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Phillip Mosness

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About Phillip Mosness

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    Los Angeles
  1. These sort of questions bring a tear to my eye, but I'd suggest getting a new roll of 100D or Tri-x rather than spend he time and money dealing with Kodachrome developed as B&W negative. I've sadly tossed out old unused rolls of K40 in recent years. The 100D 7294 is worth supporting.
  2. Is such a thing possible? I'm guessing no, but also hoping that it could be done. The ones I see seem to work with mirrorless cameras so the device must need to get closer to the focal plane than a PL could allow.
  3. animation that didn't require a voice actor, I suppose.
  4. Hello, Have you used 100' rolls in the Aaton before? I understand you can get the rolls in the feed side, but the take up is going to be on a core, so you won't be able to store the exposed film back in the boxes. Maybe not a huge problem, but is it that hard to find a 400' roll of 7219? How many candles are you going to have? Barry Lyndon used (I think) triple wicks to boost the flame and a bunch of them. I think you're going to want more light either way.
  5. I've read if you stop down a non RX lens past f 3.5 you'll overcome the aberrations of the reflex prism. here's some pics of the RX version of the 12-120 https://www.rockycameras.com/--12-120mm-h16-rx-angenieux--angenieux-12-120mm-bolex-h16-rx--lens-cased-cw-caps---nice--24999-56482-p.asp
  6. I haven't purchased re-can/shortend film from overseas or Canada, but I'm wondering if getting packages x-rayed is a concern. Anyone have experience in this?
  7. Current batch of Cams and Lenses: 35mm: Arri BL 4 super35 gate Moviecam Compact #1, Super35 gate Moviecam Compact #2, Super35 gate (centered for anamorphic though, apparently) Arri 2c PL mount Various inexpensive Russian primes Cooke 20-100 Super16mm Aaton LTR 54 Zeiss Optex 12-120, Optar Illuminas, Optex 6mm, Elite 4.5mm Bolex SBM 16-100 POE, Switars 16mm Eclair NPR Angenieux 9.5-57 Super 8mm Beaulieu 6008 Pro Angenieux 6-90 Leicina Special Schneider 8-64 Nikon R10 Digital Panasonic GH2
  8. Looks great. Nice texture. It looks like you were there on the two days I wasn't. What kind of scanner did you put together?
  9. I really enjoy the textures of this footage. It's hard to beat the real thing when it comes to graveyards. Do you think using 5207 250 daylight would have offered a little more wiggle room for an overcast day? Will you be shooting in that location for night scenes?
  10. I took a pic of my 20-100 for comparison. All the above pics appear to have this same texture pattern I'm pointing to so I'm voting they're all the 20-100.
  11. Hey Matt. Even though I haven't used the specific lens you linked to, I'll toss in my 2 cents on this since I've been playing around with my projector lens set up for about a year and a half now. One of the biggest issues you run into is that these projector lenses need to be focused separately from your main taking lens. A few companies have a single focus solution for this. SLR Magic has their Rangefinder, There's one called the FM focus module, and The Rectilux from John Barlow in Liverpool. Without a single focus system, it's all pretty Rinky Dink. The Rectilux is well regarded in the 'DIY anamorphic community'. Especially the latest design -The Hardcore DNA. I've been using the first version Rectilux with a Kowa lens and I'm pretty happy with the results. I don't think anyone has done a side by side comparison between one of these mickey mouse set ups compared to the professional equivalent , but I suspect they'd be surprisingly similar. My Kowa projector lens paired with an inexpensive taking lens looks comparable to the characteristics of the Kowa Prominar anamorphics that cost $20,000 each now. You're seeing this method more and more in the professional world, so others are feeling confident in the results. Prices are going up on projector lenses now thanks to the demand as well. here's a youtube channel that will offer a ton of info: https://www.youtube.com/user/tferradans
  12. Is it possible they are all the Cooke 20-100? I'm reasonably sure I read it was used on Eyes Wide Shut and it looks like that's the lens in photo #2, as well as the Full Metal Jacket pics. It's probably this one: http://stevediggins.com/wp-content/uploads/2015/07/IMG_1514.jpg
  13. Thanks, James I'll give that a shot. It's a little disconcerting because I did actually tape the door, as I usually do. The door seems like the only place that it could happen, though. The distortion in the image is even across the frame and pulsates more quickly as the roll runs out, telling me that it got hit somehow from one side all the way to the core. I almost wonder if it's radiation?
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