Kept a rather low profile, but I gather a working example was at NAB.

http://www.aaton.com/files/penelope_leaflet_en_20110218.pdf

The dual sensitivity SO 100 & 800 sensor makes sense.

A film and a digital camera on the same box!!!
Pas mal.
It also implies that the sensor is interchangeable. Even better.

Could be also possible with the Arri 16 SR, with perhaps a S16 sensor in the future.

http://www.pstechnik.de/downloads/TDB_16D_SRMag_1009_web.pdf

It's very much for those people who like having an optical V/F, which now also available on the high end Alexa .

Could be also possible with the Arri 16 SR, with perhaps a S16 sensor in the future.

http://www.pstechnik.de/downloads/TDB_16D_SRMag_1009_web.pdf

It's very much for those people who like having an optical V/F, which now also available on the high end Alexa .

That's really cool, although they have to make it SR1 and 2 compatible first. An Arri SR3 is still very expensive. SR1s go for really cheap nowadays. Does this work for standard 16?

I think there's a possibility of a SR 2 version. The sensor size seems to be more standard 16 than Super 16, although it would need work with the Super 16 gate on the SR3.

Pure genius - that S16 cartridge from PS Technik could start a whole new 'revolution' (in the professional market, I guess it is going to be very pricy when you factor in the cost of both machines).

You have to love the lateral thinking involved here (kind of like when PS Technik came up with the Mini35 DOF adapter and got that whole ball rolling).

Guess there is going to be a run on old secondhand S16mm lenses (like the last time round with the DOF adapters pushing up prices)?

It would be cool if someone came up with a KRASNOGORSK-3 digital adapter.

Those cameras were the staple in so many film schools and had great ergonomics and a nice selection of lenses.

Guess there is going to be a run on old secondhand S16mm lenses (like the last time round with the DOF adapters pushing up prices)?

There could be a run if the Scarlet 2/3" interchangeable lens camera ever gets to the market. Those would be cheaper than these HD mags.

We would love to do this to our Arri SR1 and Aaton LTR 32; a pipe dream though?

Seems to be the newer 16mm cameras that are possibilities: the Aaton XTR has been mentioned.

This was actually done with the Arri SR1 back in 2002 by Joe Dunton:

JOE DUNTON CAMERAS - WORLD'S FIRST FILM AND HD CAMERA - WWW.URBANFOX.TV (http://www.urbanfox.tv/articles/cameras/c19joedunton.htm)

Not as good as today's offerings maybe, but shows its possible.

Yes, it's not new... Joe Dunton did lots of interesting stuff.

It would be cool if someone came up with a KRASNOGORSK-3 digital adapter.

Those cameras were the staple in so many film schools and had great ergonomics and a nice selection of lenses.

I vaguely recall that this camera was the one being talked about when the early hypothetical dicussion on this very website about modding a 16mm camera was first raised. Out of that thread the SI2K camera system arose.

Interesting.The SI2K works with 16mm lenses?

Simon.


The SI2K is essentially the digital equivalent of a Super16mm film camera. Some standard16mm lenses will work on it but not all.


My lenslist is comprised of older lenses :-

Cinema Products Ultra T* (apparently were made by Kowa in Japan). 9mm which requires a small modification, 12.5mm, 16mm, 25mm all work fine. Depending on how worn or how carefully refurbished they are, there can be a little spiral "walking" of the image when pulling focus over a long range. For practical purposes you would not notice it in most situations.

Kinoptik Tegea 5.7mm. This is an old lens, I think in the ballpark of the CP Ultras. It is not quite as sharp as the CPs wide-open. It is a rectilinear lens so all straight edges remain straight. With a Super16mm image, the signatured diagonal stretching of the image seems greater, most apparent with movement of a subject across the frame.

Nikon lenses I use which come up to 16mm sharpness, 58mm f1.2 Noct-Nikkor 7-blade iris, 28mm f1.4.

I have tried some old Taylor-Hobson Cooke Speed Panchro Series 2 35mm primes, 28mm 50mm and 70mm which came up to the sharpness of the Noct-Nikkor on a resolution chart. They are a bit flary. They had all been fungus damaged and repair by myself so good specimens should be better for contrast.

They are weird to focus. The little angel wings on the barrels are not focus levers but to hold the lens barrel from turning in the ARRI standard mount whilst the focus barrel is rotated.

COOKE SPEED PANCHRO SERIES II ON SI2K FRAME 9 By Bob Hart On ExposureRoom (http://exposureroom.com/members/DARANGULAFILM/7a31a7c66c0d42c5b80bb67d5e007237/)


Angenieux 17-75mm zoom. New-old-stock is being vended by Whitehouse Audiovisual in PL-Mount, the original CP-Mount and I think also in C-Mount.

Angenieux 10-150mm zoom. This vignettes at wide and at approx 25-35mm through the zoom range. Not so sharp an image.

I also have an old TV-Nikon ENG lens. This vignettes the corners on wide and again about 25mm - 35mm in through the zoom but not as much as modern HD ENG lenses. The ENG lenses I have played with are fine for faux cinemascope framing but you lose some of the ability to reframe vertical in post. A little soft but quite acceptable.

Simon.


The SI2K is essentially the digital equivalent of a Super16mm film camera. Some standard16mm lenses will work on it but not all.


My lenslist is comprised of older lenses :-

Cinema Products Ultra T* (apparently were made by Kowa in Japan). 9mm which requires a small modification, 12.5mm, 16mm, 25mm all work fine. Depending on how worn or how carefully refurbished they are, there can be a little spiral "walking" of the image when pulling focus over a long range. For practical purposes you would not notice it in most situations.

Kinoptik Tegea 5.7mm. This is an old lens, I think in the ballpark of the CP Ultras. It is not quite as sharp as the CPs wide-open. It is a rectilinear lens so all straight edges remain straight. With a Super16mm image, the signatured diagonal stretching of the image seems greater, most apparent with movement of a subject across the frame.

Nikon lenses I use which come up to 16mm sharpness, 58mm f1.2 Noct-Nikkor 7-blade iris, 28mm f1.4.

I have tried some old Taylor-Hobson Cooke Speed Panchro Series 2 35mm primes, 28mm 50mm and 70mm which came up to the sharpness of the Noct-Nikkor on a resolution chart. They are a bit flary. They had all been fungus damaged and repair by myself so good specimens should be better for contrast.

They are weird to focus. The little angel wings on the barrels are not focus levers but to hold the lens barrel from turning in the ARRI standard mount whilst the focus barrel is rotated.

COOKE SPEED PANCHRO SERIES II ON SI2K FRAME 9 By Bob Hart On ExposureRoom (http://exposureroom.com/members/DARANGULAFILM/7a31a7c66c0d42c5b80bb67d5e007237/)


Angenieux 17-75mm zoom. New-old-stock is being vended by Whitehouse Audiovisual in PL-Mount, the original CP-Mount and I think also in C-Mount.

Angenieux 10-150mm zoom. This vignettes at wide and at approx 25-35mm through the zoom range. Not so sharp an image.

I also have an old TV-Nikon ENG lens. This vignettes the corners on wide and again about 25mm - 35mm in through the zoom but not as much as modern HD ENG lenses. The ENG lenses I have played with are fine for faux cinemascope framing but you lose some of the ability to reframe vertical in post. A little soft but quite acceptable.

That's quite the collection of unusual lenses - must be a nice system to work with! I've always loved the look of 16mm film (and had a lot of fun using it in the past).

Do you know anything about these old Kiev 16mm cameras from Russia? They have 3 lenses on a wheel (which can be unscrewed) I was wondering could the lenses be adapted for digital cameras like the SI2K? I see a number of them for sale on ebay these days (sometimes just the lenses, other times the whole camera):

http://cgi.ebay.co.uk/Kiev-16-Y-Camera-KGB-USSR-/260773655164?_trksid=p4340.m263&_trkparms=algo%3DDLSL%252BSIC%26its%3DI%26itu%3DUCI%252BIA%252BUA%252BIEW%252BFICS%252BUFI%252BDDSIC %26otn%3D8%26pmod%3D260769963071%252B260769963071%26po%3D%26ps%3D63%26clkid%3D8674978804584970480

http://cgi.ebay.co.uk/Lens-Vega-7-1-2-20mm-16mm-movie-camera-Kiev-/160571371444?pt=LH_DefaultDomain_0&hash=item2562ccafb4

This is an interesting camera, digital and film! I thought I heard rumors about 10 years ago that ARRI or Panavision wanted to introduce a film camera that could shoot in HD and the film magazine would be swapped out with a hard drive that looked like a film magazine. I can't remember where I read it, but it seemed like science fiction to me at the time!

Heath

Here's an Abel Cine video blog:

Aaton Penelope Delta Offers Beyond 4K | CineTechnica (http://blog.abelcine.com/2010/04/13/aaton-penelope-d-offers-beyond-4k/)

The 100 ISO will be neat with an optical viewfinder, you don't want heavy duty ND filter pack using that. The Arri Alexa with the proposed optical V/F could have problems if it's only 800 ISO.

It seems that the Aaton Delta Penelope has now evolved into just a digital camera, rather than a hybrid Film/digital camera.

http://www.aaton.com/files/delta-p_sept-2011.pdf

That makes sense -- cheaper and easier; the reality today is most indie filmmakers and many production houses are using digital only. I know of one company still shooting film, because their owner/DP is an old die hard 35mm film guy. But they recently bought a RED ONE and started shooting with it. Guess even he's willing to go digital.

Heath

Looks like a lovely camera, and they've boosted the latitude up to 14 stops now!

I loved my brief affair with the Aaton A-Minima during university. It just felt so natural to use.