early color processes, early 1950’s 3D technology, or the short lived small-sensor HDTV based era of digital cinema.
In each case, once there are several years without any really disruptive technologies being introduced, filmmakers and procedures have time to figure out how to best use the new tools, and manufacturers have time to sort things out as well.
I think that after a few years of a very furious pace of introduction of new technology, we are entering a period where cinema technology is maturing.