Uli Meyer

Yes, a bracket for an extension eyepiece leveler makes sense. The friction lock would be in addition to the regular brakes. I'll contact Les and see if he knows. Thank you Stuart!

Thanks Dom! A. The stop pins are retractable by pushing them down with your finger. When you slide on the BP-8 the pin pops up under it and gets caught. You have to fiddle with a screw driver to push it down again. B. Pan handle is a possibility. The radius is 12mm though and it would be a very thin stick. C. That is what I think too. Maybe I can find someone in London who can fix this. Thank you for your reply, as always.

Just bought this Mini Worrall because It is never too late to learn something new and because it is a beautiful thing to have. The questions I have go with the photos below. A - How do I fit an Arri BP-8? The rails are the correct width but the safety pins make it impossible to slide the BP-8 onto them directly. The plate that came with it is of no obvious use. B - What goes into the 12mm cavity? There is a screw with a broken cover that would secure whatever goes in there. Any ideas? C - This screw is connected to a pad inside the head, next to the round tilt rails. Yet it doesn't lock anything or affect any of the functions. What is it? Hoping someone here knows. Thank you!

Handheld at f4 and 1/30th of a second. ASA 500 helped.

Thanks Satsuki! It was the 45mm, the London Tube architecture provides the extra width. There's a company in Stuttgart, Germany called Silbersalz35 and they sell, develop and scan Vision 3. They scan on Arriscan at extremely high resolution. https://silbersalz35.com Great fun and highly recommended.

Shot on Kodak Vision 3 500T with X-Pan stills camera.

One of my favorites: http://ernst-haas.com

So beautiful! Can't wait to see this in full.

Was it the 70's when Zooms were used more frequently in movies? It is never good to generalize but to me zooms feel somehow dated. Which is why I would use them if I was to tell a story set in that era.

Even with non-commercial films you should really clear the rights with the publisher and whoever owns the master rights. There will be fees involved but you can negotiate something affordable.

Beautiful images, thank you for sharing. Seeing this is a wonderful example of how film can look so special. Really well done.

Thanks Dom. Nothing to do with a half loaded mag then?

When I shot this 120fps 3perf test, an "ASY" warning appeared in the viewfinder of my Arriflex 435 Advanced. This indicates that the frame rate was not constant. I loaded a 400ft magazine with 200 feet of Vision 3 200T for the test, so the magazine was only loaded half. Could that be the cause for the warning? I'm happy with the result but curious what triggered it.

I've got the two-pronged tool and the allen key and followed the procedure as described but it's not moving at all, not one millimeter.

Thanks Dom! I mistakenly said it is the Universal view finder but it actually is the Lite viewfinder.

The Universal viewfinder on my Arricam LT won’t swivel. I haven’t noticed this since I bought it because there was no need to move it. Today I checked the camera and noticed it won’t move at all. I did loosen the swivel screw at the top with the two pronged Arri tool and even removed it and the pin entirely but no change. The viewfinder is stuck in its original position. Has anyone here come across this? Any advice how it can be fixed? Thank you!

Robin, the initial post has no reference to a film being "ruined" because it was shot digital. People have commented that the trailer looks video-ish and cheap but that is not a comment about the quality of the story. Nobody has dismissed the film. How can they, nobody has seen it yet. Forgive me but you often get very agitated about things that are not actually being said.

I didn't read the original post as that. Maybe there was nothing to defend? Anyway, here's to good films. Whichever method.

I would much rather see a great film than a boring film, no matter how it was shot. But you can't tell from the trailer if this film is going to be any good (the subject matter is very timely though and maybe that is why Malick chose to go digital? To connect history to today?) But that wasn't the point of the OP. I have noticed that every time somebody voices a preference for film on here, you are nearly always there getting all defensive in favor of digital. Personally, I love the whole analogue process but that doesn't make me blind to a good film, whatever medium.

Robin, I am one hundred percent sure that Roger Deakins can tell if some films have been shot digital or analogue. I'm also sure that there are some films where he can't tell and those are the ones that he was referring to. As you have mentioned yourself, some digital films are shot soft and some analogue films very sharp. Mission Impossible is still shot on film and it is often hard to tell. But that doesn't mean it is a rule. The trailer looks digital. You don't have to be a Roger Deakins to be allowed to make that observation. To me it does and that is the point that some here were making. That's all. Personally, I don't like it.

I second that. This is a forum about cinematography after all. A discussion about the tools used to tell a story is part of the cinematographer's job. The trailer looks like a story I want to watch and I am intrigued by the composition and wide angle shots. Yet sometimes it does feel like you are watching a video. It does feel digital. To say that top cinematographers can not tell the difference is not quite true, is it? Yes, there are films that have been shot digital and worked on in post to look like film quite successfully. And there are analogue films that didn't take advantage of what analogue does offer. and maybe Malick chose the digital look for a reason. But one can't say that this looks the same as film. It doesn't.

We shot on 35mm film at 32fps and scanned the footage at 24fps. You won’t get any problems if you avoid slowing down footage in post.

Hi Stuart, Thank you! And yes, the same Michael.

Thanks Robin!

All the shots that feature the woman in my short 'From Life' were filmed at 32 frames per second. Apart from the end where she is running which were shot at 72 frames per second. Maybe this helps?