Phillip Mosness

I'm not an expert, but the BL-3 is a 12 volt motor and the 2C runs on 16 volts. I have a BL-4 and 2C and my 12 volt batteries never could power my 2C to full speed with film. (I did once blow a fuse on my BL-4 by trying to run it on my 16 volt battery belt. )

I've had this happen before. About 20% was blurred on the right. It was on a Spirit 2K. They did another pass and it was fine. I don't remember what the issue was but it was resolved.

Looks good. The night footage is especially impressive. Is this 7219?

...Oh hi shark

I've noticed a bit of this too, but do we know they're actually selling for those prices? People can ask anything. We've all seen things in eBay that are perpetually offered at some price month after month. It does seem like there's an upswing in 16mm lately, even more than 35mm, so if demand is up, then so goes the price.

Would these work on LTR magazines?

Really enjoyed the movie, but I was convinced it was shot on film because there was a bit of weave in the image. Turns out it was shot on various Alexas. Are they putting weave in post now? Was I seeing things?

I've had mixed results with L.A. places, but I liked what I got from Gama Ray Digital Near Boston. I'd also check the outstanding work of Ochio Y Pico in Madrid.

I contacted the seller on eBay to let them know the situation. I did't get a reply, but they were all gone the next day. They probably got more than a few people sending them the bad news.

Hello, I'm guessing your Bolex is a standard 16mm. A 2x squeeze will give you a 2.66 aspect ratio. Wider than standard, but gives you a little wiggle room with framing if you want to crop to 2.35 later. Most PL mount anamorphics aren't going to be very wide on such a small format. It's rare to find one wider than 35mm, which won't be too wide a field of view in 16mm. Were you planning to rent? You may be better off using Switars and a Scope projector lens in front with a single focus solution such as the Rectilux. You might be able to go as wide as 25mm that way.

Hello, It's amazing what you can do in 60 seconds, huh? The only critiques I could offer is that it might be more natural for the camera/phone to fall at a more awkward angle at :21, and there's not much motivating your lead male to pick up the camera at :35. Perhaps it could get kicked into the next position during the struggle. And I can't think of why a guy would drop his gun to punch a guy on the ground. Still, nice job!

I was expecting worse with the title of the post. Had you shot with this cam/lens before? Who did the transfer? How did you rate the film? Did you use any filter, like an 85?

How about the Russian Zenit Quarz wind-up camera? They're relatively simple and not intimidating, durable, and cheap. You can still find new old stock ones http://zenitquarzcameras.blogspot.com/

If I could throw one more option into the mix if the Aaton is too pricey. The Eclair ACL is quite versatile. It can do 100' and 400' , and there's a 200' magazine that makes it compact for a sync sound cam. It has a c mount and adapters for Arri Standard/bayo , camflex, etc. Many ACL II's are Super 16, and it's also a good candidate for Ultra 16 conversions. A cheaper option to the Aaton LTR , but similar in approach and with a c mount prime and 200' mag it's pretty darn small.