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Bruce Taylor

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  1. condition: excellent make / manufacturer: LOMO model name / number: 35OPF18 This is an amazing lens. 20-120mm Macro Zoom, it will focus down to almost the surface of the front element with the built in macro feature. OCT19 mount. This set includes both teleconverters, so it becomes a 30-180mm f3.75 (1.5x), or a 42-250mm f5.25 (2.1x) lens by swapping the lens back. Swap to the ANAMORPHIC back and you have a f3.75 40-240mm ANAMORPHIC zoom lens. This is the complete, matched set. It works perfectly. It has Arri pitch follow focus and zoom gears and dovetail support (it is heavy and requires support). The last time this lens was used was to shoot "Wrong Cops" for IFC Films and presented at Cannes in 2013. Here is a link to the trailer shot on this lens in anamorphic mode on a Canon 5D MKII: The anamorphic function covers a standard anamorphic film gate (24.89 × 18.66mm), so the Canon "full frame" (36 × 24mm) was cropped. They rented my round front anamorphic prime set as well as this zoom, but preferred this lens over the primes. The glass has no flaws that I can see. The zoom and focus rings move smoothly and precisely. The iris and macro controls are smooth. This is a great versatile lens that works perfectly and is ready to shoot. It is easily adapted to digital cameras with appropriate adapters (Canon, RED, Epic, etc.) which I have and may be purchased separately. Raf makes a PL adapter as well, but I have no direct experience with it. Photos here https://www.flickr.com/photos/61796653@N04/shares/7D7aa4 $8500
  2. I have one. May not be anyone's cup of tea, but it works. Sync sound. Lenses, the whole shooting match. Russian. I had Anders Banke perform a full 2 perf conversion to a Kinor 35H. Including new electronics, prism resilvering, video tap conversion. It uses it's native OCT19 lens mount. I have a full set of serviced Lomo primes for it as well as the 20-120 OPF18 zoom. As I am out of the business I need the space in my garage. Hit me up if any one is interested. Also have a couple of 4 perf Kinor 35H outfits, and at least 2 Moviecam SuperAmerica packages (4 perf). 2 perf is a wonderful, inexpensive format. If you aren't cropping down from the 2.40 width it is much bigger than Super 16. Do you have to be careful? Yes. But you should be anyway. The hair in the gate thing just really isn't a factor in my experience. I am always very proactive on cleanliness.
  3. Yes, what David says. The film real estate used in 2 perf and super 35 cropped to 2.35:1 are pretty close. Wikipedia has all the dimensions if you want to get down to precise differences. Kodak did a demo of 2 perf and 3 perf S35 comparisons several years ago, It was not possible for me to tell the difference between 2 perf and 3 perf super 35 cropped to 2.35. I would think the grain in a modern 500 speed stock would quite a bit less than what you see in an actual '70's-80's low light film shot in 1.85.
  4. "Since anamorphic's are rarely very wide" That's not quite true. For example, a standard 2x squeeze anamorphic 50mm lens has the horizontal coverage of a 25mm lens. I have a 35mm Lomo that looks like an 18mm when it's unsqueezed, pretty wide.
  5. Also, 2 or 3 perf is not a realistic option for Konvas conversion, it requires too much modification. 2 perf can be great (about the same amount of film real estate as Super 35 cropped to 2.35:1)but converting cameras is very costly ($5 to 6k last time I checked). But you can rent them readily (Arri or Panavision). Kodak and Deluxe put on a seminar at Cinegear a couple of years ago with side by side examples of 2 perf and 3 perf. 2 perf looked great. You can probably find the article on the Kodak website.
  6. I highly recommend Stuart at Focus Optics in Burbank. But sometimes you have to push him to get the work done. Don't overload him with too many lenses either. No lens tech likes to work on the Lomos because they are such a challenge mechanically (poor materials, tolerances too large), but Stuart has mine in top shape now. I suggest you rent the lenses you want. They are very expensive, and most of the ones you buy will have issues that will take time and money to sort out. About a year ago I had a guy who was going to do a long term rental for a feature but ended up buying his own set (3 or 4 roundfront primes) instead, paid $27,000 on ebay for them. I think Slow Motion Inc in Burbank rents the Hawks in PL. A lot of people like the Lomo flares. Take a look at Ernesto Lomeli's site (he's a DP in LA) there are some examples of my lenses on a Snoop Dogg and fashion videos. They are a good example of what artifacts you can get with the Lomo roundfronts. Also, Morgan Schmidt (also a DP in LA) has a set of Lomo roundfront anamorphics for rent, I am pretty sure they are in PL mount. I refer a lot of jobs to him as mine are still in their original OCT19 mounts. The Lomos work great on the Konvas 2M. Cheap, easy, portable, reliable (once you work out all the bugs!).
  7. +1 for Olex. He did motor mods on 2 of my 17EP motors, they work perfect. Donald, if you're looking for a core to send to Olex for modification, let me know. I still have that 17EP motor with the inoperative electronics, everything else is about mint as you know.
  8. Is anyone here doing the math? If you shoot cans of 35mm that you buy from Kodak, 35mm is more expensive than 16mm. For sure. However... if you're willing to shoot short ends and/or recans, everything changes. If you make a few phone calls you can find perfectly good 35mm stock (Kodak or Fuji) for .08 to .15/ft. Processing is .08- .10 ft. (Deluxe). Unless you can find a super deal on short ends/recans for 16mm, 35mm will actually be cheaper. Transfer is the same, 16 or 35. This is in LA. UPS will ship anywhere, so that shouldn't be an issue. If you're shooting a short, 4, 3 or 2 perf 35mm usually doesn't matter that much in terms of film cost if you're using short ends/recans. If you're shooting a feature, then 2 perf can provide substantial savings if you have access to a 2 perf camera (like the Kinors I rent, or make a deal with Panavision). A 2 perf conversion is going to cost 6 grand or so, one might as well stick with 4 perf if you're buying the camera to make your movie.
  9. Daniel's correct, if the shutter is out of time with the transport it is not hard to correct yourself. If you're on the eastern part of the US try Bernie if you don't want to do it yourself. Here in LA I much prefer Richard at Cinema Engineering for service http://www.cinema-engineering.com/
  10. So I'm not the only one that did that a few times?! The jams seem mysterious at first, especially when it looks the same as when you rolled it correctly, and you can't run the camera with the door off.
  11. You can always see what's up on ebay. Other than that, Whitehouse AV is probably the way to go. Considering how hard it would be to find these items elsewhere (especially new!) Whitehouse seems pretty reasonable.
  12. In standard US diopters 138mm size works for the 35/50/75mm roundfronts. In fact you can tape a 138mm filter/diopter just inside the front element threads of the 35mm and get away with it. I know it's a hassle, but the 6x6 matte box is the way to go if you want to cover the big 35mm roundfront- that's what I've done.
  13. Excellent point. The prof in my little story also taught at Art Center and USC, two very good and very expensive schools. Community College gigs are very well compensated, so many professors at top schools make extra money in that system.
  14. That's an important consideration, always, how will the images ultimately be presented. On the small screen the visual impact of the anamorphic artifacts will likely exceed the resolution loss from cropping.
  15. Joel, you're getting quite an education on the industry here. You're a lucky fellow, Brian and Austin offer excellent, true advice. Austin provided the book list you'll find at any school, these are the standard texts for the field. You should read and study all that material. You don't feel your reel is up to snuff? It's not very good? (I checked it out and it's much better than many I've seen) Go out and make yourself one you're more proud of. Cinematography is an activity-- you have to DO it. But if you don't have the drive to go out and get yourself moving forward on your own... don't. Save your energy and do something that's easier. When I went back to school to slide back into movies I started with a basic cinematography course at Los Angeles City College. The professor spent the first 15 minutes of class telling the 30 or so students that they would never work in the film industry, they would waste their time in his classroom, and if they really wanted to train for a paying job that requires some creativity they should go to Pasadena and enroll in the Cordon Bleu cooking school, as they have 100% job placement of their students upon graduation. It was a surprise, but if that short speech turned off 30 wannabe filmmakers he did them a favor, there are so many obstacles to success in the industry. If you can discourage yourself with any form of "I can't," find something else to do.
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