Raymond Zrike

What amount of weight do you think is okay for PL mount before you need support? I’m wondering if I should use support for a Canon 7-63mm on an SR3. The lens is about 4.5lbs. I’ve used support for lenses in the 6.5-8lb range before, but I’m curious where it flips over to not being a concern anymore. It’s my own camera, so I’d like to keep the mount in good shape.

The newest Lord of the Rings 4K release suffers from a ton of DNR, so I don't think it is a good representation of how it looked in theaters. A bit of revisionism from Peter Jackson. He used the same horrible de-noising on his Beatles doc. Also, the current available transfer of Pulp Fiction is very old. A 4K release is coming out next month. I presume it will be quite good considering the quality of the recent Reservoir Dogs restoration.

If you're renting out, go with whichever you can get cheaper. They'll both be relevant for a while. The regular mini still rents out after all. And I believe Arri has said that they aren't planning to stitch two Alexa 35 sensors together anytime soon, so I don't think we'll be seeing an update on the LF for a bit. Unless someone here has more up-to-date info than me.

Sold (camera and lens).

They mean the one from 2018 directed by Bradley Cooper, shot by Libatique.

I’m planning on selling my Super-16 ACL 1.5 for $4500. I also have an Optar Illumina 16mm T1.3 PL (completely overhauled by AbelCine) that I can bundle together for $5500. This is the most complete ACL package around in my opinion! Prices are all over the place for this camera—I think this is reasonable for a super-16 model. It was converted to Super-16 by Bernie of Super-16 Inc a few years ago. He also enhanced the ground glass with his LaserBrighten method and did a general service to the camera. His super-16 conversion was the best around. The ground glass has the proper 1.66 lines and is centered. And the super-16 conversion doesn’t scratch the film like some aftermarket conversions do. Comes with the following: two adapters—one for PL and one for bayonet. Both made by Les Bosher specifically for this camera. one 400’ French mag in great shape two 200’ French mags. As you probably know, the 200’ mags accept 100’ daylight rolls perfectly fine. One of the 200’ mags is slightly broken—the latch that keeps the lid attached broke off. I have included the little piece in a plastic bag. I believe it could be fixed with a bit of hot glue or metal work (or just put tape all the way around to keep it shut). Otherwise the mags are in great shape. crystal sync motor, works as it should at both 24p and 25p. 12-75fps. I’m unsure of the name of the motor, but it is definitely crystal sync (I can get you more detailed photos of the motor if you’d like). fully articulated viewfinder sound barney hand grip base for 15mm rods SmallRig top handle two batteries and a charger. They likely should be recelled, but I have used one of the batteries in the last few months and it was fine. flight case I’ve shot a few shorts over the last two years with this camera and I’ve run into no issues. The Optar Illumina 16mm is in perfect condition. Pick-up can be arranged in NYC—otherwise, I will ship on your expense. PayPal Goods & Services only. Ask me any questions you may have. Open to offers. Photos: https://imgur.com/a/rBdNS4w

Wow that went fast. Was about to ask. If you've got any other Ultra16s you are planning to sell, let me know.

I can attest that Andres is a good seller 🙂

As I said, there is no way to get Master Primes to fit. See this thread. Original Panchros fit I believe; I don’t know about the rehoused ones. I will say though, the wide angle Panchros are not going to look great on super-16. If the barrel size is closer to the Master Primes, they won’t fit. If they are closer to the Ultra Primes, they’ll likely fit.

There are certain lenses like the Master Primes that are just impossible to fit on the SR3 (it’s partially why they developed the 416). Use the Ultra16s instead if you can. But many others will fit if you move the viewfinder, like most Ultra Primes and S4s (although I’m not sure if someone has tried S4/is). CP.2s also fit. I just made a post about Sigma Cine Primes on an SR3. Doesn’t seem like anyone has tried that combo yet, so I might just rent and see. What lenses are you wanting to use on an SR3? 416 prices are insane right now, but I doubt they’ll ever come close to SR3 prices. I’d definitely recommend an SR3 for that reason. Although I stick with Arri, you may want to consider an Aaton XTR Plus/Prod since they can take just about any lenses. The Prods tend to go for more than SR3s right now (even though they’re equivalent) because they don’t go up for sale nearly as often, but they also rent out well like the SR3s if that’s a concern for you.

It looks like the Sigma primes are fatter than the CP.2s closer to the camera body, but then it keeps that 95mm diameter all the way to the front of the lens. They look much closer to CP.3s in shape—I assume no one has tested CP.3s? A 28mm Ultra Prime seems to be a similar shape also, so maybe the 95mm max diameter will let the Sigmas fit. 5E70F207-416A-463D-BBA3-1999BF002739.webp

Do Sigma Cine lenses, FF primes, fit alright on an SR3? Does the viewfinder need to be moved to an awkward position? I know that Ultra Primes fit fine, S4s are alright while S4/is are a tough fit, and then Master Primes don’t fit at all. I haven’t seen a thread regarding fitting the newer breed of cine lenses on an SR3, however. If they do fit, it seems like the 14mm, 20mm, 24mm, 35mm, and 50mm might be a decent, cheap but sharp, alternative for S16, as long as you’ve got the wide end covered with a zoom and/or an Ultra16/Elite/Century/Illumina.

The Ursa 12K is known for its terrible moire, so the OLPF (if it has one?) is definitely not what is causing the sharpness issues. I’d recommend going down to the 8K mode. And shooting with super-35 glass, i.e. Master Prime.

I saw Gecko-Cam Genesis G35 Vintage 66 listed as being used on a film I saw recently (Park Chan-wook’s Decision to Leave), mixed with Cooke Anamorphics. I know very little about these lenses. Are they rehoused still lenses? The specs of the lenses in the set don’t jump out to me as any particular still lenses that I know of (for instance, I don’t think I’ve encountered a 14.5mm T3 lens before). But I also doubt that it’s newly manufactured glass considering the emphasis on “vintage” on their website.

Do the Signature Primes/Zeiss Supremes resolve more on super-35 than an equivalent Master Prime? I’m curious because I haven’t seen that comparison. I’ve heard of a number of productions using the Supremes with a Mini (not LF), and I thought it was a bit odd. Although there is also a weight difference.