Ignacio Aguilar

SOLD

Here's a fresh coverage test, just made in an ARRI ALEXA LF Open Gate, which has a 1.43:1 native aspect ratio. All lenses cover it once you frame to a standard aspect ratio such as 1.78:1 or 16/9. Here's the link to the frames: https://imgur.com/a/IM9UfL1

We have decided to put the lenses for sale again. Here's a new video shot with this lenses: https://vimeo.com/326877763

I've always thought this lens is not as fast as it claims, maybe due to yellowing glass elements. It looks to me around T3.5 in reality. It's quite good in terms of performance, a bit sharper than Speed Panchros indeed, with great flares, but needs 6x6 filters, bridge support and shows heavy geometrical aberrations at both ends (pincusion being very evident from 80mm to 100mm or so). Bear in mind it's hard to rent and not very practical these days of handheld shooting with Easy Rigs, etc.

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Hello, We are considering the sale of an extremely rare set of lenses. These were designed in the 1970's mainly for VistaVision VFX photography, so they cover the Full Frame 24x36mm format, with a diagonal circle of image around 43-45mm. They were also used together with Bausch & Lomb Super Baltars on BNCR mounted cameras, so sometimes people referred to them as "Super Speed Baltars". The glass inside is japanese, Nikon or Canon. They are very close in look to Canon K35 lenses or Panavision Ultra Speed MKII's. Needless to say these lenses perform great on HD cameras, with a very nice look, soft yet detailed, and great flares. More Cooke than Zeiss in character, just like K35's. When they were manufactured, they were sold to different companies, which ordered the lenses with their brands engraved to them. F&B CECO, an old camera rental house, was one of them. Some other sets were engraved as MOBILE OPTICS Hi Speed, or Mitchell Camera Corporation (Mitchell Hi Speed Lenses). Focal lenghts are: 28mm T1.8 35mm T1.3 55mm T1.1 85mm T1.7 All lenses have excellent glass, with very minor marks if you look very very closely. All have been recently serviced and all are marked in FEET. They have PL MOUNTS, a common front of 95mm, and the 28-35-85mm have rotating fronts. They all have focus gears, and the 55mm T1.1 also has iris gears. If I sell them it's just because I need some money to buy other stuff and because I already own another set of this rare lenses. They rent extremely well and are also Full-Frame ready. To compliment our other set, we use 14mm, 100mm, 135mm and 200mm Canon FDs rehoused to PL by Optex, Kim Camera, PS Technik, TLS, Eastern Enterprises, etc. Canons match these lenses just nicely. Here's a couple of videos shot with my other set of lenses, which are clones in performance: [video=vimeo;216307539] [video=vimeo;270515597] And here's a picture of the set. More available upon request from SERIOUS buyers. Please don't waste my time or yours if you don't want to buy them! Those just looking for info should check the following links: http://www.reduser.net/forum/showthread.php?168035-Vintage-Superspeed-amp-Full-Frame-Mitchell-Hi-Speed-AKA-Super-Speed-Baltar-LENS-TESTS http://www.reduser.net/forum/showthread.php?144209-Mitchell-Hi-Speed-Super-Speed-Baltar-Lenses SALE PENDING for the four lenses. We won't split them. Shipping Worldwide (not included) 0% VAT offered for EU VAT Registered companies PM me or Email: info at harmonicarental dot com

Hello, We are considering the sale of our set of eight Bausch & Lomb Baltars: 18mm f2 (this one is a Cooke S2, it matches well, B&L never manufactured anything wider than 25mm for the 35mm format). 25mm f2.3 30mm f2.3 35mm f2.3 40mm f2.3 50mm f2.3 75mm f2.3 100mm f2.3 All lenses have been rehoused to a very high standard by Van Diemen in the UK. All the lenses have a common 110mm front, iris and focus gears and are marked in METRIC. Lenses from 25mm to 100mm cover Super 35. 18mm covers 35mm Academy or ARRI 2K/2.8K ARRIRAW. I haven't tested them on RED cameras, so don't bother ask for their coverage because I have no info on that. However they cover 3.4K ARRIRAW Open Gate from 30mm and up. These are super vintage lenses, originally designed in the 1930's, and used in tons of American movies such as "Rear Window", "The Magnificent Ambersons" or "Psycho", among hundreds. They predate the later Super Baltar series, introduced circa 1965. Their look is very special, with an incredible flare and a petzval bokeh at wide apertures, but they're still sharp and clean if you stop them down a bit. Here's a couple of test videos of this particular set: [video=vimeo;279934152] [video=vimeo;292485142] And this is a video comparing them to the Super Baltars (not our test nor lenses): [video=vimeo;122034788] Asking 48.000 euros (only serious enquiries) Shipping Worldwide (not included) 0% VAT offered for EU VAT registered buyers. PM or Email: info at harmonicarental dot com

EBAY: https://www.ebay.com/itm/153110961974?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649

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I found "Moonlight" to be very quite soft and blurry, nothing like a Master Anamorphic, but it was shot near wide-open. Stopped down a bit the Hawk V-Lites look nicer IMHO, as most anamorphics. I haven't seen "Hands of Stone", but distortion or the lack of it shouldn't be related to the aperture of the lens. Sharpness, contrast, chromatic aberrations, focus, etc. are very affected by it. I'd say all of the images that you're posting, except for the last one, which may be a 75mm, are 100mm focal lenghts. A much wider anamorphic such as a 40mm or a 50mm will show a lot more of geometrical distortions, regardless of the T/stop.

At Harmonica Rental in Madrid, Spain, we have just been able to complete what I think is the first known set of rehoused Bausch & Lomb Baltar lenses. These are the original Baltars from the 1930's, not to be confused with the later and less rare Super Baltars, introduced circa 1965 by the same company. The Baltars were in BNC mount, which protudes so deep into the camera that hit the mirror of the then new reflex cameras, so the BNCR mount (R stands for Reflex) was introduced to solve this problem and many cameras were modified or already released in BNCR mount. But since they couldn't be used with reflex cameras, the old Baltars were forgotten until now, even though they shot such classics as "The Magnificent Ambersons", "Night of the Hunter", "Rear Window", "The Killing" or "Psycho", and probably the better part of American film production since the introduction of sound to the 1960's. They were also the lenses that were adapted for CinemaScope in the early 50's. So I have a set of seven Baltar lenses (25-30-35-40-50-75-100mm) that open up to f/2.3. There was a 152mm Baltar which I don't have (you can use a 1.4x extender on the 100mm) and there never was a wider angle lens than 25mm, so many people used the Angenieux 18.5mm or the 18mm Cooke S2 with them. I decided to use the later to fill my set. I've also found that a 18mm Schneider Xenon also does a good job and matches well enough the other lenses. When I bought the Baltars, the glass was inmaculate, but nobody was rehousing them. Van Diemen in the UK agreed on the job and they have done a wonderful conversion of the lenses. Now they not only deliver a very special look, but can be also used with remote focus/iris devices with reliable and very accurate focus markings. Those familiar with the rehousings of this company know how good this lenses are now. Wide-Open the Baltars are very soft, but once stopped down a bit they have a very filmic (yet still soft) quality. They also have the "petzval" circular bokeh shape in the background, and since they are single-coated, they flare like beasts. But the look is very clean under all circunstances, and it only adds a very nice film touch to HD cameras. Once stopped down a couple of stops they perform more like Super Baltars of Cooke Speed Panchros, so they can be considered as a super vintage and vintage lenses at the same time, depending on the stop you work with them. TESTS: [video=vimeo;279934152] [video=vimeo;279934491]