alan doyle

ping me an email i have a panasonic anamorphic cheers antiochus66@yahoo.co.uk

most of the big projection lens are overpriced and sold by turds. have an easy life buy something small like a 16c or 16f...kowa 8z or bell howell. if you are rich iscorama if you could afford a hawk lens i would assume you would have people advising you. sankors are the best entry level bits. redstan.com can also give you advice about optics

also some of this looks like fake anamorphic very odd. get a dvd of the movie badlands if you want to see this kind of thing done properly. getting the look check out the magic lantern canon raw hacks.nice and flat look get a real anamorphic lens and you should be able to get better images than this bloke with a gun tale. art direction was good.

david mullen is always correct fact : ) 20 secs in thought bland alexa out of camera maybe tweaks in post. 0 film look here just fakery poker ry. digical cack ohh for the days the fuji and kodak days. film look this is film look and anamorphic.

les bosher is amazing but stupid slow no matter how easy the job.. never less than 3 months.. true lens are strutting super models wanting top dollar and long wait. lots of in out exhales huff puff vague pricing until you are hooked in. optical support charge fat fees and take forever. bernie o in america is ex sammies uk understands all these lens and will not bullshit you or keep you waiting forever. you want uk go with les for a long wait. uk is badly served i am afraid for quick ish turnaround on movie gear http://www.super16inc.com/

redstan makes the best adapter clamps has options for massive range of lens. redstan.com or ebay all of these more compact optics work on digital. screw off back optic so you have front anamorphic section and put a 50mm on camera if you are getting vignetting put a longer camera lens on or try a smaller sensor camera

franscope dyaliscope

i have an old studio lens that ended up at one of the uk studios in the 70s. it had been used on shoot the pianist i think could have been jules et jim known to be sharp at the time..pretty soft wide open a heavy stop is needed.. http://www.flickr.com/photos/34211301@N00/8336906516/

brad angelina clooney and now affleck. all working for nato telling a simple tale of mad bad folks of iran wow great timing. netanyahoo of israel wants a war with iran afleck gets his funding from his friends and family in hollywood paedo land. beware of these controlled stooges they care about themselves the empathy is as fake as the smiles. sorry i have not seen it but i am sure it will look good as affleck was running out of options with his run of turd movies

i have just seen it in 70mm in london a pretty small screen kind of a waste. mr mullen as usual nails it. this is not big like laurence,spartacus or ryans daughter but a much more inward looking piece that is really lovely at times. the footage on the beach the fight in the store,the fight flight into the field early evening simply sublime. this was a director making a romantic film choice knowing the end is near. it makes me feel sick. i nearly left the cinema early on as i could not hack the pox alexa movie trailers and the nasty sterile hd commercials. so for me the first 40 odd minutes of the master was a delightful reacquaitance and readjustment back into the arms of an old near dead analogue friend. mr deakins makes statements about film not cutting it any more i say go kiss your alexa and stop trying to kill off a dearly loved friend. choice. why limit choice why suck up to the bean counters. the trailer for the hobbit made me feel sick plastic cgi worlds. it looks like my new film days are over i will wait for classic reruns at art cinemas. the worst part is none of this new digital tripe can capture mise en scene like a klute, lift to the scaffold or a le feu follet. i believe the original idea was to shoot main portrait shots on 65mm on the master but the pta and his dp fell in love with the images they where getting so went the whole hog. good on them i say.

they will not flare zeiss see this aberration as an error... anamorphot looks like it is in middle section of lens. so it looks like zeiss are well on the anamorphic way... i saw a prototype about 2-3 years ago but it was shelved because of price point and the hawk competition..i think 1 optic was double the price of a hawk. as anything made by arri or zeiss is kind of perfect so it was with this optic. roger deakins got to shoot and test it,but he does not like anamorphic so kind of pointless exercise getting him to test. anyway i assume this is a reaction to the massive worldwide success of the arri alexa.. the guess costing from a few years ago which i think worked out at 300 hundred thousand dollars for the set..will have to be revised down. so my guess is they will buy the anamorphic heads from isco/schneider then use japan/china for housings and spherical optics maybe with assembly in germany so they can put made in germany on it. they will either stay high on price or find a low mark 8-15 thousand euros each. state of the art sharpness and latest generation coatings.and i am sure for an extra 3000 they will give you an uncoated lens. what you will get will be the most update lovely slick fast optic with super computer design with an amazing focus system relationship between the anamorphot and spherical. at a min it will have to be as good as the hawks. an optic that would blow chretiens mind. if zeiss use the word rental a lot it means they will be silly money and we would be looking at an arri anamorphic rental system like vantage hawk. they may not even be for sale? this is not the start of an 800 dollar zeiss indie movie lens. if you have a single coat kowa or an iscorama keep a tight grip on it cos they are under valued unless the end of civilization is nigh. by the way zeiss where never really in the anamorphic business. a lot of the old zeiss projection anamorphics where made by moller and isco. the arriscope system that was a bit of a disaster used zeiss spherical and isco anamorphots. even the zeiss 8mm home movie optics where made by isco. i can state with confidence that a zeiss glass company will not be making the anamorphic cylindrical doublets for these optics..

treat it like tri x.. maybe process yourself as a b&w negative over exposed a stop... it will be flat looking use it in a good solid camera manual exposure... the kodak analyst was designed with many nylon and plastic parts because of jams,that estar base is tough...

i know this is a very old thread but dat dare is my film and pictures...at the top of the page. i got this stuff when i was shooting at an american airbase near las vegas,we were shooting 16mm and s8 and i got given a weird time lapse camera from the 70s and a bag of film. the kodak analyst camera and the mfx were used big time by the us government in the 70s and early 80s,everything from military too attorney office too banks..similar look to tri x...a little less contrast. always the worry that the film would destroy your camera though. this was shot a long time ago on it. looks pretty good.. i was the first person in europe to have kodak surveillance film as has been stated this was nice motion picture stock 5293 put into a cartridge. a bank in japan paid kodak to make it,i think they paid for 48 thousand rolls..i piggy backed the order and got 4000,still think it was the best negative super 8,nice look and transported real smooth through my cameras..

the uk is a waste of time for super 8 repair, a few old geezers who are sent cameras from many different shops.. 3,6 or 9 month turnaround. this would not happen in germany. i had a nikon r10 with a bit of fungus seandean had it 2 months then said it was a right off. forget england.

sendean are a joke and all they do is send it out to some old geezer somewhere. in the store all the guys are working on other types of quick turnaround gear. the super is sent out. my bet is germany,the repairers in that country are much more serious.and a lot quicker. sendean are money grabbers and they take forever.

ok,you guys win.. i will sit back wait for the flashscan company to buy up the remains of thompson,cintel and film light. you can have all the companies knocking out your non projector style telecines. why not use the good engineering that is behind the company and make a proper telecine/scanner. the flashscan is clearly designed for a specific segment of the transfer market,and i am sure fantastic work is being done. but i have seen horrible vision 500 neg footage,which was worse than the oldest cintel mk3. but what do i know you are selling loads of these so the market likes them. :P

the goldfrapp thing should be a real inspiration for newbies. 10 thousand pound budget, 800 pound a day cameraman and a director plus crew.. and i bet everyone on this site could have done better. and this is not unique i have seen much worse. this was a classic example of an arrogant camera crew not testing and not really caring or thinking,you can have a dp who's 35mm work is amazing as soon as you hand him a super 8 he leaves his brain at home. my favorite super 8 work is nearly always shot by non pro's.

experiment,test get a cheap projector use ektachrome send it too andec. by projecting it is a cheaper way to see and understand mistakes. a great way to see what your camera is doing. by testing and playing you will understand,what works for you. do not worry, check this out this was an official video with a proper funded budget. . it is crap. this is what i call squirtyvision,using a camera like a water pistol. http://www.youtube.com/watch?v=kS1CW_kiXUI so no matter what happens i am sure you will do better than the highly paid crew on that film.

] [/url] (it starts at 3:20) It's really gutting cos it looks fantastic (still better one minute's than nothing). It sounds a gutsy experiment to try out, ben, sherlock holmes. thanks very much for that i have not seen that since the telecine... it looked really good...poop 10 years ago,i thought it was only 7. the really grainy stuff was custom super 8 ilford hp5 rated at 800asa...the finer grain black and white was the amazing beautiful agfa apx 25asa and colour was 200asa neg 93 stock, i used my pixelvision and old video cameras. i have done lot's of jobs without ever getting copies.. did a a good super 8 portishead video called over and not so good one erasure solsbury hill directed by vince clarke. and a load of stuff with mark linkous of sparklehorse. but hats off to you for finding finleys clip.. cheers

i shoot quite a lot and get good deals,most people can get get discount if they can convince the lab they will spend money. but 100ft of 16mm can be had in general for 20 to 25 quid a roll process,clean telecine through a spirit tk, 1 light. fuji film is nice and cheap,i would never pay full price for kodak 16mm,get it direct and say you are a student.should be looking for 20 -40% discounts. ;)

and thats £57 quid before vat,nr enough £70 pounds,for 2min 40,and then min order kicks in. and i do not believe it is every day i think it is every 5 days,not really sure what your paying for. £70 per roll i would want a lovely hand graded spirit hd telecine session. :P

However, to give you the basics, developing is £25 a roll and transfer is £20 a roll but best to drop a line for all the details: bookings@sohofilmlab.co.uk Stock is not something we really push (more an add-on for our customers) but we do sell Vision 2 200T 7217 and 500T 7218 both at £12.50 per roll. Oliver £57.50 for 50ft........... :blink: :blink: not being funny but those prices are shocking,why shoot super 8,when i can get 16mm done 40% cheaper. i think a little local competition is needed. by the way i have not got a problem with paying top dollar but i expect the finest quality, your 16 and 35 has always been good but i know better and cheaper s8 labs. :rolleyes:

yes great some of the best flashscan stuff i have seen. but give me an old BTS QUADRA Telecine any day. all these 2 to 30 thousand euros machines are great but we will have to agree to differ. the fact is this is your investment in the flashscan but if you were given a proper telecine for free would you say no thanks i am happy with my flash machine. your machine is a massive leap forward from the old elmo tvr,but i do not see pro film post houses dumping old kit for these. i will just wait for the cintel ditto 2k scanner with s8 gate or stick to the older telecines.

sounds great, got any uploaded footage? cannot find a copy anywhere it was FINLEY QUAYE - ULTRA STIMULATION music video... it was him singing in a tree on hampstead heath. it was great fun. because the baking and burying of the super 8 film did not damage the film enough i took the processed film and unspooled it in soho, tied it to a motorbike and dragged the film to a local coffee shop. ended up with a big ball of mangled crap, i then gave it to soho's film clinic to prep for telecine. only no clean. they looked at me like i was a looney.. sweet.