Phillip Mosness

Just got back from an T.V. Academy event hosted by Amazon for Maisel. During the Q & A portion, the cast made a point to mention the work of Mr. Mullen. It's nice to know that the cast is fully aware of the importance of the incredible cinematography work. The show is such a great package of creative and technical artistry. Looking forward to season 3!

I'd love to know what ratio Kodak produces double perf vs single perf. I can only guess how few cameras are still being run that have double sprockets. Maybe some early Bolex cams are still floating around.

The SUPER shallow DOF is throwing me off more than the lighting . Inadvertently make shots look like green screen.

I don't think there's any physical way to mount a PL lens onto a 3 turret Arri 2c. However, the bright side is there was lots of great glass made in Arri standard mount, and often cheaper to buy and rent. What you may lose, though, is modern gears for follow focus , etc.

Simon, I get it, but super 8 has its place. I projected some footage I shot when I lived in China last night and it just looks amazing to me. And the thing is, I wouldn't have shot all that in 16mm, nor do I ever look at the stuff I shot in mini DV from the same time period. I'm so happy I took that Beaulieu with me. We are asking a lot from this consumer format, but it delivers more and more for me. The 2K transfers of my wedding I recently got done at Gamma Ray Digital are quite striking, and again, I wasn't quite willing to drag my larger format cameras overseas. I basically am just whining about the price of reversal. It should probably be less than half the price of 16mm.

Far be it from me to tell a company how to price their goods, but I realized I was out of Tri-X in the super 8 format and so I thought I'd hop online to order a few cartridges. Holy Crap, they're 29.99 each, the same as the Vision negative stocks. I really want to support Kodak, but that price just floored me. Tri-X in Super 8 really ought to be cheap enough to entice people into the experience, but at that price it's not that much cheaper than shooting 35mm shortends once you calculate the transfers. I feel a little like an old man complaining about an Egg McMuffin going up 10 cents, but it wasn't all that long ago that Tri-X was something like $15 .

Which model do you own? Does it have the reflex prism? The reflex models tend to use the RX versions of lenses, like the Switars, because those have a design that works with the reflex prism to overcome slight aberrations the prism causes.

The tripod hole at the bottom of the handle wouldn't be the most ideal place, but the camera is solid enough, and well balanced, that i don't think that makes much difference in the long run of you have a good fluid head. The general breathing of super 8 will out-weigh the potential issue with the tripod connection. Final Cut Pro X has stabilization, that I've been playing with, and it has done a surprisingly good job on breathing. Even on hand-held shots. At the end of the day, I never found a camera that did everything I needed. They'd be great at one thing, and lack in something else. The beaulieu 6008 had my favorite lens (Angenieux 6-90) but too finicky , and faster shutter often made footage look more strobe-like. Nizo 6080 was the quietest and 220 degree shutter for low light , but it's top heavy and too fancy for its own good, with electronic gizmos that eventually broke. (even my back up one eventually broke and wasn't worth fixing) Leicina Special is most compact with Schneider 10mm prime, but Leica M mount lenses aren't cheap, and the pull down claw has a tendency to not grab the perfs without a couple of tries(probably just mine) and i always forget to turn it off resulting in running out batteries. Nikon is the camera I can grab on the way out the door and know it'll work great, even though it may not be #1 in any above category, it'll be great in EVERY category. I haven't shot with high end Canons as much but those feel similar to me to the Nikon, but they're so much more expensive for whatever reason.

I'd like to throw in one more option. The Nikon R10. It's been the most problem free of my cameras. It feels the most solid of any I've owned. I have a Leicina Special, Beaulieu 6008. They both have interchangeable lenses, but they've also been more finicky. The Beaulieu especially feels more delicate and plasticy. I've also owned the most quiet camera made, the Nizo 6080, but the more electronics a camera has, the more chance for something to break. The R10 is the go-to camera when I need a work horse, and by far the easiest to shoot with. There are several well priced ones on ebay ,

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.

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.

animation that didn't require a voice actor, I suppose.

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.

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

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?

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

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?

interesting side by side

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?

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.

Here's a test of Lomo Square Fronts Hyperventilating:

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

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

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?

I'm thinking one of my Arri 2c magazines has a leak since some footage has come back throbbing. Is there a method for testing this? Like closing a little light inside it and see if you can detect any light coming through in a dark room? Thanks!