Phillip Mosness

I'm assuming that the SL and Compact are similar in that they have less room in the opening. I know that any PL mount adapter that sticks out more that a centimeter(if I remember) is going to collide with the walls in there. My Arri BL and 2C are much more forgiving in that regard. Not to mention the side mounted mirror of the 2C vs. Bottom mirror on most others can make a difference.

Does anyone have any practical experience getting 15mm rods onto super8? The problem I'm having is my cameras Leicina Special and Beaulieu 6008 both have offset tripod mounts so the rods on a Zacuto style baseplate end up being way off. Any solutions would be awesome. Thanks

"you are unauthorized for this action" Is there a password or something?

Hi Raymond, What cameras are you using? I haven't found the back elements a problem with the exception of one 22mm. I have found some adapters will hit the inner cavity of my Moviecam, though.

I wish I had a full set of matching cinema primes, but for now I own a mish-mash of inexpensive lenses. A lot of them are OCT-18 Lomos with adapters and a few M42 still lenses with PL adapters. Not all M42 lenses fit into a PL adapter. There's some info online about that. The Helios 58mm works well for the vintage look, but many M42 lenses are impractical for cinema, as they were designed for stills and quite tiny . I don't have any experience with the Flektogons but I'm sure they'd work decently for the price. Keep in mind, I'm not a pro DP. I shoot my personal projects with

I have not had any issues with the Ironglass adapters on my 2C. I have three of their M42 adapted lenses and zero problems. I have other makes of M42 adapters, also without problems. I can't comment on the newer lenses but in looking at them I suspect they're all fine. The only lens I ever had a problem with was an old 22 mm Lomo adapted from OCT-18 that was barely touching the rotating mirror. I filed down a little of the metal near the rear element ( real mickey mouse attempt on my part) but it worked fine.

Does this model use a separate battery for the meter?

Cameras can tell the speed of the film based on the size of the notch on the edge of the plastic cartridge. Apparently there's a way to 'hack' the cartridge to get an automatic camera to read a cartridge to the closest setting the camera can meter for. If you can get the camera to read a 50 D as a 25D that would wok fine since that'll only over expose by 1 stop. Lots of people over expose Negative stocks by a stop in general. Here's a couple of links. http://super8wiki.com/index.php/Super_8_Cartridge_Notch_Ruler

Considering how much the nation manufactured cameras and lenses, as well as having a large movie industry, why isn't the world filled with pro level Japanese motion picture cameras? Obviously they made tons of super 8, single 8, etc. And they've been at the forefront of video technology, but you'd think there would be Canon, Fuji, etc. 35mm and 16mm. (I'm aware of the Scoopic) Perhaps they had some in pre war times?

I haven't seen a MFT to C-mount adapter. Since C-mount has a flange distance of 17.25mm and MFT has a 19.25mm, it may just be physically impossible. The other issue is the Sirui lens is a 50mm. Kind of a long lens on 16mm. Even with a 1.33 squeeze, your FOV is like a 37mm. The other option could be putting an anamorphic in front of a C-mount lens, like a Century/Optex 1.33X adapter.

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