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Kuba Bojsza

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Posts posted by Kuba Bojsza

  1. Seen a lot of good stuff coming out of the Flowcine Black Arm + Ronin 2 rigged to speed rail on a camera car.

    I have a project coming up where we're trying to shoot an actor running through some rocky desert. Anybody have experience with this type of setup in off road terrain? It seems like it would bode well on a vehicle with 4WD and decent tires.

  2. 7 minutes ago, aapo lettinen said:

    apart from the lens centering and the need for correct gg markings there is no practical difference between using a S16 gate camera or N16 gate camera for the work you describe. 

    If wanting to shoot anamorphic I would definitely go with the most modern S16 camera I could get, especially because the anamorphic viewfinders for 16mm cameras are very rare and only few have them... and if not having one you would need to use the video tap and desqueeze in the monitor to see the actual framing which necessitates better quality video tap.

    So, for N16 1.33 (1.37) shooting any camera would do if it only has the proper ground glass markings for 1.37. the N16 lens centering thing is important only if you are shooting for photochemical release. for scanning the S16 centering is actually easier because the scanners are already setup for it.

    But for anamorphic there is very limited options if wanting to be able to shoot effortlessly with it. Basically the Arri 416 is the only option I know of where you can get both the optical desqueeze viewfinder and a good quality video tap. it is also the most modern camera available (not a coincident because 16mm anamorphic shooting for cine release is a relatively new thing which probably only happened after the film stocks became good enough for it in the 2000's )

    Thanks for the info. So in regards to anamorphic, have you ever seen a 416 with a 2x optical desqueeze? It seems like there is a 1.3x desqueeze viewfinder available to be used in tandem with the Hawk 16mm anamorphic line of lenses. Just curious how they might have pulled it off on the film I listed above, especially since they date 1998 and 2002.

  3. Curious if anyone here can point me towards the most "modern" 16mm camera that was manufactured with a STANDARD 16mm gate? Tried to dig, but doesn't seem to be a whole lot of info online on cameras outside of the s16mm cameras that are experiencing a resurgence right now.

    The reason I ask is two-fold. One, I'd be great to have an option for a 16mm camera that can capture a 4:3 aspect ratio which I enjoy working in (it's rather popular in music video and fashion work, atm), and I find it to be rather paradoxical to crop s16 footage to 1.33:1 🤪 Secondly, I'm very intrigued at the prospect of pairing standard 16mm with a modern set of 2x anamorphics. I'm well aware of the possible caveats (desqueezing, lack of focal lengths, etc.), but iirc I read somewhere that the films "Japon" and "I Stand Alone" where shot with this type of combo - both of which have a very unique image quality. I'm also a huge fan of pairing Vision 3 stocks with the Zeiss Ultra 16 lenses which achieves that one-of-kind crisp quality on 16mm (& makes sense that it's the go-to lenses for most of the recent films shot on 16mm). It makes me wonder what the result would be if you paired 16mm with say Master Anamorphics, for example.

    I've personally been shooting quite a bit of s16 recently and I've gotten very comfortable using SD video taps and even finding solid solutions to convert and transmit the signal wirelessly. It'd be amazing to find something with those technical capabilities in the standard 16mm format. As a matter of fact, does any body know what Christopher Blauvelt shot Mid-90s on? iirc, I read somewhere that the production used standard 16mm cameras and the final aspect ratio of the film is indeed 1.33:1. I imagine on a production of that scale, they must've had a camera outfitted with at least the most basic of SD video taps...

    Anyway, thanks in advance to the gurus on here willing to help out the digital-age kids who love shooting on celluloid! 🙌🎞️

  4. Hello!


    I have for sale:


    5218 Vision 2 500T

    ~930' across 4 short end cans + (1) 400' factory sealed can


    5205 Vision 2 250D

    ~ 1800' across 9 short end cans


    Please see photos for specific lengths per can.


    Sold as is; in LA for local pick-up. Willing to ship at recipients expense.


    Email me at jacobkubabojsza@gmail.com for quicker response.


    $300, OBO





  5. Hi!


    I've been hunting around to find some interesting expired film stocks to shoot on. I found a lot of 16mm 500T Vision 2 - "ESTAR" base for sale. I did some research and found some Kodak write-ups about this ESTAR base stock - polyester stock, interesting...


    The only film I've ever shot entire projects on is 35mm and 16mm Vision 3 (as well as experimenting with some expired Vision 2 stocks). I've never heard of this ESTAR base film before. Any one have any knowledge on this? Also, any idea how it might hold up? - seller says it was stored cold and is factory sealed. Of course, I'd test it ahead of any real shooting, but I'm curious if any one has any idea if it's worth it before I buy the lot? Could be fun to do it regardless as it is selling for fairly cheap!


    Attached is a photo of the label - curious that it doesn't even have a film code starting in "7." Could this be an experimental stock?


  6. Hey Adam,


    Looks like you got some great results out of these tests. What resolution/codec was the film scanned at and what resolution/codec did you finish in for you vimeo uploads. Also what lenses did you pair with the Aaton? Seems like the lenses you used we're fairly sharp compared to some of the other 16mm tests I've seen shot with vintage 16mm primes, and especially zooms.


    Thanks in advance!

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