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dino wiand

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    Kinoptik Lenses

    in Lenses & Lens Accessories

    Posted · Edited by dino wiand

    Strange history. They never were as popular as cooke even in france. Some people say very cold sterile lenses opposite of cooke and some say warm and similar to baltar. They were basically converted still lenses used mainly on high end alpas. My experience is some sharper than cooke. To me more like a bolex kern switar for 35mm but hard to say as so many different opinions.

    Bausch Lomb Baltar

    in Lenses & Lens Accessories

    Posted

    the super baltars were softer than the cookes in my opinion. The Cooke's 'pop' a little more. The Kowa's to me were between Cooke and Super Baltars for sharpness. 'Milk' was shot with Speed Panchros and Vittorio Storaro claimed the speed panchros to be his favourite lens (at least in the 70s and 80s).

    Just a note on the Speed Panchro series ii and ii.. The Cooke Series III was made to fix the problems with the series ii 18mm and 25mm focal length lenses. Both series ii 18mm and 25mm were very poor lenses and really not usable.. they came out with the series iii to fix the problems. the S III are the same lenses as the other series ii lenses ... but usable.

    I think the Super Baltars struggle a little wide open in low light but still are beautiful lens.. they look amazing with reversal stock as do the sp's as these were lenses made for 3 strip technicolor or high contrast black and white. I go between liking the SP's or SB's the best. Maybe the Cookes are more the all rounder. Also the Panavision 'C' series are in the same league as Super Baltars in my opinion.

    Bausch Lomb Baltar

    in Lenses & Lens Accessories

    Posted

    checked out 'the wackness' - that looked softer than the s.baltars that I am used to. I don't like to think of them as an effect lens but it looks that way in that film, its more like they are pushing the lenses boundaries to get an effect. I think if they still had 3 strip technicolor like Baltars were made for then they wouldn't be as soft. I am used to watching old films so when I see a sharp modern lens it looses a little magic unless the DP can work to soften the light rather than the lens.

    Bausch Lomb Baltar

    in Lenses & Lens Accessories

    Posted

    Hi. I know these lenses very well.

     

    Firstly we all know what Baltar's and Super Baltars look like, pretty much any film shot with a Mitchell was either Baltar or Kowa. Even a lot of stuff in the 80s was shot with Super Baltars and Kowas. A lot of old Disney stuff like 'Parent Trap' and 'Moonspinners' and also most Hitchcock stuff was shot with Super Baltars. A lot of John Ford stuff as well. 'The Birds' etc. Also a lot of the early Fox Cinescope stuff like 'the robe' was shot with adapted Baltar's. They used Super Baltars on the TV show Cheers if you want to see a bad example. Also the Star Trek TV series. 16mm versions were used on 'Brown Bunny' by Vincent Gallo, however again its not to me the best use of them.

     

    I personally like the Baltars from the 50s a little better than the 60s Super Baltars, but the Super Baltars are great. By the way the Kowa's are exact copies of the Super Baltars but have a slightly orange warmer coating. I think the Baltar's are a touch more dramatic and moody looking compared to the Super Baltar.

     

    I have never seen the CM3 Baltars, but sound interesting.

     

    Personally I prefer them on 35mm rather than using them to soften the harsher digital cameras.

     

    Personally I think a beautiful image is a beautiful image, but these lens add some real magic that you may not instantly get from a modern lens. Also I use them with no matte box/filters and have not had too much problems with flare, but it depends how anal you need to be. If you want to shoot perfectly (if there is such a thing) and without character maybe stay away.

    Has anyone here filmed Anamorphic with a Camaflex?

    in 35mm

    Posted · Edited by dino wiand

    Young Girls of Rochefort is a good example. http://www.youtube.com/watch?v=8I_km8IkVsE I think they used a Kinoptik lens (like Jack Cardiff had for William Tell) . They got a great look from Rocheford. But camera not good for sync sound unless you don't mind re-recording the sound. Musicals however no problem. Eclair Camaflex is a great camera however.

     

    Hi

     

    I am gradually getting a Cameflex ( 35 not 16/35 ) package together and I wondered if anyone could let me know what I need to do to the camera to shoot 'scope'.

     

    Are there any films that I could watch that have used the Eclair to do this?

     

    Any help or advice would be very much appreciated.

     

     

    Many thanks

     

    Giles

    what do you think about Super Baltar lenses?

    in 35mm

    Posted

    To me the Super Baltar is the best lens ever made. I hear the Kowa's are an exact copy. I also love the original Baltars too.

     

    Buffalo 66 and Brown Bunny were recent films shot with Super Baltars. about 50% of all films upto the early 70s used Super Baltars and Baltars. All Fox films until the mid 60s and I think RKO too.

     

    I have not seen a lens come close to the Super Baltar though. (Cooke Speeds and Panavision Panatars a good second choice though)

     

     

     

    Hi as I posted in this forum I´m looking for a decent (but not very expensive) prime lenses to convert to PL mount.

     

    I find a super Baltar lens that it seems a little old.

     

    http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...ADME:B:AAQ:US:1

     

    Someone can tell me if this lenses are better than OKS or the old Schneider and Cooke?

     

    thanks

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