Stephen Williams

Forget about 'equivalant' focal lengths, the focal length is what is written on the lens. There is no equivalent for distortion. The Equivalent nonsense normally refers to FF35 which is probably why your S35 conversion is wrong.

Unless you were shooting on S35 or a S35 chip this is just a silly question, a 50mm lens is always a 50mm lens, which could be a wide angle, normal or tele lens depending on the format.

Measure to the mirror & back to the person for the person in the mirror. It's just the distance!

If any of the F64 is from 2003 I would do a clip test, the rest can go in the bin, it's really too old even if kept well.

Switzerland is not at the forefront! I think they would have messed up the Log/Lin conversation. It was something the facilities did less than once a year.

I used to get linear DPX¨s from a Spirit data cine (MK1) about 10 years ago

NO SD Tevevision can be PAL, NTSC & Secam. HD is neither Pal no NTSC No it's always been answered.

If you can't load an Arri mag, then you won't be much help to the 1st. You need to go to the rental house & practice. In an hour you will be able to do it fine, then you will be useful on set.

Yes is does, as the fps is different. I think you need to give more information so we can answer your real question.

Its about x 2 relative to S35. That may not help you as you probably want to know relative to FF35 which S4's don't cover! You need to just learn what any focal length looks like on your desired format.

Avoid small bulbs, I assume 110v. The more amps going through the fillament the better so you can use smaller units than if you were in Europe. A 1K is borderline @ 1/400. 2K's will be no problem,Some Kino's with older ballasts flicker. As always test test test.

It's a Daylight stock Fugi only make F64D, there is no tungsten version. Interestingly Fuji Switzerland were giving me the same batch for at least 4 years. If it's been in a fridge low ISO stocks last a long time. Shooting a colour chart on the front can save a lot of pain, especially if the grader is not experianced.

Yes it's quite easy,

If the camera won't run backwards, you will have to do it in the darkroom.

What did you rate the stock at and what was the telecine, seems reasonable but could be better.

I would send an invoice for my full day rate, you tend to get treated better if you value your own time.

In Switzerland Kodak has an office in Lausanne & Fuji in Zurich. Both use the post to deliver stock so it does not make any real difference.

It's not like that, there is no cover that closes, it just works!

To be honest a proper upgrade will cost more than an SR2 or possibly even what an SR3 is actually worth today!

From my testing the 24 was fine by 2.8 on a grey background at 2.1 it was noticeable.

There was a guy selling them on Ebay 8 years ago for $175, unfortunately he retired & I missed the last one. The is an explananation of how to build one on the net, thats where I found the link. Google autocollimator

The 16mm portholes on Red Ome, set the lens wide open & look at a white / grey background. Stop down to 2.8/4 & it's gone. It's there for sure if you look!

So whats your connection? You posted the 2 same links at Reduser & your post count is about the same as here!

So where is the old SVC moco rig? about 3 years ago I looked through the door & nobody was around, it's been a Starbucks @ 142 Wardour Street for a couple of years!