Owen A. Davies

People have told me these lenses were produced in just about every major lens mount between the 30s and 50s, but I have honestly never seen any Bausch & Lomb Baltars or Cooke Speed Panchro Series One lenses in an Arriflex Standard mount. Do these even exist? And if so, how rare would they be to come across?

(1x) Kodak Vision3 50D 7203 [SOLD] (1x) Kodak Vision3 250D 7207 [SOLD]

Hello. I am transitioning towards 35mm and will be selling off a good deal of my excess Kodak 16mm film stock. I keep all of my film ziplock sealed and stored carefully in my freezer, away from heat, light, and moisture. Whilst I cannot speak to the condition the film was stored in prior to acquiring it, I can assure you it was kept with extreme care whilst in my possession. All of the film is single-perf other than the 100ft spool of EXR 50D. All shipping and handling costs are to be covered on the end of the buyer. All sales are final, no returns are accepted. Pictures of the canisters are in the link below. Payment is accepted via PayPal, Venmo, or Cashapp. https://imgur.com/a/Tc2zEyN 400ft canisters: $120 per canister (6x) Kodak EXR 50D 7245 (3x) Kodak EXR 100T 7248 (3x) Kodak Vision 250D 7246 (1x) Kodak Vision2 500T 7218 100ft spools: $50 per spool (10x) Kodak Vision2 50D 7201 (1x) Kodak EXR 50D 7245 DOUBLE PERF (1x) Kodak Vision3 50D 7203 (1x) Kodak Vision3 250D 7207 You can either comment on this post or PM me directly if you have any questions, or are interested in buying the entirety of the film altogether.

What about the original Bausch & Lomb Baltar 25mm T/2.5? I had thought that that lens was floating around in the early 1930s

In what ways do the Angenieux 18.5mm or the 18mm Cooke S2 differ from each other visually?

To my knowledge (and I may very well be wrong) there was both a 25mm Bausch and Lomb Baltar as well as an 18mm Taylor Hobson Cooke Speed Panchro that existed and was being used in the 1930s.

FOR SALE: ~ Arriflex 16M Filmmaking Bundle: ~ Price: $799 ~Payment accepted via PayPal, Venmo, or Cashapp ~ Location: Winchester, MA 01890 ~Insurance, customs, and shipping costs are all to be handled on the buyers end ~All sales are final This bundle includes a fully functional and tested Arriflex 16M motion picture camera for shooting 16mm as well as an accompanying carrying case and a number of other shooting accessories. Cosmetic condition is good, though there is one snag. As pictured in the imigur link, there is a mark on one of the two shutter mirrors on the camera, meaning the image in the viewfinder will be partially obscured. This has no effect on the actual captured image however. Message me if interested. Thank you. Items Included: ~Arriflex 16M Camera Body ~ One 500ft magazine ~ Arriflex Motor ~ Carrying Case ~Offical Arriflex Handle with Camera Activation switch ~ 3x Camera Lens Mount Caps ~Lens Hood. A link which provides images of the listing is provided below. https://imgur.com/a/kzqGjzU

FOR SALE: ~ Kowa Prominar Anamorphic with Amber 16H and Purple 8Z Projection Lenses ~ PRICE: $1,799 ~ PAYMENT METHOD: Paypal, Venmo, or Cashapp ~ STRETCH: 2x ~ FOCUS: Double Focus ~ CONDITION: Very subtle marks on one of the Kowa 8Z lenses. Has zero bearing on image quality. Lenses are all in all in fantastic condition. ~ LOCATION: Winchester, MA 01890. USA ~ SHIPPING: Will ship internationally, though all shipping costs, insurance, and customs payments are all responsibilities of the buyer ~ CLAMPS: Comes with Redstan clamp ~ All sales are final This is an accumulation of glass and accessories which a friend of mine used to shoot anamorphic over the years which I’m now gonna be selling off. Included are two Kowa Prominar 2x anamorphic projection lenses (one 16H with amber flares and one 8Z lens with the much rarer purple flares), both in fantastic cosmetic and practical condition with no scratches, fungus, or separation. In terms of visual quality from anamorphic projection lenses, this is the best you can get. All sharp as can be. Dually included is one set of Redstan clamps for mounting diopters or etc to the projector. Images are provided via the imigur link below. https://imgur.com/a/evWuFVZ

This is not referring to aspects such as white balance or decade produced. I’m referring to aspects more along the lines of sharpness, dynamic range, color, color separation, highlights, halation, shadow details, and resolution. Are there any explicit differences between stocks caused by the differences in film speed?

I have access to a set of Mitchell Standard Mount lenses which I am currently attempting to use with a 2-Perf Techniscope 35mm camera (I do not own this camera yet, nor have I chosen one at this time). The three most common mounts for 2-Perf Techniscopes cameras on the market are Arriflex Standard Mitchell BNC, and Mitchell BNCR. I have spoken to a camera technician who has made it clear to me that it is impossible to simply "adapt” any Mitchell Standard lens to fit an Arriflex BNC, or BNCR mount without a complete rehousing of the entire lens itself. So my question is this: which of these two options would cheaper/more feasible for achieving what I want? Converting a Mitchell Standard mount 4-Perf 35mm camera to 2-Perf Techniscope (if that’s even possible)? Or conversely rehousing this set of Mitchell Standard mount lenses in order to be able to fit either an Arriflex Standard, Mitchell BNC, or Mitchell BNCR mount? Thank you, and I look forward to hearing your insight as always.

So I'm aware that the K-3 takes 3/8" screw sizes, but the hole you would use on the K-3 to screw the tripod into is very shallow, and often leaves to the camera sticking upward with half of the screw left still available. This leads to the camera feeling pretty insecure and wobbly. Has anyone had a particular amount of success pairing a specific tripod (cinema tripod obviously) with the K-3?

Does anyone know if the T stops were ever measured for the Krasnogorsk's primary lens, the Zenit Meteor 17-69mm. For the sake of metering, I'd love to know how much actual light the lens lets through. I haven't seen any info on this posted anywhere. Thanks.

Let’s say that I’m shooting a project on 2-perf Techniscope and I’m limited to the use of three prime lenses. If I wanted a wide, medium, and a closeup, which three focal lengths would you recommend? I’m leaning toward 25mm for my wide angle seeing as it’s the wisest lens I can use out of my selection. If I were to use a 25mm for my wide, which focal lengths would you recommend for my medium and my closeup? The focal lengths at my disposal are 25mm, 30mm, 35mm, 40mm, 50mm, 75mm, 100mm and 150mm.

What are the key differences that can be found in overexposing a faster film stock vs simply shooting a slower film stock. Let’s say I have a roll of 200T and a roll of 50D. I shoot the 50D at box speed, but with the 200T I overexpose by two stops. To state the obvious, of course I will have a brighter, more blown out, and overexposed image for the 200T. But if I were to bring the footage into DaVinci and correct the scan to resemble a standard exposure, what kind of visual difference between the 50D and 200T can I expect?

So I'm well aware that the general rule of thumb is to overexpose expired film about one stop per decade it's been expired. But in my experience shooting film the last two years, that rule is only about half of the truth. While how the film was stored also has a big say, generally I've found that the stock's ASA has a bit more influence on how the film should be exposed as opposed to just the age. Kodak EXR's stock is roughly 25-30 years expired now, but if anyone in these forums has worked with the stock in the past five years, I'd love to hear how you went about exposing each speed of film and the results you got. Do you think EXR 5293 200T could hold up with 2 stops of overexposure? Do you think EXR 5245 50D could hold up with 1 stop of overexposure? Let me know what results you guys have gotten and maybe some video links. Thanks.