Ivan DImitrov Alexandrov

I know! Is great. But sadly they only make it on 100ft rolls. I contacted them for 400ft rolls and they responded it could only be done if a big distributor asked for them. Thanks also for liking the trailer!

I’m trying to imitate the orthochromatic look of 1920s films like fellow forum member Jarin Blaschke did on “The Lighthouse” although a bit more stylized. That’s why I’m going with 16mm. I did try to imitate the ortho look with 200T and removing the red channel on a short. Here is a small trailer of the short film. What I found is this method is effective although produces some strange digital noise as you remove a lot of information digitally by grading without most of the red channel. I found in Aliexpress an industrial short pass filter that removes light pass 625nm so it might give a slight orthochromatic look on Double X. I tested it in 35mm stills with satisfactory results. Now I need to test on 16mm and compare it to the converted Vision3.

So you don’t get strange halation or flares with Double X? That was one of my main worries. But I will probably use an Arriflex 16S which has blackened pressure plate anyway. Soy de Madrid sí, saludos!

Thanks a lot! This looks incredible. Did you use any noise reduction? Also, I see you use an Aaton XTR, which to my knowledge the pressure plate has two shiny chromed ridges. Have you found any problem with the pressure plate and the lack of anti-halation backing?

I’m looking to shoot a short film with Double X on 16mm, probably with a yellow filter. I can’t seem to find high quality scans shot with this stock for reference. Before I start testing the stock myself, I would very thankful if someone could share their footage and experiences with the stock. Greetings, Ivan Dimitrov

Would mixing different brand lenses be too obvious? Hello, I have 3 different lenses for my Arriflex 16S. A Schneider 10mm f1.8, Schneider 16mm Xenon f1.9 (the old version from the 50s) and a Cooke Kinetal 25mm t2.0 which I haven’t tested yet in comparison to the other two. I personally really like the 16 and 25mm focal length so I would shoot 95% of everything with those lenses. I understand that the Kinetal is a bit warmer than the Schneider but I imagine that color correction could solve that problem. Here is a frame shot on 200T with the Schneider 16mm f1.9 closed down to f2.8 And this was shot at F4.0 where the lens get surprisingly sharp. I would like to know people’s opinion on this or if someone’s had a similar experience with matching different lenses. Greetings, Ivan Dimitrov

This actually sounds great! what voltage do you plan for the motor to work on? The Tobin ones were 12V but I find that problematic when using the 400ft mags that run on 8V.

I put a dehumidifier and I left my camera in a tripod outside the case. So RH around my camera is now 36-40%. I also pointed the viewfinder for around 10 minutes to the sun. I hope is gonna be fine for now. Thanks!

I just found that there is fungus at least in the first element of the optics of the viewfinder in my Arriflex 16ST. There doesn’t seem to be any fungus in the prism of the body itself. Im worried it may spread to the lenses. Is this a serious issue? There doesn’t seem to be any noticeable effect on the viewing as the image is sharp and fairly bright.

I´m looking to buy an Arriflex 16S Compendium to hold 2x2 filters. I´m based in Spain.

I checked with my phone and the the 650w light, and it seems only to flicker noticeably at 120fps onwards.

Wouldn’t tungsten fixtures below 2000w flicker a bit? Or is it only noticeable at high speeds?

Interesting, I always thought it was 180°

Hello, I will be shooting in Europe under 50hz with Arriflex 16S with the original wild variable motor. Im worried that by shooting at 24fps 180° I will get flicker with 650w tungsten lights. I don’t know if I should shoot at 25fps, or the motor is so inaccurate it wouldn’t make a difference?