https://cinematography.com/index.php?/discover/Cinematography.com - All ActivityenWhat about contacting the manufacturer? https://www.ocon.com/product/fluid-heads/Thu, 05 Mar 2026 07:35:33 +0000He will probably respond by saying how many more miles of 35mm and 16mm he's shot than I have. Sure.Thu, 05 Mar 2026 02:43:38 +0000I've got a roll of 35mm in my fridge. If someone has a good project for it to be used on, let me know. I'm on the Sunshine Coast but can travel. I will provide the film stock, gear, camera operating/cinematography, colour grading, and editing, free of charge, and the person for whom I do the filming can pay for the processing and scanning. It's been stored in a fridge for 6 years so you'd have to bear that in mind. I may suggest to a local filmmaker that she might be interested in filming a short project with this roll of 35mm. I've got a 2-perf IIC that runs like a dream, however hasn't been film tested yet (that's what the film in the fridge is for). I have a 2-perf 35-3 also but it's currently on the shelf for a check over and won't be part of my camera line up for a while, until a start up issue is resolved. I've been concentrating on Super 8 the last year or so. Because I was spread too thin, also doing digital, I couldn't really justify getting into film more than I was. But just sold the digital camera. Getting the 16mm gear out this month. Regarding a certain person who posts every day here, he does have some excellent posts, but mixed in with some incorrect advice or at least highly anecdotal advice here and there. Put it this way, other's mileage may vary. I've learned to take some of it with a grain of salt.Thu, 05 Mar 2026 02:36:08 +0000Would I? Yes, definitely.Thu, 05 Mar 2026 02:08:08 +0000I don't think so. He is relating his experiences and I respect that. I will disagree on objective grounds only, where someone says something objectively untrue. No need to make a big deal out of it. I learn from everyone. As for shooting on film, I tend to only read articles in American Cinematographer about productions shot on film. Digital is kind of boring, although I personally would use it. Digital is way more practical in rugged environments, for example. I have one documentary that I really want to make, and I am thinking about shooting it on 35mm. That is, if I have a bigger budget, and if I don't care about net revenue. I might consider 16mm, too. Would you shoot a documentary on film, assuming you could easily afford it?Thu, 05 Mar 2026 01:31:40 +0000Looks like a Mitchell mount variant, but normally the raised central hub is a smaller diameter.Thu, 05 Mar 2026 01:14:17 +0000I think Tyler just likes to chew the fat. A lot of what he says about film related issues is bullshit. Excuse my French.Thu, 05 Mar 2026 00:22:44 +0000What point? You're simply describing the depth of field difference between formats, which is hardly a revelation. You previously stated that the difference with 16mm is "field of view, lens distortion, depth of field and graininess/softness", but that's not true. Only depth of field and grain/resolution are the differences. Field of view can be matched, and lens distortion is a function of angle of view and lens design, not format or focal length. Perspective distortion is a function of distance to subject, which happens regardless of format. Depth of field can be matched in many cases. An f/1.2 S16 lens like a Super Speed or Ultra 16 can match the field of view and depth of field of an equivalent view S35 lens at every aperture above around f2.4. Clearly not as shallow as larger formats can achieve, but still capable of some subject separation.Wed, 04 Mar 2026 23:47:14 +0000So, OP, nope, not giving up 16mm for digital.Wed, 04 Mar 2026 23:26:51 +0000You know, they said for years, shoot digital because it's cheap, so then you can hire great actors. That's actually a sad joke. The people who complain about the cost of film are no way in the world going to pay for quality actors. They are addicted to the idea that filmmaking is free and easy. Those people do not pay for good actors.Wed, 04 Mar 2026 23:20:32 +0000The one quality that counts with film shooters is that they take risks. You know, you have to do that in creativity. 100% safe creativity is a trap leading to mediocrity.Wed, 04 Mar 2026 23:14:52 +0000Video has devolved into a kind of brand thing. Arri (now said to be getting into phone cams, or is this a scam rumour?), RED (now owned by Nikon), Blackmagic (taking them all on, and winning). I'm inclined to yawn about the whole thing. Their footage all looks the same. Doesn't look like film at all. You just wear a different brand cap and/or t shirt on the shoot. I'm professional, I shoot Arri, that kind of thing. Phone cams getting better each year. Your brother in law who knows nothing about filmmaking makes better videos with his phone, handheld. Nah. Bye to digital video. Everyone and their dog (plus the cat) is into video. Only chance to stand out is to shoot film. Quality of content is no better, sure, but it's no worse either.Wed, 04 Mar 2026 23:10:13 +0000Hello, I'm trying to find some legs for a vintage O'Connor 50D, but I can't figure out what mount it takes. My search online has come up empty. Can anyone help? Thanks in advanceWed, 04 Mar 2026 23:06:07 +0000I'm finally filming on the AHU stock in about a month or less, in a Bolex Rex 5. Will report back. I first have to film my last roll of remjet 16mm. After the Bolex AHU shoot, all going well, I will test the AHU stock in my SR. I've washed the dust of digital from my feet. Never going back to videography. Even if film goes kaput, no more videography for me. Unless I have to rent a camera for a day, for my own music videos. But planning to do my own music videos on film. Definitely no more sitting around trying to get video gigs. Goodbye video! Nice knowin ya.Wed, 04 Mar 2026 22:18:28 +0000He (as claimed) shot what? fourteen 400' rolls, so that's 154 minutes of footage with no issues. While I surely believe there might be some people with issues, I highly doubt it is everyone and at all times. But I will report as well if any.Wed, 04 Mar 2026 21:36:09 +0000Gautam said no differences whatsoever. I think he would have mentioned scratches if they'd been a problem. Gautam, did you have a problem with scratches, with the AHU stock? If so, were they worse than the remjet stock?Wed, 04 Mar 2026 21:16:11 +0000My question was not directed at you, nor was it specific about differences in look in color science.Wed, 04 Mar 2026 20:02:13 +0000Actually, the dual phase motors pull too many amps through the transistor pack to do more than 54. I believe it's 4 pulses per rotation, hence the "test" mode doing 2 pulses to move to open the gate. The transistors can only handle so many amps. They will fry the diodes very fast if you push them hard with film, even when completely rebuilt. I've seen them go as far as destroy the switching circuits as well. The reason why Aaton moved to tri-phase was to solve this problem. If you spread the load across 6 pulses per cycle, then you don't put as much wear on those transistors. Heck, they aren't even on a heat sync on the Prod's either. With a modern digital controller, you can also use less amperage. A triphase camera like the Prod, will use less amps at 75 than a dual phase XTR at 40fps, let alone 54. They had such a problem with this on the older cameras, they provided 16V batteries to kick up the amps just to drive the thing at high speed. Also, most of the non-converted Plus cameras I've serviced, have prod pulldowns in them. Same duckbill claw. Same bascule. Same spring system. The pressure plates have been the same forever, since like SN 2500 ish on the mags and the super 16 gates haven't changed either. So the only thing holding it back from going faster, truly is the motor/electronics on the Plus. Aaton even made motor/board kits for the plus, which are straight up prod components, but with mechanical controls for speed, which slot right into the Plus and they go 75fps. I have one and have tested it, works just like a Prod.Wed, 04 Mar 2026 18:22:37 +0000Outside of constant scratches we see on lots of projects we scan, no there is no difference in the color science.Wed, 04 Mar 2026 18:06:27 +000019' has the most middle ground dynamic range, more akin to a digital imager. However, the middle grey is shifted down slightly compared to 200T, which means it has less highlight retention. I think nearly all the color negatives have the same amount of physical dynamic range. The difference is really just where the optimal middle grey is. Some stocks put it higher up on the dynamic range chart than other stocks. 50D for instance, if you over expose it a bit, like 2 stops you can easily retain more black detail and make the stock perform more like 250D. If there is nothing in the shot that would be clipped by doing this, then it's a win-win for the filmmaker. However, with 250D, you don't NEED to do that. If you expose perfectly, you can still nail the blacks. That to me is the biggest difference and the game changer when shifting to 250D. You don't have to worry AS MUCH about the blacks. The tungsten stocks work the same way, 200T is more like 50D and 500T is more like 250D. I use 500T very sparingly on 16mm, I generally use the daylight stocks for everything unless I'm completely stuck like when I need to use night time practical lights. I also only use 250D when I know 50D won't cover me for whatever reason. Even my last shoot in the snow, we started rolling at 7am in a snow storm, with cloud cover and I was at 2.8. So the only time you really need faster "daylight" stock is shooting indoors or in substantial shadow areas like forests. So most of my 16mm work is 50D with the occasional 250D or 500T. I know the color science of 200T is very nice and smooth, I have shot with it a bit, but I just prefer the crisper 250D with better black retention. I also prefer not to run filters, I will bring the right stock for the job. That's the nice thing with quick change mags, if you need to quickly change stocks, just swap the mag. On 35mm, I shoot 250D or 500T mostly, tho my last personal 35mm Love, Frog we got a few cans of 200T and I used it for nearly all of the interior scenes. I regret the decision, but at the time we didn't have any options as I overshot my 500T stock and couldn't afford more.Wed, 04 Mar 2026 17:54:44 +0000Kinda proving my point, the background looks like it's going into the subjects head and what if you don't want every shot to be head and shoulders? What if you want a wider shot? Even on a 12mm, which doesn't have much if any distortion, you're still moving further back to get anything else but heads and shoulders. Now you're distant from your subject, but what if you don't want that feeling? What if you want the camera to be close to your subject, but also achieve a wide shot with some depth? That's the difference between smaller format systems and larger format systems. That's my point. I personally don't like cinematography that is "only" capturing close up's. I don't mind cutaways that are close, but I feel capturing motion/action and multiple characters interfacing with one another, wider is way better and achieving wider shots on 16mm with the satisfaction of larger formats, is just not possible. Even with the best lenses, the definition, distortion, separation of subject and background, it just doesn't work for me. Of course, unless you want a documentary look/feel. Then it works fantastic, it's the ultimate format for that look. Larger formats, simply do not work for that look/feel.Wed, 04 Mar 2026 17:52:48 +0000The way I see it, if 60 is possible, 75 isn’t much of a difference. I’m tempted to try 80 🤣Wed, 04 Mar 2026 16:51:03 +0000Thanks so much for the update, I am in the process to shoot some mixed material as well.Wed, 04 Mar 2026 14:07:21 +0000None whatsoever. The AHU stock and the remjet stock cut perfectly together without any difference whatsoever.Wed, 04 Mar 2026 10:22:01 +0000Ordering deadline for the rest of the orders this Spring is 15th March. So orders for products which will be delivered between April and June. On 16th I will finally start building the large NPR motor batch, assembling A-minima magazines and other stuff so will likely stop reading messages for about 2 weeks to concentrate fully on assembling work, between 16th March and 1st April. In early April I will continue normally, taking further orders for Summer2026 batches and the 2nd batch of A-minima magazines and some NPR and Bolex motor models. Price increaces on most products will apply from 16th March onwards. Typically something like 20% increase is expected on most products. Looks like I will still keep USD pricing in April but will calculate new higher prices to counter inflation and the Trump wars which affect parts prices.Wed, 04 Mar 2026 09:14:13 +0000