steve waschka

Stopping down will sharpen soft images. F4 prob wont be enough to cut it and you lose your dof control... not acceptable much of the time. When light travels through anything behind the lens it throws off the backfocus. It also can refract. The rx cameras have that prism which the light has to travel thru. The rx lenses accommodate. My experience with the bolex rx issue is that the biggest problem is the backfocus. As i have adjusted this before and the refraction softening wasnt really evident. Now I havent done a detail chart comparison and it would probably show up to some degree. I would think it would have to. Or bolex would have just sold the equivalent of a macro ring that would have solved it. I use 35mm lens to cmount adapters. The prob of the non rx is still the issue. Once you address that, adapters with accurate FFD work ok.

Agreed. The bellows extension units, if the right dimension, are often used for copying images. Using the I/T selector on the body, you can change the shutter on the camera to stay open. Then control exposure in detail with that accessory shutter. Or great for stop motion. Prob a lot of work for time lapse. But it would even out the differences in available light. Although I have a bolexs with adjustable shutters and if you needed more exposure than the shutter angle provided and timing it wasnt quite accurate enough then you would need one of those accessories.

Processed stock using this filter. Its what i was looking for. Thanks!!!

update: I recently acquired a bvw-d600ws. Image quality on the ws model in 16:9 is much higher than a 4:3 from a the stnd d600 cropped. My new understanding is that the ws models do some form of electronic anamorphic utilizing the full height of the sensor. You can in fact use the same lenses. There is no issue with coverage as i have seen debated on the internet. The issue that since the final diagonal dimension of the image is greater than a 4:3, the FL has a different magnification just as when changing up or down on any sensor size. The fix was to use the flip converter feature of the 2x converter lenses and replace that element group with a .8 or something of that nature. So far havent come across any times when that was critical to me.

Thanks Chris. Just ordered one.

Guys I do black and white film and color video. But NO color film. I want to change that and do some color film. But I am scared of the learning curve to get color right. I white balance my video and dig stills cameras a lot. I like the cooler look. I have an ever-so-lightly pink tinged card that gets me nice blue sky but no overly desaturated skin tones or blue tinted shadows. I shoot a ton of sports. Mostly high sunlight. But increasingly having to deal with stadium lights. Lets forget about stadium lights for now. I'll quit photography if I try to wrap my head around getting that right for film regularly right now. What cc filter would you toss me out of your bag to get me a starting point for late morning shoots? Thanks in advance! PS frame grabs would be awesome! Thanks again!

ive always used this lens over the top right side of the camera body and so the viewfinder runs parallel to the lens barrel. id like to put it on the left. but, i cant figure out how to set it up so that the long backward traveling barrel of the viewfinder is angled up at 45deg angle. when you spin the prism in the "elbow" of the viewfinder, the image skews. thanks

thanks. the specs show the same picture elements on the stnd d600as on the ws. and the notes say you dont want to take a 16:9 from that cam and crop in post to produce 4:3. so im assuming as you say it crops to 16:9 and squeezes in camera. im guessing that means if i take my stnd d600 and crop in adobe and run the final edit thru a scaler ill get the same image. which i already do.

sorry. i know this isnt the forum section for sd cameras. but the photographer who might have this info may never check that forum again... have any of you any first hand knowledge of the bvw-d600WS? and if so was the sensor physically different than the d600? or on that camera was it just an in camera crop? the specs i find on line quote the same picture elements for both bodies. thanks again.

schneider super cinelux on a fujinon. bvw-d600 https://vimeo.com/61855396

max that photo is awesome. the effort that it took to get thru the learning curve to get to the schneider to get that shot makes it beautiful. most people are gonna ask why you just dont crop a high res photo.

i have a schneider super cinelux 2x. the one with the focus knob. as a taking lens adapter its one of the better choices. its threaded at the rear but i think its an odd size. i know i ground out the threads on step ring and press fit it to the schneider. now it is 77mm which allows it to go back and forth with most of my lenses with standard step rings. it focuses down to about 9ft. then diopters get me the rest of the way. prob with anamorphic adapters is the vignette. if you use a doubler it seems to minimize the vignette. on a standard spherical for most larger video cameras and 16mm or so film cameras... you will go no lower than 45mm FL. so youll have to decide how you will mix the shots or crop on your wider angle shots. I have recently purchased a schneider wide angle attachment for another purpose and messed with it in front of the anamorphic. the wa adapter i bought is not focus thru and is useless for the anamorphic purpose. HOWEVER i believe a high quality thru focus wa adapter in front of the anamorphic adapter MAY bring your shots back fairly wide. But its a lot of glass. and i have lenses i have messed with that have too much CA to be usefull in this sort of application that are otherwise fine for their intended use. So you may find some otherwise perfect glass gets wierd when you start fitting all this stuff together. then the final issue is dual focusing. You have to get a sharp horizontal with your main lens then get a good vertical with the anamorphic. If my setup wont do that at wide open with no darkened corners i feel its useless. Then if the edges rainbow from ca when i stretch in post... it also is useless. I do not own an integrated anamorphic. and i NEED one. they are NOT cheap. But this paragraph is just a glimpse of why. The big Lomos have also treated me well and because they are soooo big you can usually go a liitle wider on your spherical before vignetting. But they are rickety and require a lot of fiddling.

well... im glad theyre making film. unlike the big houses on a downswing i imagine orwo is going to enjoy an upswing. mostly because of displaced fuji buyers. and maybe some kodak buyers whos film prices appear to have spiked. which is why i went looking. if the film as a canvas itself is good. the rest can be fixed i imagine. hopefully if there are real issues they are listening and addressing. ill order some and post back what i find at some point. but i have bolexs and an arri bl16 so im not sure im going to see an issue in either case. BUT for the main reason i need to ditch my bl (lack of lens selection) people have to shoot aatons and sr's. so its gotta work in these machines. or its useless. and they can't just put their head in the sand. because if i have to think too long about it... ill just pay for the kodak. cause i dont want kodak out of the business motion business like fuji. not that that will happen. but id hate to think i contributed to it if it did.

subject is not a professional. its a docu on competitive soccer. but i thought about that.

anybody have some magic software they can run a track through for me. or some advice on something that works. tried eq, high pass, and dehum. It was pretty windy. but i had the lav mic tucked in the subjects shirt and their back was to the wind. at some point i took off my headset and grabbed the second camera. thats when i guess they twisted into the wind. i cant really reshoot. its not life threatening. but its annoying to me to leave it in there.

i think the bl16 has a LOT of travel in the side tension spring. if thats the issue im prob ok. i didnt even look to see if they had 100ft rolls. that would be the smart way to go.

oh boy. so its gonna be another $90 experiment. im still using a bl16 so im probably ok. bad news is im shooting a youth soccer documentary and i was planning some speed ramps to 50fps and back. i think thats gonna be out of the question based on what you guys are saying. could lead to a trip to the repair shop. and i dont need that right now.

i noticed its here on the east coast. 100d and 400d i believe. im a 7222 guy but havent ordered any in almost a year. i noticed the other day kodak no longer has their web cart. but i think it shipped from a shop in miami anyway. cant remember but i obviously have some phone calls to make. i also noticed the fuji bail from motion imaging and kodak wavering has bumped retail filmstock prices a chunk. so anyways. anyone have any luck with orwo?

cory i think you're gonna need i time machine to get one cleaner than that.

if you have experience with this and can tell me if this will work it will save me a ton of testing time: can you take a progressive segmented frame 480 video and store it on betacam sp with the bvw series decks? that is to say if you played it back off that bsp tape and captured it digitally, would a simple weave script return the psf as fed to the bvw? or is the bvw going to retime the video with new time shifts in the fields? does care and attention to the timecode stream from the source override that? thanks in advance!

i cant open your pic. if you still need help... email me. stevewaschka@earthlink.net

ive used a bunch of projection adapters. the issues are: you have to focus both lenses. but once you learn to do this fast and tack sharp you will be a cheetah with your sphericals. what is the min focal dist of the adapter? some as low as 8ft. some only 18ft will you need to add diopter to drop min fd? see above what is the min useable focal length of the camera lens in conjunction with the adapter without vignetting? depends on the size and design of the adapter. often 40-50mm for avg 16mm gate. little secret... get a doubler. seems to drop the min fl well below half. so if you are 50mm stnd spher thru the anamorphic and you add a doubler i have experienced a drop all the way down to 15mm. not the expected 25mm. (and note this is my direct experience canon and fujinons with built in 2x's but dont yell at me if you spend $400 on a mutar and this doesnt work . this stuff is trial and error) also see next issue chromatic aberrations form capturing thru all the extra glass? likely. but some add to the look i believe. some are ugly. i love what ive trained my eyes to see from all the experimenting. if youre looking to spend some quality time with your gear you can def do it in this catagory! its really a matter of what your taste and tolerance can handle. otherwise it becomes clear why even old internally matched anamorphic taking lenses cost a small deficit.

cool stuff. in the beginning...btw... thats the "squeeky whizzy thing" (my tech term) for anyone who cant get their bolex to shut up.

what are you using to transport the film thru the bath? rewind, spiral tank? or are you literally "hand" processing in a bucket or tray?

bought teranex. adjusting workflow. studying the possibilities of psf.