Zachary Vex

Wild!

Thanks so much. 8^)

What else should be on my list of must-have filters?

That's so cool! Thanks for focusing on what's needed most. 8^)

This is a very complex question because of the wide differences between cinemascope and TV frame!

thanks! 8^)

Would this lens be the 921 series T1.7?

I've got a few Eyemos, one that takes an NCS intervalometer/sync motor. My most recent Eyemo is a spring-motor-only unit that came with a beautiful Nikon mount, so last night I removed the head from that unit and swapped it with the spider turret head on the intervalometer Eyemo, and the resulting camera has the least vibration and smoothest, quietest run I've heard yet. My NCS is out for repair after popping a chip (a tragically reverse-wired battery bag... beware, there is no polarity protection!) When the NCS returns I'll have my test work cut out for me... a combination of Eyemo test, NCS intervalometer/sync test, and lens tests for my Nikon 17-35 2.8, 28-70 2.8, and 80-200 2.8 lenses, as well as a Peleng 8mm fisheye. Has anyone else had trouble mounting their Nikon Peleng on a camera? My Peleng's Nikon mount doesn't fit on any Nikon cameras or my Les Boscher Nikon/Aaton adapter, but fits fine on the Eyemo Nikon mount.

It's so easy to spot this guy... just type in any expensive film gear brand and look for something that is in a rush to sell for under a dollar. This particular ploy is really amazing! He actually got a form onto his ebay listing where you email him directly and he's claiming that his ebay email is 95% full! Astounding that ebay would allow this type of code on their site! item number 140099474191

I just turned the guy in to eBay last night and got his fake listings taken down, and here he is again! item number 160098754737 PLEASE DO NOT BID AS I WILL CANCEL YOUR BID !!! CONTACT ME FIRST AT allsmaster@gmail.com !!! BUY IT NOW PRICE FOR THIS ITEM IS 1000 GBP CONTACT ME AT allsmaster@gmail.com !!! Sachtler tripods are top sellers for good reason.The ENG 2 stage carbon fiber is extremely lightweight,solid and stable.Double extension triopds are ideal for a much wider variety of applications,due to their expanded height range,i,e lower bottom and higher top positions,in addition,their transport lengthis even shorter. Like New Payload 99 lb Head fitting 100mm The Tripod come with midle spreader and set of 3 rubber feet. The head Sachtler 18P is in Excellent condition,there are few scratches on the camera plate . Bubble lever illuminating Payload 39.5 lb,Counter balance 5 step,Balance plate 110mm/4.4" sliding range,Grades of drag 7+7. Also includet camera plate with 2 screw,big and small,pan handle Right(telescopic) and Original Sachtler soft Case. PLEASE DO NOT BID AS I WILL CANCEL YOUR BID !!! CONTACT ME FIRST AT allsmaster@gmail.com !!! BUY IT NOW PRICE FOR THIS ITEM IS 1000 GBP CONTACT ME AT allsmaster@gmail.com !!! on edit: Gahh, and he's even using his previous email address to steal too! Here's one more he's got going: item number 160098759996 PLEASE DO NOT BID AS I WILL CANCEL YOUR BID !!! CONTACT ME FIRST AT MTCN10@CS.COM !!! BUY IT NOW PRICE FOR THIS ITEM IS 1000 GBP CONTACT ME AT MTCN10@CS.COM !!! A once in a lifetime opportunity to purchase a beautiful set of : 8 Cooke speed panchro lenses series II and III. With A Pl mount adapter. lens set consists of: 18mm f2 / T 2.2 25mm f2 / T2.2 32mm f2 / T2.3 40mm f2 / T2.3 50mm f2 / T2.3 75mm f2 / T2.3 100mm deep field panchro f2.6 / T2.8 150mm telepanchro f3.8 / T4 PL mount adapter Fitted flight case for 18 - 75 100 & 150mm packed seperately. All optics in excellent condition no cleaning marks or scratches. The PL adapter was engineered especially for cooke lenses, normal arri standard to PL adapters will not work on these lenses becasue of the nature of how they focus. These lenses cover 35mm, Super16, and 16mm. Cooke lenses are an english made optic of the highest quality, The series II and III are renowned for the inherant romantic and emotive feel of the images produced. In 1960, Director of Photography Russell Metty, ASC, used Cooke lenses with a Delrama anamorphic adapter to film "Spartacus" in Technirama. The 35mm negative was converted via Panavision printer lenses to a 70mm print. It really pains me to let this lens set go, but I have to raise some more cash for another project. PLEASE DO NOT BID AS I WILL CANCEL YOUR BID !!! CONTACT ME FIRST AT MTCN10@CS.COM !!! BUY IT NOW PRICE FOR THIS ITEM IS 1000 GBP CONTACT ME AT MTCN10@CS.COM !!!

Suspect. I never buy from anyone who hasn't sold at least 10 pieces of film gear before. Unless it's obvious there are other factors involved.

item 120100361667 From the listing (and yes, that's the actual hacker's email address): PLEASE DO NOT BID AS I WILL CANCEL YOUR BID !!! CONTACT ME FIRST AT MTCN10@CS.COM !!! BUY IT NOW PRICE FOR THIS ITEM IS 1000 GBP CONTACT ME AT MTCN10@CS.COM !!! I am selling my Super 16mm film kit. It has served me well (never rented) and I am sad to see it go. However as I really only shoot 35mm these days, it seems a shame to have the unit sitting around doing nothing. Some freelance / independent film maker would love this. I put this kit together and used it mostly for short films and dozens of music videos. INCLUDED IN THIS IS KIT IS THE FOLLOWING: 1 x Aaton LTR 7 Body 2 x Magazines 3 x on board batteries 1 x Super 16mm Zeiss 10-100mm Zoom 1 x Canon 7-56mm Zoom (S16 above about 11mm) 1 x Follow Focus Unit 1 x Matte Box 1 x Leather barney 1 x Customer rods for MB 1 x Aaton extended view finder 3 x Filters and filter holders 1 x Customer Pelican Case designed specifically for this Kit. 1 x Sachtler High Tripod Legs 1 x Sachtler Splitter 1 x Sachtler 100mm Fluid Head smooth 1 x Aaton manual and various misc paperwork -- Selection of misc cables, fuses etc etc

I know some will cover super 16mm but will any cover 35mm?

Yeah, I've been posting there for a few days.

My RCA FR-35B has a 1kw halogen light that just isn't cutting it for projecting on a 6-7' screen. I need a lot more light... has anyone ever converted a 35mm projector to xenon? Is there a consumer projector that has a bright xenon bulb and power supply (perhaps a slide projector or 16mm projector) that I could pull the light and p.s. out of for use in my projector? Anyone have any other ideas?

After careful open-air measurement I've determined that my X2 TeleZoom attachment works exactly as a tele-extender, and increases coverage by exactly double.

Sorry if I created confusion by using the word "converter." The piece I was describing goes between the lens and the camera, and says "Birns and Sawyer X2 TeleZoom Angenieux-ECLAIR." According to this article it seems one can use tele-extenders to cover 65mm with 35mm lenses: http://www.cinematography.net/35mm_Still_F...es_For_65mm.htm I assume that this "TeleZoom" is actually a tele-extender... please tell me if this is not so. What I'm looking for is the formula for calculating coverage and aperture change based on X1.4, X1.6, and X2. Strangely, if you look up "teleconverter" on google you'll find lots of articles about what seem to be tele-extenders made for 35mm still cameras. In this instance, is "teleconverter" the same as "tele-extender?" Wow, that is a monster, and a c-mount to boot! Great for super 16mm coverage, but it wouldn't work for me... I need 35mm coverage (ultimately), a 20X zoom, and Cameflex mount. The 12-240 starts at 3.5 so it should end up 5.6 plus a half when using a X2 tele-extender, right? And if i could find a X1.4 tele-extender presumably I'd save yet another stop.

Is it possible to get full 35mm coverage using a 2X telezoom converter on a 12-240mm Angenieux zoom (presumably designed for 16mm coverage)? I realize the disadvantage is the loss of light... how do I calculate coverage using a teleconverter and how do I calculate the number of stops lost, based on the X2 (or X1.4, X1.6) factor found on teleconverters?

I've got Super 16 C499, which was serviced by Nathan just before it was shipped to me. I had Les Bosher make me two adaptors, one of which is for Nikon. With this camera, the adaptors, and two very sharp Nikon zooms (17-35mm f2.8 and 28-70mm f2.8) and an exceedingly fast Nikon 50mm f1.2 prime, I'm set for a while! The Nikon lenses were all used, but mint. The camera came with an Angenieux 15-150mm zoom which is in workable condition as well.

Somewhat off-topic, but one trick for focussing a turret (spider) Eyemo is to put identical lenses in the critical focus position and the taking position, and match the settings for focus. I have two 50mm lenses that I can use for this... one with a non-functioning aperture that I use on the focus side. At a distance, you can use this setup for framing as well. Close, of course, the parallax is frighteningly bad.

somewhat of a bump.

Anyone have one for sale? Please contact me at zacharyvex (at) gmail.com. Thanks!

Does anyone have one for sale?

I received it a few weeks ago and have been out of town on business until this week. I'll be shooting a test with it soon. I don't presently have a blimp but I'm negotiating on one. I've found someone who is willing to make a barney for me (Lee Gaither, Custom Upholstery Products) for shooting on location. Things seem to be moving smoothly towards my having a permanent soundstage so the blimp is probably doable even though it's ridiculously heavy. My Cameflex is a CM3 with Techniscope 2-perf pulldown which also operates at standard 16mm and 'Scope 35mm using the recentered position on the turret. 24.89mm X 9.47mm high (full aperture, re-centered on 'Scope turret position) would deliver a natural aspect ratio of about 2.63, easily cropped to 2.66.

My Cameflex does 2-perf Techniscope and also has a "scope" position on the turret for re-centering lenses to expose into the soundtrack area. I handn't thought of this before, but theoretically, I could set it on "scope" position and use Techniscope at the same time, and shoot 2.66 if I had a special aperture plate machined for full-aperture 2-perf. Which would be pretty simple... I'd just copy the one I have for Techniscope and have it widened to the perfs on the audio side.