Leo Anthony Vale

---Only a dozen? & something so basic. I'm ready to punch out the next person who says 'sweet spot' & won't apologize for it. ---LV

---The dolby digital is not a seperate disc. It's printed on the film between the perfs. The sony sdds digital system is also on the print, using tracks along the edges of the film. The DTS sych track is usually printed between the picture and the analog track. All three systems plus an analog stereo optical track can be printed onto the same print. ---LV

---I think it originally referred to the direction of the key light. With a high key, the shadows fall mon the floor, so they're not really noticable. With a low key, the shadows are on the wall, thus a shadowy picture. ---LV

---Have you actually used that adaptor yet? The FD mount is considerably wider than the M-42 and has a shorter flange depth. If it's really for using Canons on an M-42, it would be for macro work. Whereas Canon did make an adaptor for using m-42 lenses on an FD. Many other cameras have adaptors for using M-42s on them. Nikon and Contax/Yashica are examples. But as for using other mounts on an M-42... ---LV

---The AC article, which is not in the webby archives, says it was all S16 and transferred to HD and printed out from that. Lots of short shots were digitally stung together into seeming ly lengthier shots. ---LV

---Once your film is transfered to a video format, the picture will never look better than the video format it's been transfered to. Think of all those 16mm segments in old BBC shows like Monty Python. & those are transfered from a print from the OCN, not a 4th generation. Sure stocks have improved since then, but there is a generational loss even for sharpness. David was saying that the less isn't much in 35mm. But the smaller the format the greater the loss. Super8 prints are hopeless. & transfering from a print give contrast problems and blocked shadow detail. The larger the original format and the fewer generations the better the transfer.

---Bolexes have no mirrors. They use a prism. The shutter will only stop at open if the spring winds out during a shot. In which case, turn the wind handle until you hear a thunk. Or might as well give it give it a full wind. Whether you move the turret or unscrew the lens and screw in a new one, the shutter is closed. Though a jump from 10mm to 75mm, seems a bit much. 10mm to 25mm would be better. ---LV

---17.52mm vs. 45.5mm. So getting closer to 3X. Such adaptors would be for micro photography, rather than mere macro. ---LV

---As Conrad Hall's operator. There is aline from Salame Jens in the 'Corpus Earthling' episode, after she checks out a noise in the hallway of a seedy boarding house: 'It's Billy Fraker. He's drunk again.' ---LV

---I followed through the thread on the sooper-dooper 8 frame size. Your source claims the aspect ratio is nearly 1.66/1. Do the math. It's 1.515/1. Pro8 does the same with their extended frame, claiming an aspect ratio of 1.78/1! Would you buy a used car from any of these people? ---LV

---Yes, the ZM mt is the same as the Leica M mt. It seems to be the new standard mount for high end rangefinders. The Rollei RM, the Voightlander VM, the Konica KM. & yes Cosina is also making the Zeiss Ikon, Though they didn't make the Konica Hexar. But the others... I think they're making the lenses too. Still Zeiss designs. ---LV

---This guy in China has not even bothered to remove Raf's logo, let alone change the text: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...%3D50%26fvi%3D1 Rafcamera is one of the more reliable Russian camera dealers on eBay. ---LV

---"High Noon" was directed by an Austrian, but photographed by a WASPy American, Floyd Crosby. David Crosby's dad. He had photoggraphed Pare Lorenz's 'The River' and later many Roger Corman's, including the first Poe's. As for TV, Conrad Hall was one of the camermen on the first season of the 'Outer Limits'. The episodes he did with Gerd Oswald are gems. ---LV

---A projected low-con print has startlingly weak blacks. The lab I was at made all of their I/Ps on a continuous contact printer, then I/Ns from those. Many of these I/Ps were for MGM and Sony transfers. Often I'd get I/Ps and I/Ns which had KS positive perfs. Even on I/N replacement sections for damaged OCNs. ---LV

'Ivan Groznii' (Ivan the Terrible -Parts I & II) 1944 -E.Tisse and A.Moskvin Welles' 'The Tragedy of Othello' -G.R.Aldo etal. 5 cinematographers over an intermittent shooting schedule, yet a consistant look. 'Seppuku' AKA 'Harakiri' 1962 -Yoshio Miyajima in Shochiku GrandScope 'The Innocents' -Freddie Francis 1961 in CinemaScope J.Ford's 'The Fugitve' 1947 -Gabriel Figueroa Ford's "Fort Apache' 1948 -Archie stout & Wm. Clothier 'He Walked by Night' 1948 -John Alton 'The Night of the Iguana' 1964 -G.Figueroa 'In Cold Blood' 1967 -Conrad Hall in Panavision 'The Loved One' 1965 -Haskell Wexler 'Dr. Strangelove' 1964 -Gil Taylor The last two were on my all time favorite double bill. & I hadn't seen either of them at the time. ---LV

---I seem to recall from an ancient Angenieux lenses brochure, that there were RX versions of the primes. But as you imply, the trick is finding some. I believe that Primo is also a Filipino beer. ---LV

---Could it be a practical joke? ---Lv

---Since the Zeisses' image is being reimaged by the adapter and the Canon's lens, how can the image be better than the Canon's lens alone? Sweet is a very vague term, and as H.Dumpty says can mean anything you want it to mean. Sharpness is the most definite term used in this thread, even that has wiggle room. Sending an image through two optical systems into a third, the camera's lens, is not going to give an image sharper than camera lenses alone. Upon tasting soda pop after not drinking any for a year, I found the sweetness very unpleasant, practically unbearable. & shallow depth of field is a matter of taste, deep focus has it's merits. ---LV

---In the mid50s SuperScope used a 2/1 AR. So it's hardly a new aspect ratio. Also some studios used 2/1 and 1.75/1 for their flat films. Disney, MGM and alot of British films used 1.75/1 Universal was using both 2/1 and 1.85/1. Off hand, 'This Island Earth' was 2/1. Though it looks okay at 1.33/1. & some theatres today show every thing at 2/1. & contact printed VistaVision was projected at 1.96/1. 4-perf reduction prints had the edges trimmed to 1.85/ 1. Both ARs had the same frame height on the GG and 8-perf neg. 2.2/1 is 65/70mm. ---LV

---If it's happening when panning, it's a shutter artifact. Is the panning speed also a factor? ---LV ---If it's happening when panning, it's a shutter artifact. Is the panning speed also a factor? ---LV

---Shouldn't white balancing to a green card make it more magenta? It would be trying to get rid of the green. ---

Giuseppe Rutonno was DP. Much of it seems like a self parody. As to the Golden she wolf awards, she wolves, lupa, was the roman term for prostitutes. also 35mm, 1.85 hard matte ---lv

---Other anamorphics only gave 32-35mm on the zooms. 13mm is too wide. We looked around for 16/17mm lenses that would work. The one that worked was a 17mm f/2.5 Solior that had the front filed away. Not really the best of lenses either. What's funny is that a 38mm on an Olypus Pen FT worked. & it works fine with a 50mm for 35mm C'Scope. Richard Garbutt used one on a Nikkor on an eyemo for stunt shots at a rodeo in either 'Shanghai Knights' or 'Shanghai Noon'. ---LV

---We tried that along time ago with the Kern 17-85 and the Angie & Kowa 16H. The widest one could go was around 25mm. Not as nice as 17mm would have been but still more usable than 32mm. I'm pretty sure the angie took series VII. ---LV

---Konvas shutters are below the lens and horizontal, whereas Arri II* and III are to the side and vertical. So shifting the lens mount sideways will not change the distance of the shutter from the lens, whereas shifting it on the arri brings the lens closer to the shutter. ---LV