Steve Zimmerman

I was camera/DP on a 35mm short where the director bought the film off ebay. The seller from LA said he got the film from some producer's garage. ;) We did overexpose half a stop. It was the old EXR 500 speed The image alternated from pretty decent and soft, to suddenly grainy, especially in the shadow areas. Bad age fog all around. The director spent $900 on that transfer! Was it worth it? No. I'm never buying film off ebay myself. Those professional short end sellers ore OK.

Hello, When the forum was first changed recently there was a "home page" which listed the latest messages. Just a few days ago this stopped. I enjoyed "stopping by" the page throughout the day to see what was new. It was a lot more fun to read than having to sift though all of the topics. Sometimes there was a message which would be from a topic I'm less interested in and would never read otherwise. Please bring back the "new threads" page. :) Thanks, Steve Zimmerman

Here's some super 8 clips that someone posted on here: http://www.westsiderfilm.com/clips2.html Here is the thread it was in: http://www.cinematography.com/forum2004/in...9&hl=velvia Too bad the 35mm version is so outrageously expensive. Those colors would be wild! Steve Zimmerman

Adam, I bought a Konvas anamorphic desqueezer from him. No problems. :D Steve Zimmerman

Please? Anybody have any ideas for supporting a long lens on a bolex? If I get an answer I can use I'm hoping to shoot some 16mm Kodachrome at 2.4:1 ratio, and I promise to post some stills here on the board. :) I have tried Kodachrome on an ARRI SRIII with ziess lenses VS my Bolex Rex 1 with a switar lens, and the color saturation and sharpness was much better with the Zeiss. I was hoping to test and compare My Lomo Anamorphic lens also with my Bolex, without the lens snapping off due to weight. Thanks in advance, Steve Zimmerman

Hello, I was wondering if there is a way to mount ARRI style support rods on a bolex Rex 1. I have a PL mount 75mm Lomo Anamorphic lens, and was serriously thinking about buying a PL Mount to C mount adapter to use it on my Bolex. I was inspired by the Chris Cunningham Squarepusher video that used an anamorphic lens on a 16mm film camera. The lens is rather long and heavy so it needs support, so I need to use rods to mount a support. Does the standard Bolex matte box do this? I can get access to an ARRI matte box. I know there are flat base adapters for the Bolex. Do the have holes for rods too? It would be nice to be able to use large filters too. Thanks, Steve

Rob Zombie's The Devil's Rejects was shot in super 16. I like good exploitation films, but this wasn't one of them. The script (esp. dialog) was amateurish, and that "Freebird" ending was totally self indulgent. --But the images are nice and gritty, works for the subject matter. There was a Liv Tyler horror film shooting near here, The Strangers, I heard it was super 16. http://imdb.com/title/tt0482606/ There should be more lower budget super 16 releases in multiplexes. That way you could have more films with obscure tastes that could still make a profit. Big budgets usually equal trying to please all audiences, which makes for dull, watered-down ideas. :angry: Correction: Forgot to enter, that Bully was shot on **35mm**, 800T, 5289

Bully was shot with the old Kodak Vision 800T, overexposed at 500 asa for tighter grain and better color. http://imdb.com/title/tt0242193/technical

on a similar subject: Are there any recommended books on this subject of power distribution? I don't remember any of this in "The Lighting Technician's Handbook". :o I was disappointed when I signed up for a class on generator operation from the regional IATSE union, but they must have cancelled the meeting because they never called me back.

Thanks for the reply, :D Sorry, I forgot to mention, the lens is a Lomo 35 BAC23-2 F=75mm Thanks for the offer Olex, I sent you an email to the a-teleport.com address. I also sent an e-mail to Slow Motion in L.A.

I bought a 75mm PL mount Lomo anamorphic lens from a russian seller on Ebay. I'll be using it on an Arri BLIII and an Arri III high speed. I've just started to become familiar with the lens and it's quirks, (low depth of field, etc.). I noticed that the heavy lens support, besides not usable with Arri rods, is not completely flat on the bottom, but is at an angle. I also noticed that things are at a slight angle looking through the viewfinder at vertical lines. Looking at the front of the lens, the squeezing lens is not 100% vertical. If perfect is 12 o'clock, the squeezer lens is at 11:56. It seems the mount was a little off when attached, this also explains why the heavy lens support is at a slight angle. I remember there was a thread about this in the past. I see there is a horizontal slot for the mount's screw to adjust. there isn't any way to fix this without removing the mount? Any affordable lens tech recommendations for me? Thanks for reading this, Steve zimmerman

Lynch's Lost Highway, shot by Peter Deming has some excellent use of negative space in the anamorphic frame. All I have is the letterbox VHS tape. This is the only widescreen frame I could find online.

If you go the camcorder route you should find a Sony DVCAM prosumer camera: a PD-150, like they shoot weddings on (or David Lynch features :P ) or similar. I guess DVX100's can play DVCAM, but there are dropouts. Best to stay with the same brand in this case. Maybe this will help. Steve Z.

I've been looking for a used anamorphic ground glass for use with an Arri BL3 for a few months. I found this 435 GG on ebay. --With minor modification would it fit and work properly? It would be great to save about $500. Any camera techs out there who would know, and could modify it for me? Thanks for reading this, Steve Zimmerman http://cgi.ebay.com/Arri-435-Camera-ANAMOR...bayphotohosting

I saw Suspiria on the big screen in Durham NC October 13 at the Carolina Theater. with Q and A from Jesicca Harper afterward. The print was very worn, and was the cut, R- rated version, but it was nice to see it on film once in my life. I assume it was mostly a dye print because the colors were in good shape, except for one sequence which was reddish-orange, which is what happens to older "eastman" prints. I assume that section of the dye print was lost and the film distributor scavenged a regular film version of the sequence. Another interesting note was that the red dye layer was slightly out of register so a thin edge of the faces on the right side was black and white.

Thanks Rafael! B) I've been on your site before but I missed this. I will give it a try. Steve Zimmerman

Thanks in advance for reading this! :D I just got a new Lomo lens off eBay. It doesn't come with focus gearing. I know of technicians who will do it for a couple hundred dollars, but I was hoping I could find the pieces and do it myself. Thanks, Steve Zimmerman

I've been curious about Salo myself. Supposedly it's symbolicly anti-fascist. Another Euro art film w/ bodily fluids and excretions to stay away from is Dusan Makavejev's Sweet Movie. You should mention it to your professor for "brownie points" lol.

Still Selling these? I have the 1k largest lantern lock already, wanted to get a couple more :-). Thanks, Steve Zimmerman gkrimus@yahoo.com

This place gave me a more reasonable price: http://mywebpage.netscape.com/markwoods9/Shurco1.pdf

No, that doesn't work, I guess I have to shoot some film with it, put the negative back in the camera. Project the image back through the lens with a flashlight, trace the frame edges on the wall. Look through the viewfinder, mark the edges with pencil, then take out the glass and use a fine tipped permanent marker to mark the outline.

Part of the greatness of anamorphic is the dynamic compositions you can do with it. It makes it a little hard when you don't have the precise ground glass. Where can I find a used anamorphic ground glass for an Arri BLIII? Called all over and no one has one. I could order one for an outrageous price. Otherwise I know I can get a silent aperature ground glass cheaper. I guess I could put a piece of anamorphic print in the camera (from a movie trailer, lighting behind it with a flashlight) and mark the edges of the film frame on the ground glass while looking through the regular viewfinder or the desqueezer viewfinder. What is the best way to mark the ground glass, -- with a sharpie? Anybody got a real one to sell? Thanks, Steve Zimmerman

Thanks for the reponses guys. :D Thanks reinforcing my thoughts. I am going with the 50mm. I love wide angle warping but not for most of the footage. -- And being limited to a chest up shot of the actors for a "normal" lens on such a wide frame doesn't work for me. I would love it as a third choice in the future, but I am just starting out in anamorphic cinematography so I should keep things simple. Steve Zimmerman

Thanks in advance for reading this :D I've been thinking about getting some PL lomo anamorphic primes for some shorts and some PSA's. I can't afford more than two. I did some research with a directors viewfinder and Frame Forge 3D (3d storyboarding software), checking out the angles of view. All of them have a close focus distance of 1 meter right? For a 35mm focal length, I guess that basically gives you a from chest to top of head shot as your closest shot? I could get the classic big face shot from eyebrows to chin with a 100mm lens. I'm thinking I might be better off having a 50mm as my wider lens. I like the idea of seeing more of the locations with a 35mm, but the small size of the actors in the frame is another consideration. I know you can use close-up diopters and spit field lenses in controlled situations. Curious to hear others experiences in trying to get around these limitations. What is the filter size for the 35mm round front lens? I would like to price out diopters. Most appreciative, Steve Zimmerman