Moritz Moessinger

7x Fuji F250D are still available.

BUMP 35mm stock is gone but 16mm is still available!

35mm stock sold! 16mm is still available

The 35mm stock is reserved.

I have to finally clear out some space in my fridge and am my Fuji 16mm and 35mm stock. It has been stored continuously in a fridge and tested by Studio L'Equipe. It is going to profit from 1/2 stop over-exposing but overall it seems to be in good condition. Located in Hamburg, Germany but happy to ship wherever. Unopened 400ft rolls: 400ft 16mm: (100€ p. roll but open to offers) 10x F-250D 2x Eterna Vivid 250D 2x Eterna Vivid 160D 400ft 35mm: (130€ p. roll but open to offers) 12x Eterna400

I ended up getting the AZ Spectrum and have to say that, apart from it being a massive improvement over the IVS, I would go with the HD IVS from Kamera Doctor made in the UK. The tests look amazing and I've only heard good things about it. The AZ Spectrum struggles in low light and the menu is complicated and confusing. The HD-IVS Mrk.3 seems much more straight forward and has a bigger sensor for better low light capabilities.

I am currently using the AZ Spectrum and think it does an ok job. It feels like the quality difference from the original ARRI VideoTap isn‘t big and you basically safe an analog-digital converter. I am intrigued by the fact that the Visual Products option basically replaces the handle and films off the prism directly. Does anyone have any experience with it and is it worth the hefty invest?

If I am not mistaken, the Evolution lenses aren't rehoused old glas but newly designed glas aimed at matching the look of the old ones.

Is this the extended set 28/40/50/75/100/135 with the 28 and 135 as "Evolution" lenses?

@Adam Frisch FSF Thank you for your response and insight into your way of working. What I take form it is, that it is absolutely normal to miss a few shots and try not to overcomplicate things. I have some experience with remote heads on techno/scorpio cranes etc. and think I have to work on my joystick skills since I am unfortunately not part of the generation who grew up with a Playstation controller there hands ?

As a commercial DP, I am slowly moving into Car Commercials and I was wondering if any of you had any insight or tips on how to train operating a remote head on a Russian Arm or similar? I know the tracking vehicle comes with a team (precision driver and arm operator) but usually the DP operates the remote head, at least in Europe. Before having to jump on it on a shoot where it means something, I am wondering how to train for it? It could also be a tip how to train to use the joystick etc. Thanks for your help!

I am thinking about selling my ARRI SR3 once I've found a suitable replacement with a 416 or 235 camera. My ARRI SR3 has been maintained meticulously and serviced once a year by a former ARRI technician. I've added the elokuvakonepaja Handle (Alexa mini like) as well as a large side-plate for easy mounting. The Video Tap has been upgraded to a HD digital Tap (old analog ARRI SR3 Tap included) Trigger on the side of the camera including LEMO-Outputs 24V Lemo to 12V D-Tap adapter V-Mount Adapter 3 SR3 Timecode Magazines (good condition) 30/70 Split Prism as well as 100% Prism if used without video tap 3 Handles (analog Tap, optical ellbow for digital tap as well as single viewfinder handle if used as lightweight as possible) various ground glasses (1.33/1.66/1.85) 3 old batteries re-celled in 2019 Charger for original batteries Bridgeplate as well as Dovetale-Plate more accessories. (the picture shows a fully rigged camera but the cork Handle, the red cable clips, terradec, motors etc. are not included) Asking price is 20k EURO but can be talked about, especially if traded in with one of the cameras I am looking for.

Dear Rick, I am interested in the Optex 5,5mm S16 lens and were wondering how much you are asking for.

That is the main reason what keeps me from going the Flanders route or buying something big. I want something handy that fits into my luggage when travelling. I don’t really mind the brightness of the 055 or 058 TVLogics but they are a little bit outdated and not as easy to calibrate as the newer ones. I’ve never worked with an F7 or F5 since rentals seem to be relying on the old ones as well. I think good monitoring is an important topic since it is really hard to get a monitor you can rely on via a rental. I am wondering if it is more important to have something consistent I can get used to no matter if it is 100% spot on or if I should try to get the best color accuracy possible. What do you think? I guess in order to judge the lighting a good contrast is the most important thing or am I wrong?

I‘ve been struggling with rental monitors for several years now (hard to calibrate, bad panels, too bright/too dark) and are finally going to buy myself an monitor to bring to every job. With a wide range of monitors on the market, I am wondering what to best option in the 5-7inch range would be? I‘ve been looking at SmallHD Cine/ or more classical TV-Logic but the reviews are fairly mixed. My main focus is the ability to calibrate the monitor (Color and brightness/contrast) and have a reliably image to look at. It should be decently rugged as well, to withstand the wear and tear of film shoots. Since I primarily work with ARRI cameras, SDI Input/output is all I would need. Thank you for your ideas/thoughts