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Looks like the rebuild turned out quite nicely

I recently bought a Zeiss 10-100mm T* f2.8 (T3.1 Arri-B mount) for use with my Eclair ACL and BMD Ursa Mini 4.6k. The lens seems to be in quite nice condition, but for some reason I'm unable to reach infinity focus. At first I was worried if this was an issue with the Arri-B to EF mount adapter I use with the Ursa, but then I mounted the lens on my ACL and the same issue is present there too. Using Optar Illumina Arri-B lenses I have no such problem. This is one of those "for use with Arriflex SR only" lenses, but there's nothing protruding from the rear. Any ideas? Just so that I don't send it to an expensive check-up just to hear that there is something non-standard to begin with with a lens like this and the issue actually is not using an Arriflex SR 😉

Thanks Todd for this excellent information. Could I ask, who would mainly be buying these vintage footage clips that you've restored? Would the clips be used in music videos for instance, or documentaries, videos on YouTube about cars? I'm genuinely curious.

I can't find any advice, on whether or not it's safe to stand the on spreaders of your basic combo stand. Anybody know if it's safe?

Thank you! It might be the chamfer. It's so close to fitting. I'll probably take it to machinist when I get back to LA.

It is a technical topic. A crystal controlled motor runs very steadily, an LED array on grid follows the mains frequency which varies all day long. Or it is electronically controlled but you don’t know to what frequency. Finally, the phases should be in coincidence so that you have the most light on film. It’s perhaps 50,006 Hz and 49,979 Hz one against the other, something like that. As I’m typing this, the grid frequency is 50,026 Hz here. https://www.swissgrid.ch/de/home/operation/grid-data/current-data.html

Lyly, The Woman in the Moon Dorothy. I’m not crazy. I know the difference between good and bad. Blue Velvet, 1:10:18 Pandora. Hail, Heavenly Queen [ Nature ], the author of all good, Whose will hath wrought in me the fruits of life, And filled me with an understanding soul, To know the difference twixt good and bad! 1.1.87–91 The M’Naughten Rule, the ancient British importation which contends that if the accused knew the nature of their act, and knew it was wrong, then they are mentally competent and responsible for their actions. Truman Capote, In Cold Blood, ch4 * Prometheus and Pandora 1. The gods conceal from us a life of perfection. Otherwise in one day easily we could change our minds for the better, rather than toiling for another year in the worst. Olympus punishes us with the drudgery of plowing fields with ox and patient mule, and the power to overcome our depravation wastes away untapped in us; for God has hidden our possible powers of mind for he would not have us be as strong as gods. Noble Prometheus deceived him and stole fire, hiding the flame in a hollow of a fennel stem, and his artfulness of thought escaped the notice of god who moves the clouds. Afterwards, however, Zeus Supreme who moves all things spoke out in anger : “Prometheus! Smarter than all the rest in thought, think yourself happy for tricking me? What you’ve done is bring misery to yourself and all those to come. Not only you but the whole world shall pay the price. So let them all be happy while they embrace death. 2. So the god of all things demanded Hephaestus to get to work, and mix together earth and water, and skillfully endue the form with human voice and strength; then mould the shape into a lovely girl of exceeding sweetness, with face of a goddess. Athena, then, will teach her the intricacies of needlework, and the weaving of webs; and golden Aphrodite shall pour down grace onto her head— but also cares and sorrows and regrets, and troubles that eat up the soul. And Zeus ordered tricky Hermes to put into the girl shamelessness and deceit. Thus was the dispensation from the son of Time, and Hermes obeyed his word; and all things happened in order. First, Hephaestus, the famous limping God, fashioned the clay into a respectful virgin. Next, bright-eyed Athena dressed her in finery. Then the joysome Graces laid necklaces of gold on her skin, which warmed the gems there; and the Horai, the beautiful-haired goddesses of the seasons, crowned her head in wreaths of flowers of spring. Then Athena returned with garments to show off the virgin’s body and breasts. Finally, Hermes came. He fashioned into her deceitful wheedling words and a wily ἦθος [ ethos—nature, character ] decreed by Zeus, master of cloud and thunder; and he put a voice into her, and the power of speech. And her name was Pandora. And all of the gods who dwell on high Olympus gave her as a misery to toil the world, just because. 3. When this deep deceit was built to perfection, Zeus sent Hermes to Epimetheus, brother to Prometheus, bringing with him Pandora and a beautiful jar fretted with gorgeous work as gifts. Now Prometheus had instructed his brother to refuse any gift of the gods, in case what looked lovely was contrived as bad death— but Epimetheus didn’t think of this at all. He received the gifts, and accepted them, and then, when it was too late, he understood what evil thing was his. Before all this happened, human beings all over the earth lived together in peace and quiet, and were free from all sickness and grievous labour and the troubles the Three Fates bring to humankind. Now bad times came to the human race, which weakened. The woman screwed the lid off the jar with her hands, and all the enemies of peace and quiet scattered on the air; and what she did brought many sorrows and miseries to us all. Back inside the jar the spirit of Hope made to fly out, but was caught under the rim of the dark jar, and did not escape through the opening, and Zeus had decided that. But the infinite miseries released on us stalk us all the time, filling up earth and air. Disease randomly strikes first one, then another, bringing to humans pain without warning, for Zeus allows dangers to wander about us silently. And there is no way to escape the will of Zeus. Hesiod, Works and Days, 42–105.

I shot film footage before in a similar situation and it flickered.

Whoa. I didn’t say that. I only said that Getty doesn’t provide feedback on the metadata I submit. To be clear, you must submit metadata tags along with your clips. I’m no different. I simply meant that Getty doesn’t tell me one way or the other if my tags were good, effective, or otherwise. Also, I don’t upload pictures. (I’m guessing you mean stills.). I now only upload vintage public domain film footage. There’s a ton of it. It makes much more money than me shooting my own stuff. But there are consequences. Virtually all of the film prints that I acquire and transfer require restoration. I use Diamant for restoration, Neat for grain removal, and Resolve to reassemble all the restored parts and pieces. It’s time consuming, but once a clip is up on the site, it’s sellable forever. I have clips that go years without making any money. Then suddenly, someone licenses it again. It’s been a reliable but uneven passive income stream since 2009.

I didn't know you could upload without metadata. Honestly, how anyone would find your pictures at all, amongst the hundreds of thousands from the same event, tells me you have excellent metadata. So sounds like you know your answer!

Mailer, An American Dream Then the message came clear. “Walk the parapet,” it said. I did not want to walk that parapet. “Walk it,” said the voice, “or you are worse than dead.” . . . I would have to raise my foot uncomfortably high, bring my knee up almost to my shoulder, and then clinging with my right hand to the groove in the mortar of the wall of the building I would have to take a quick vertical step just as if I were springing into a high stirrup, and if I came up too hard, I might go over. My fingers scraped on the wall, one nail broke and came half off, and I was up, up on that parapet one foot wide, and almost broke in both directions, for a desire to dive right on over swayed me out over the drop . . .

RPPC via eBay - Fair Use Santa Barbara was a big oil production site in CA. Most people would know anything about this without the photo postcard. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

BUMP 39.000

... and another thing. I'm sick of videographers putting their hands up to do work for free. Videographers and filmmakers, and anyone who's shelled out hard cash to make movies of any sort: refuse, and i mean point blank refuse, to shoot any more gigs for anyone for free. Take your clips off the cheapskate clip sites, if you can. Cut the cheap bastards off from their footage. Every time you shoot something for free you're killing cinematography as a profession.

Yeah. To hell with that, as they say. The clip companies can take a flying F.

Hi, I’m looking at getting my set of Zeiss Superspeed Mkii’s rehoused at TLS. Wondering what people’s thoughts are on keeping the original 7 blade iris, or swapping it out for a circular iris, from an aesthetic point of view? These are also going to be housed at my local rental house, so just trying to gauge a general opinion. Thanks!

Don't let that stop you. I never know if my metadata tags are useful or effective. Getty provides zero feedback about the metadata I create. However, I have a spreadsheet of all my clips and the metadata tags that I used for each clip. Once the clip has been published, I go back to the public listing of that clip and include tags that Getty has added by themselves to the clip. That helps me understand what they feel is important to customers. It's not direct feedback, but it's helpful. I've found that it's not enough to think like a content creator. You also have to think like a business person.

Yea it's a niche market you found, which I guess others could also get into if they wanted. Gotta be in it for the long haul tho, and as you said, it's all about flooding the site with content. The problem I always had was metadata tagging. You need to do it as a full time job.

The secret is to stop trying to sell your own stock footage. Instead, try uploading vintage public domain films. I've been a Getty Images contributor for 20+ years. I specialize in automotive footage. I shot footage at the Detroit Auto Show for 20 years. That footage is still for sale on Getty's site, and it earns peanuts compared to vintage car films, industrials, commercials, etc. I've made $137,000 since 2009, and the vast majority of that income has derived from the vintage public domain stuff. The secret is volume. If you have a vintage 10-minute industrial, you might be able to yield 10 or 20 clips from that film. The more clips you offer, the greater the chance to earn passive income (aka royalties). It's true that you earn lower royalties than you used to. I've found that's true since Getty started offering premium memberships to high-volume customers. Many of my monthly royalty statements are filled with a few dozen 50-cent or $1.09/per clip royalties, but there's usually a shot (or two) in there that licenses for $100, $200, or $300. That little jackpot is enough of an incentive to continue uploading vintage material. Pivot away from shooting your own material. Upload vintage public domain material. Niche down to a topic that you can specialize in. Be resilient. Rinse and repeat.

Hercules The common Internet expression, “What a hill to die on!” (i.e., what a questionable hill to die on) —has an equivalent in Euripides, Heracles, 155 : τοῖσδ᾽ ἐξαγωνίζεσθε? This is your fight? spoken in the same manner, with the same scepticism.

I stopped selling anything on Shutterstock couple of years ago because they launched the new very low price licenses and the royalty was so low per purchase that it did not even cover the costs of checking the page from time to time if anything had been sold. It is, when there is the possibility to pay ultimate peanuts for the lowest quality license ( I think it cost like 2 bucks per clip to buy them at the time) then 95% of people buy exactly that and when getting about 30% of royalties per purchase it is really not worth it at all. One cannot cover even the hard drive costs to store the raw material, let alone the costs to shoot it in the first place. Nor the work to process the clips, to upload them and catalogue them correctly, etc. I was just, screw this I don't need this bullsh*t in my life, better to delete the whole collection for it becoming cheaper than try to keep it generating losses 🤢 About 10 years ago it was very different, people often paid the medium priced or highest priced license for a clip and I could get about 100usd in royalties PER CLIP PER PURCHASE. that compare to the current days when getting 0.6usd or something like that AT BEST. I think the issue is just the customers being cheap ass pos, they got what they asked for when always paying the lowest price for everything, no one wants to shoot material for them then 😝

https://www.stocksy.com/ideas/film-stock-footage-why-super-8-16mm-still-rule/

All those stock video clip sites have reams of very similar shots, all in glorious 4K. Gimbal tracking shots of inner city buildings. Drone city scapes and interesting geological features. Shots of people sipping chardonnay at street bars or whatever. Drone shots and uber slow motion shots of people in the surf. Slow mo of wedding couples hand in hand. It's all the same stuff. Much of the most interesting stuff is shot with a drone. I don't know why they keep accepting clips because they already have more than enough. Almost no one is going to need Super 8 or 16mm B roll.

Yes, it is the same camera.