Nick G Smith

Adam Frisch alleges that 'buddies' of TLS jump the queue. This is not what I have come across. I have had a set of K35's rehoused by TLS and I had a number in the queue - it took over a year for my lenses to get rehoused but I believe TLS treated me fairly. I even asked them if a well known rental company in London which is also owned by the same company that owns TLS would have preferential treatment and they assured me that they would not.

I can say that the TLS rehouse is really good and is worth waiting for - also resale value will be good. With all well done rehoused lenses you will have to wait.

SOLD

Price reduced to UK Pounds £ 2850 Each ( $4000 @ 1.4 exchange)

£ 5500 for the pair.

Canon Optex 100mm and 135mm f2 lens in PL Mount.

Perfect addition to supplement a set of Canon K35 lenses.

Vintage Canon FD 100mm and 135mm rehoused by Optex UK

PL mount ( The 100mm has an original PL and BNCR dual mount, The 135mm was originally BNCR mount and the PL mount engineered by Optitek in 2009)

I have owned these lenses since 2007 and bought them from the original owner who had them from new.

80mm Fronts, Lightweight ,Focus Scale in Feet, 300 Degree Focus rotation, Full Frame coverage, f2 aperture, Focus and Aperture Gears.

The lenses have just been serviced at True Lens Service and are in excellent condition.

£ 3000 UK Pounds Each

£ 5750 UK Pounds for both.

+ VAT at 20% applicable on sale in UK and EU + Shipping. More Pictures on Request.

Email nrgsmith 'at' btinternet.com

If anyone is interested - I am selling 2x Fromm shoulder Mags for Arri 2c in good condition on ebay.

http://www.ebay.co.uk/itm/331217503587

I have serviced them and sourced new belts. I will ship worldwide at cheapest I can find. 15kg weight

Also selling a Scherr Tumico 0-250 Grammes Force Tension Gauge for testing tension of Pressure plate on Arri 2c

http://www.ebay.co.uk/itm/331217524365

Nick

I have an Arri 2c with CE base - I am still using it occasionally.

www.nickgordonsmith.com

Meant - Keep the F15S

I have a an F15 and still occasionally use it but find on most jobs I use O'connor 2575 or 2060.

They are still very good heads but don't have counter balance and dial in resistance that recent heads have.

I had mine overhauled at Ronford Baker as it had a slight reverse 'creep' on the pan when coming to a stop.

If yours has not been serviced for a while an overhaul would be a good idea.

I don't know if you can swap the tilt functions between the 15 and 15s and if you are going to sell one keep the F15!

Richter Autocollimator with 130mm Lens. Uses Mag light with AA Batteries.

Ebay Item no.: 330607534470

Starting price 180 UKP / Buy it now 300 UKP

II think you mean collimation not calibration. Check each lens against its distance marks to see if they are accurate- start at close focus, 3ft/ 5ft/10ft etc to infinity. If any lens is out get it collimated and check it again. Check that the iris leaves open and close accurately. Check for scratches or any marks on the lens glass. If you are using older lens see if there are any color discrepancies. If you have a long prep you can do color matching tests, focus fall off tests etc. Make notes.

Can you be more specific. I can't tell if you are looking for a camera light to illuminate lens marks, an eyelight, a fresnel or a fill light and if your looking for a fill light in what context.

Looks all 16mm. The film stock used then will have a lot to do with the look.

Depends what format you are going to shoot on. For 16mm and small sensors - Old Angenieux 12-120 zoom will give you a warm soft look - Primes; Cooke Kinetals have a great feel - I have founf they work best around T4- 5.6

Nick

GripTech in Australia make a riser for the F3 so that it can be used with 19mm and 15mm Arri sliding baseplates. It also has capability to use mini 15mm rod.

Excellent build quality. $Au 300.00

http://griptech.net.au/index.php?act=viewProd&productId=83

If you are determining the only advantage of the Red for your style of production to be the colour EVF you should be aware that the old style Red EVF has a tendency to solarise when it gets slightly cold and then becomes practically useless. You can try to keep it warm with heat packs but it can be a struggle. I hope that the new Red 'bomb' EVF works in the cold.

Hi Ruairi,

Putting PL mounts on the round fronts is not that big a deal. If you get hold of the PL mounts from Russia or elsewhere. you should be able to get a lens tech where you are to mount and collimate them.

Try: http://spbsale.com

or SteveMorton In Australia: http://members.optusnet.com.au/~smort1/lomos/lomos

Steve has focus gears for the roundfronts. You warm them up in hot water then slip them on, (More a battle at times like peeling chestnuts)

If you are in the UK, True Lens service has experience with Lomos: http://www.truelens.co.uk/

Nick

I think Movietech has a set of Balters ( originals not super ?) - I've never used them but get in touch with movietech. http://www.movietech.co.uk

Movietech Baltar Lens Set

Qty:

20mm T2.3 cf 18'' - 25mm T2.3 cf 18'' - 35mm T2.3 cf 18'' - 50mm T2.3 cf 18'' - 75mm T2.3 cf 22'' - 100mm T2.3 cf 4'

I have traveled with Divalites a lot of times. I wrap the tubes with bubble wrap, in the case and the light it self.

The case is hard wearing - I don't lock the cases ( I have a premonition I will lose the keys) but I do tape over the catches so they cannot open. Check after the flight that the tubes have not jumped out of the connections.

Nick

Can't help as regards French rates but in the UK a good guide to rates can be found on BECTU union site. As usual all DoP rates are open to negotiation, but for me it helps to have a Union rate which has been, as I understand, agreed with PACT (A Producers Alliance), which you can quote when someone is trying to undercut.

http://www.bectu.org.uk/advice-resources/r...ce-camera-rates

This was all shot on colour neg tho, if I remember right.

 

love

 

Freya

Yeah, you could be right there.

Paper Moon - Yes 1:1.85, my mistake thinking it was anamorphic - It is so long since I watched this film - wonderful images shot by Laszlo Kovacs.

Another atmospheric anamorphic Japanese film is Onibaba directed by Kaneto Shindo.

What I tend to miss from recent b/w films is that kind of 'glow' that films produced when labs were constantly printing b/w achieved. The most recent b/w film that had the kind of feel was The Coen Bros "The Man Who Wasn't There' shot by Roger Deakins. 1:1.85 though.

Andrei Rublev

The Elephant Man

Paper Moon

This site lists many others.

http://yorty.sonoma.edu/filmfrog/archive/b...widescreen.html

A recent film shot b/w 1:1.85 that I think looks wonderful is Oscar Roehler's 'Die Unberührbare' shot by Haben Bodanski.

As the film has no streaking it looks like the timing is ok - but you should check it by marking a frame and inch by hand .

Is the GG seated correctly? Take it out and refit. Is it the correct GG?

I haven't done it for years and not with a 435 but can you put a bit of trace in the gate and reflect the frame marks onto the trace and see if they match up with the GG .

Have the camera hire company actually inspected the camera?

Hope this helps.

Nick

Try Movietech, www.movietech.co.uk or Take2. take2films.co.uk/ Both have Hawk anamorphics.

Nick

The information you need is on Carey Duffy's South London Filters Website: http://www.camerafilters.co.uk/page60.html

Nick

I agree with Tony regarding the usefulness of looking at the colour of a grade from a Macbeth chart. What I did find useful was looking at the latitude of each recording medium.

Basically each Camera was pointed at the same scene - with the ASA rating set by the manufacturer or supplier. The 3200K scene had parts that were 5 to 6 stops over and and I think around 6 stops under. As I said for me the usefulness was looking at the latitude of the systems - not so much when they blow out as one can protect the whites on digital formats but in the subtle differences in contrast in mid tones. For what ever reason (exposure/post) the SI 2K and RED did not look that good. In this evaluation the EX3 looked better to me than the SI 2K.

I did come away with a number of thoughts - that the only tests that I have ever found really valuable are the ones I have done for myself for the film in hand - Post can be a minefield and usually is - It is getting harder for a DoP to control the look of the image shot as it disappears into the unregulated digital ether.

The evaluation was presented on a Digital Cinema Server. I would think the BSC website will have all the technical specs up somewhere.