Bruce Taylor

Are they geared? I may be interested in the set, any thoughts on pricing? Thanks! Bruce Taylor

Hi Shane, I have a couple of these lenses and no rear filters- and no issues with back focus (with or without the various tele and anamorphic adapters). Bruce Taylor www.Indi35.com

Hi Paul, You don't mention which motor you are using, but I suggest you take a look at the highly detailed posts that Olex has made in this forum. You will learn about all you need to know from Olex and others on this subject. Concerning a possible mechanical problem making the camera run slow, yes, I suspect anyone who has used a Konvas may have encountered this. Again, you will find many excellent posts if you take a trip through the Konvas archives here. The Konvas is a rugged mechanical beast, but it must be cared for (lubricated, adjusted) by qualified technicians to keep it running properly. I've been very happy with Bernie O'Doherty's work at www.super16inc.com . It would be my suggestion to carefully read the battery specifications (voltage and amperage)required for the motor you are using (Olex's posts) and have at least the camera body and magazines serviced by someone who knows what they're doing. You may also want to check out www.Konvas.org -- a great resource for information as well. Good luck and enjoy! Bruce Taylor Indi35.com

I second the George at Quality Light Metric suggestion. He calibrated my Spectra and repaired a couple of ancient Westons for me last year. Fast. Inexpensive. What more can you ask for? Bruce Taylor

Try another test and put the camera on a tripod. You need to take the camera shake out of the situation first. Bruce Taylor

I have some interest too-- any thoughts on price? Also, who did the 2 perf conversion and have the electronics been updated? Thanks, Bruce Taylor wwwindi35.com (Kinor 2 perf rentals)

Hey Chuck, I couldn't get it to play either, and my QT seems to be up to date. Would love to see the footage, and thanks for taking a second pass at it. It will be interesting to see the HVX footage in the mix. I would have expected the RED footage to look a little better than it did in the over and under exposures once corrected. Thanks for your efforts, Bruce Taylor

Dominic you just beat me to it! But here's what I was writing anyway... Any adjustments related to the lenses themselves should be done at the rental house (and you should test all of them). They physically center the same as academy aperture. The anamorphic gate should be installed, and it should conform to standard specs (size, position of aperture), and you should be good to go. The Russian cameras I have take about 10 minutes to set for anamorphic: swap the gate, viewfinder and pop on an anamorphic lens-- you're ready to go. Good luck. I love shooting 'Scope! Bruce Taylor www.Indi35.com

Paul, I know nothing about scanning, but I am very impressed that you have your rig up and it works. Go 2 perf go! Bruce Taylor www.Indi35.com

I'm a bit rusty here, but I seem to recall I had a device for my old Elmo 1200 S8 projector that used a flash frame to start the recorder and run it in sync- a 4 track reel to reel perhaps? The projector ran in sync with the 60hz mains power supply, as did the recorder, the trick being to start them at the same time because after that they both sync to the mains. So it might be effective (and very cheap) to be sure your projector runs direct on mains power, then simply record to your favorite digital device and be pretty darn close. You'll have to find visual and audio reference points and manually sync the audio, but it should be doable. Bruce Taylor www.Indi35.com

I know little about the RED, but I have someone that would like to use my Russian Lomo cinema lenses for a RED shoot coming up. I have contacted RED, they have nothing. Rafcamera may make such an adapter the future. I know of no one that has made or might sell me one. Does anyone out there know anything about mounting OCT19 lenses to a RED? The PL adapter route is not appealing because I have to keep the OCT19 mounts for my film cameras. Thanks, Bruce Taylor www.Indi35.com

Just be sure of terms here- "optical printing" is expensive and not the same as contact printing, which is what I think Andrew may be refering to here. The cheapest way to get a 35mm print is to contact print from the cut negative. That is one of the interesting things about 35mm anamorphic, a contact print is all you need to get the beautiful wide image using all that film real estate. I recently helped shoot some film tests in anamorphic, they had a workprint made and projected at the lab's theater-- wow. Really knocks your socks off, especially when I'm used to seeing my stuff on a dinky 40" flat screen. I encourage you to go for it if you can-- you only get to do a senior thesis once, after all. Bruce Taylor www.Indi35.com (I just happen to rent 35mm anamorphic and 2 perf Techniscope gear) P.S. Jason, congrats on your Western. Post some of it if you can.

Hi All, I'm mostly out of the S8 loop, but I thought I should chime in with a new place I found in LA. www.Cinelicious.tv is new. He set up a Rank Cintel in his garage and transfers S8, 16 and 35 (2 perf, 4 perf, 'scope) direct to disc. I have seen some of his work and it looks excellent. I think because the equipment was just installed and calibrated it looks especially good. No extra charges for setting up for different heads or other baloney. $250/hr SD, and he has an interesting HD flavor at $375/hr. I think he is definitely worth a try. I had some work done at Yale, and while they did a nice job, output formats were extremely limited and unsupervised transfers are the order of the day. Paul at Cinelicious is doing professional level work IMHO. Bruce Taylor

James- I should have read your post more carefully! I just immediately noticed the missing bracket. I have been wondering about those plates as well, in addition to the filter holders (too thick) that don't seem to fit anything. I think I have 3 of these matte box sets, and each one of them seemed to have a different combination of filter holders, and each set also seemed to be new and unused. Maybe if I get some time I'll fiddle and see if the mystery plates match up with the filter holders that don't fit anything else. Next time I write Anders Banke I'll try to remember this question-- I think he would know if anyone did. Have you figured out how to deal with the non-standard filter sizes? Given the cost of an Arri 6.6" matte box, I am looking into custom cutting some 6.6 filters to fit the Kinor matte box. No easy solutions here as far as I can see. BTW, a month or two ago a friend shot some test footage on the new 5219 stock and I got around to setting the 35H up for anamorphic. We used the 35mm round front, shot nearly wide open (maybe t2.8), and had it printed and projected at Deluxe. Absolutely beautiful. That it could be done with such inexpensive gear is hard to believe. Bruce Taylor

Hey- I have been off the boards and didn't your post James Steven. I have several of these matte boxes. As Ian mentioned, you are missing the bracket that everything attaches to. I don't think the swing-away bracket a-la the 35H will work-- the swingaway attachment will not extend far enough for the anamorphic lenses.There is a bracket that supports that matte box via the rods from the base plate of my 35H. I have noted several anamorphic matte box sets for sale that do not have the required bracket. Here is a pic with the matte box, you can see the bracket attached to the rods if you look carefully. Let me know if you need better pictures. Bruce Taylor

I love LA! It's a great town. There's lots to do. Everyone's trying to be in the movie business. There's a good sized community of van dwellers at Riverside Drive and Fletcher in trendy Silverlake though I don't know how many of them are "in the biz." From the occasional posts I've read of yours you seem scrappy enough to make it in this town. I think you should get off your butt, stop whining and get 'er done. You'll also find out there aren't too many people making art in this town, they make commerce. Good luck! Bruce Taylor

Hi Ed, If the registration pin hole in the gate is packed with film chips from torn film debris it can have that effect. The reg pin does not fully penetrate the gate to register the film. I suspect that is what has happened here. Call me if I can be of further assistance. Bruce Taylor 909 641-2339

I know of a Rank Ursa Diamond machine (Standard Def) in LA that has been set up for 2 perf. I think it was just programming, no hardware. Their new, you can check them out at www.cinelicious.tv. Bruce

Hey Paul, I'd love to hear more about this 2 perf scan rig. As you may know, I recently got a 2 perf modified Kinor and I am now seriously looking into the post production issues. What kind of scanning are you up to? Is it for your own personal work or are you going to be doing it for others as well? Bruce

I recently found what seems to be the best short-end supplier I've ever come across, http://www.reelgoodfilm.com/ in Los Angeles on Sunset. 35mm 200' short ends, all stocks available, $0.10 a foot. I bought 1000ft of 5201 for $100. Telecine next week, I hope to report that it was all perfect. Bruce Taylor

Very impressive achievement for someone your age! I liked a lot of the photography, you have some interesting and creative ideas. I think I get the ideas you are working with from the trailer, but it might be more interesting to make the story drive the trailer, if that is what drives the film. If it the film is more inpressionistic, then perhaps tightening up the editing on the trailer might give it more impact. Keep up the good work! Bruce Taylor

You might try Anders Banke at solidentertainment.se . He may have some anamorphic Lomos left. Also, I do recall that the ebay seller segastr has been trying to sell a set of what may be late squarefonts. They were a bit pricey, but this stuff is becoming hard to find and prices seem to be rising. You also might try posting on Konvas.org, I bought a set from one of the guys last year. Good luck, Bruce

Couple notes here: A&I has specifically arranged to process and print mp film, I don't know if they care whether you buy their cassettes or not. I hear the film is actually processed at one of the larger mp film labs, where I assume it is also printed (to mp print film) for later slide mounting back at A&I. Of course the best thing would be to go out and shoot some short ends in a motion picture camera, but the still slide route has convenience and low cost as benefits. As long as you can trust the results of your tests... otherwise it has no value.

The A&I story had at least 2 parts. The first was that someone had determined that at least some of the film they were selling had to be many, many years old. So I wouldn't trust their respools. So it's possible their process and print was okay, but that is still unknown. I agree with Jonathan, I think you would be better off buying some known fresh short ends from a reputable supplier and spooling your won cassettes, would be a lot cheaper too. Freestyle Photo has everything you need to bulk load cassettes. Bruce

Uhhh, be careful. There have been other discussions about A&I's motion picture film stock service on this board where much less than optimum results were obtained, take a browse through the archives. I thought this might have been because the service had just gotten started. Unfortunately, a couple of months ago I was in a class that tried to use this service. The purpose was to run a series of controlled exposure tests on 5 or 6 stocks. A&I's work was so inconsistent that the tests were unusable. The actual turn around times were also much longer than promised. Good luck, Bruce