Nikolas Moldenhauer

Does anybody have –  or can provide a link –  to a list of features shot on Moviecam lenses? Either original or the ARRI rehoused set?
There is nothing of sorts using google.
Thank a lot for pointing me in the right direction!!!

12 hours ago, Daniel Klockenkemper said:

On a film camera (like your example) this is a reflection off of the side of the film gate, which is usually a shiny metal.  I've simply heard it called gate flare, but there could be some more official name that I don't know of.

Interestingly, I've seen similar flares on mirrorless digital cameras from low-quality lens adapters that lack proper internal light traps or flocking.  If there's not a broader name for it, perhaps we need one?  Mechanical flaring, perhaps?

Thank you… I am pretty sure it isn't the gate  as I see it with my digital cams and especially zoom lenses, too. Was just wondering if there is a specific name.

Thanks a lot for your input David... you are very kind and helpful!!

This shot from "La La Land" is somewhat comparable in focus distance to the "Bond in the street scene"
Distant lights are very elongated while Bonds are really not… thats what I was wondering about

Lenses should be C-Series in both

They seem to just avoid that by all means  ?
So nothing out of the ordinary there… high f-stop, flat composition, wide lenses, avoiding shooting into lights… basically just shooting style

Thanks for your input… more samples attached. The elongation is there of course… just not as much as I would expect. Even in scenes that would have been had to be shot reasonably open. Why so muted.' 

Hello filmmakers,
I startet a discussion in "Anamorphic Shooters" on FB on this topic, but we couldn't come up with a definitive answer… some said I might have better luck here especially with input from @David Mullen that has very good Panavision insights.

When the golden area Bond movies started using anamorphic lenses with "Thunderball" and "You Only Live Twice" the anamorphic characteristics are very much muted. Of course, it was the fashion of the time to work with high f-stops to make the lenses "bite" and get deeper DoF… flares where mostly considered a flaw and where avoided when possible. All that is possible given enough light when using the 100 iso film stock of that time.

But then, there are scenes like the attached image shows. Considering the low sensitivity and that it is impossible to light the street all the way that must have been shot relatively wide open… why the hell do the distant lights don't fall off into oval shapes?!? It is definitely an anamorphic lens used here as the (very muted) flare proofs.

That seems to be true for all shot… elongated highlights are rare and very muted. The Panavision C that where supposedly used for "You Only Live Twice" (even though they where introduced a year after the movies release?!?!) have quite expressive anamorphic features. Blade Runner was shot on them too… (in an updated, altered version of course)

If you will… please enlighten me