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Owen A. Davies

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About Owen A. Davies

  • Birthday 01/03/2003

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  • Occupation
    Director
  • Location
    Boston
  • My Gear
    RED Scarlet MX (FOR SALE, CONTACT ME!)

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  1. If I'm not mistaken, thew few ones I see floating around are eBay are Baltar lens cells, not fixed focus lenses. Meaning I could adapt them to a helicoid for cameras with a shallower FFD and focus them by that means. Is that correct? I'm aware the lens cells have no internal focusing capabilities on their own.
  2. I’m aware this is a rare item, but I a few of these have been bouncing around these forums here and there the last few months. I currently have two purple Kowa 8Z lenses in fantastic condition which I would be more than willing to trade to anyone in exchange for this thing. Kowa’s a re lighter, easier, more practical, and give more coverage in shooting anamorphic. I’m filming a short in the vain of "The Robe” (1953) so this lens would be a fantastic fit. Let me know if anyone has one, knows someone who has one, or is interested. Thanks!
  3. Literally visual comparison tests that I’ve done myself. There is a substantial lack of definition, sharpness, highlight detail, and focus fall off present in the Cooke Kinetal lenses opposed to the Sii Panchros. Additionally, there is a good deal of chromatic aberration present around the edges of the Kinetals which isn’t found in the Sii Panchros.
  4. You say the 15mm was designed for use in 16mm. Was the make of the same quality of the rest of the Baltar line of lenses? Or was there a design compromise for the smaller format? For instance, there’s a big difference between the Cooke Speed Panchros and the Cooke Kinetals. Is this 15mm Baltar a different make?
  5. From pretty much all of the rehoused Bausch & Lomb Baltars I see floating around out there (both regular and super) the list of focal lengths always seem to range from 18mm upward. However, I do know from various eBay listing and other photos that a 15mm B&L Baltar lens does in fact exist out there. What information is there on this lens? Why is it that it’s never lumped in with all the other rehoused lenses? Is the glass of the same quality as cinema standard Baltars? How much would it be worth as just a lens cell itself? Any information would be highly appreciated. Thank you.
  6. I have an Arriflex 16M which has a significant portion of its shutter mirror chipped off. How much would it cost to get the mirror replaced and who out there does this servicing?
  7. I’m curious what key visual differences exist between these two lines of lenses and have only found so much info online. I know the Baltars date back to the 1930s whilst the Panchros I believe came to be around the 1920s. But how do these lenses, their impression, and their delivered image compare?
  8. Excuse my ignorance in this matter, but do 5247, 5248, and 5239 also extend to 16mm film, or do those codes only refer to 35mm stocks?
  9. Whilst that is true, it was my understanding that the lower ASA the stock is the slower it decays. I’ve been told that the oldest can of EXR 50D should decay slower than the newest can of Vision1 200T.
  10. I've been seriously considering working with this stock in an upcoming project of mine. I may be able to get access to a good deal of film which has been stored in a dark, dry, temperature controlled closet for the past twenty years. I know that's not as good as a freezer, but I'm wondering how affected the film will be. My question is simply, do you guys believe it is worth it? How do you believe this stock will hold up compared to something like Vision1 200T if I overexpose two stops? Does anyone have any footage taken on this stock they wouldn't mind sharing? All in all, is the gamble worth it? Thank you.
  11. I have an Arriflex 16M which has whatever standard four pin motor that camera usually comes with currently attached to it. I MAY be able to purchase an Arriflex SR3 motor off of a friend of mine in great condition for cheap. I believe the SR3's motor is five pin, though I'm not positive. Would it be feasible to have my 16M serviced to work with/have this motor attached to it for sync speed? I know the camera itself would still make tons of noise, but I'm planning to do a kind of "Spaghetti Western" ADR of the dialogue regardless. Let me know your thoughts as well as who could possibly do such as conversion if possible.Thank you.
  12. I have an Arriflex 16M which has whatever standard four pin motor that camera usually comes with currently attached to it. I MAY be able to purchase an Arriflex SR3 motor off of a friend of mine in great condition for cheap. I believe the SR3's motor is five pin, though I'm not positive. Would it be feasible to have my 16M serviced to work with/have this motor attached to it for sync speed? I know the camera itself would still make tons of noise, but I'm planning to do a kind of "Spaghetti Western" ADR of the dialogue regardless. Let me know your thoughts as well as who could possibly do such as conversion if possible.Thank you.
  13. What was the widest lens you were able to use with that thing without any vignetting.
  14. Just bought a 400ft foot spool of expired Kodak Vision 2 200T film off of eBay to use for my Super 16 camera only to realize the film is double perf. I went to read the canister to see if I missed that detail before buying only the come to the realization that I never once saw film being labeled as single or double perf on any canister or cartridge before. Is there any way to tell what you're getting before you buy your film? (Off third party sites like eBay that is).
  15. I've been able to find a lot of technical specs and information regarding this lens across the internet, yet I'm unable to find any actual footage of this lens in action at all. I can look up it's filter thread diameter size, but not it's bokeh. I can find it's T stop, but not its contrast. I can search up the height and weight of this lens, but not the look it produces. If anyone has any video/additional info regarding this lens's look, I would be very appreciative. Thank you.
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