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In green you see an S16 Optica Elite 20mm lens compared to ARRi Studio (blue) and Loawa anamorphics (yellow)

Hmm. Dom posted these dimensions a few weeks ago, which are for the Alexa Studio (with rotating Mirror shutter) I now compare this with the dimensions given for the Loawa anamorphics (in yellow) and they are all within the Alexa Studio dimensions. So I don't know why Loawa tells you it won't fit a 35mm camera, let alone a 16mm camera, which has more clearance. 🤨

If it's genuine shade that's not 'bright' shade it should be fine loading in your car. Maybe put something over the window just to be sure.

I think I’ve heard of some lenses that don’t hit the mirror on Aaton bodies but do on the SRs, so hopefully somebody knows the SR3 dimensions. But this is helpful information, thanks! Seems like the Nanomorphs could be a great match for a diminutively sized camera like the A-Minima. When I saw the announcement, I just realized how perfect a 1.5x stretch would be for super-16. 1.66 * 1.5 = 2.49. Would be super interesting to shoot with, though I’d have to probably supplement with a spherical lens on the wide end.

Thanks, for loading spools for exteriors can I go to my car and load them in subdued light or would I want something darker than that? I don't mind the look of light leaks for this project if they're not overwhelming.

here's a page with most of the line typically used on set https://www.filmandvideolighting.com/roandtrli.html

Haha, thank you for saying that, you've read my mind :)) I mean I love my Elmo, and I am sure I will keep using it, just wanted to have a piece that will feel less than point-and-shoot camera. I ended up getting Beaulieu, hope it will be as wonderful as they say 😄

Yes, I was almost getting one, until I've read about that belt issue, which stopped me from buying it.

For those interested, the reason the mirror on 35mm cameras sits closer to the PL mount, and further away from the film plane than on 16mm cameras, is because the mirror has to cover a taller frame on 35mm cameras, hence in order for the mirror not to collide with the film plane, it has to move forward. 🥦

I don't have the clearance dimensions for the SR3, but because I'm also interested in these anamorphic lenses, I checked the fit for an A-Minima (pink lines) and the Y16 (black), and all three lenses (yellow lines) have enough clearance on these two cameras. So unless there are some S16 lenses that only fit the Aaton, but not the SR3, they should fit.

Does anyone have the measurements for the mirror clearance of an Arriflex SR3? I’m trying to figure out if the new Laowa Nanomorphs would hit the mirror. Laowa said they won’t work with S35 cameras with mirrors, but I know that typically S16 lenses’ back elements went deeper into the body. Here are the lens measurements that they sent me: https://drive.google.com/file/d/1Xn20mL1gq7JEy3LOjYaYPF8miEijk8kd/view. Are they safe to use?

Yes I've been somewhat mystified when they say this on the label. I've always loaded the spools in subdued light without any problem. The leaves of film protect the film underneath, even for super-16. The only thing to be cautious about is a possible bent spool. Subdued light can be quite dim as long as you are confident with the loading, so using as much film footage as possible.

You may have answered your own question ( no prep day ). Promises to prep gear for you due to mishap, may not always be the best kept. The best you might do will be to allow time in your schedule to set up each camera in turn on a tripod. The focal plane mark on the body should be the same measured distance from a focus chart (siemens star) as your shots are likely to be from subject. Set your shutter speed or gain level or both so that you have to open the lens aperture wide, then note where the focus mark on the lens is for each camera. A good monitor will be your best friend in this instance. Please heed better advice than mine when it comes along.

How was it? How did you like working with it? Did you use any of the textures?

I was just on a commercial with the Alexa35 and Cooke s4’s this week.

The stabilization test can be pretty inconclusive tho, unless your camera is REALLY messed up. We do registration tests like this for every camera we do full re-build's on. This way we know if the timing is good as well. This particular camera I had to do a full re-build on, the movement had an issue. So this is the final test. The chart we use is a tube that projects it onto the camera aperture with a lens. You shoot it one way, then turn it around and shoot it another way after rewinding the film. Thus you two different set of lines. In this test, you'll see the lines match up perfectly, but the registration is still off. We did register this test via the perf, but we also tried registering it with the film edge, which was way worse. https://vimeo.com/586435368

DDTJRAC - VHS / Betamax Archive After seeing Top Gun: Maverick, I went back to the original Top Gun to refresh my memory. The DVD has a great commentary about the 1986 film. Art Scholl, aerial cameramen, died shooting it. Cruise is 5' 7" and Mcgillis is 5'10" (They said she was 6 feet tall in the commentary. Maybe that was in heels.) They had to work to shrink her down and extend Cruise up. He had special cowboy boots to give him a raise.

Thanks, I'm shooting at 4x3 so it sounds like I won't need to.

sounds like it is bent... fuji and Kodak, even old dupont, ansco and Ferrannia spools should all work fine as a takeup spool. of course FUJI spools are going to be collectors items now.

this was discussed a little while ago. the recommendation was changed around the time folks strted to shoot in Super 16. do a search for the previous discussion.

When I was shooting tri-x I would load in subdued light. The label here says complete darkness. https://www.bhphotovideo.com/c/product/1482789-REG/kodak_8469421_eastman_double_x_negative_film.html Please let me know what's appropriate. Thanks.

Hi guys, I am focus pulling on a local TV commercial in a few weeks. We will be shooting on an Alexa for static shots and then shooting on an FS7 on a Movi. We'll be using the same lenses for both cameras. As the gear is owned by the production company, I was told gear would be prepped for me and therefore no prep day. My main concern is that the back focus will be off when I put the lenses on the FS7 (or vice versa) and the markings of the lenses will be off, making it difficult for me to pull focus whilst its on the movi. Just wondering if this is a common issue what AC's do about this in varying budgets/levels. Lovely to hear any thoughts on this, thanks!

All true, when we have had Pro jobs in that have been doing double exposure registration tests we do an overscan as well as that combination gives the most detail and feedback about the camera registration. Just did one for an Arricam LT today which was double exposure and a 3K overscan 4-perf camera.

I assembled the new tachometer sensor boards and the power distribution boards today. Next I will finish the software so that I can assemble the main circuit board and then the system is complete. Here you can see how the power distribution board is mounted on the bottom of the camera. It allows using two different power sources and the highest voltage source is automatically used to power the camera. One would wire the onboard battery to one of the inputs and the external power connector to the other one. One would drill an additional hole to the camera body to add secondary mounting point to the power distribution board. this drilling is pretty easy to do as long as one first protects the camera mechanism from metal chips and dust by taping plastic bags for protection which only exposes the drilling location so that cleaning is easy

Hi Sean, do you still have pieces of arri 16s, I would be interested in buying some from you. Thanks greetings!!!