Ignacio Aguilar

There are aiming more than ever to owner-operators, not to say fanboys. Even it may have some cool features, there's no way a real professional shoot can use a camera that has been configured like this one.

“Moonraker” is for sure the best looking movie shot by Jean Tournier that I’ve seen, even though I think John Frankenheimer’s “The Train” (shared credit with Walter Wottitz, who had just won an Oscar for “The Longest Day”) is a very stimulating and nice looking black and white picture, and a personal favourite of mine. I also like a lot Fred Zinnemann’s “The Day of the Jackal” (I mean, the movie) but Tournier’s color lighting is very flat in many scenes, with unwanted shadows on the walls, etc. Unremarkable, lit for exposure, so-so focus (mostly on zooms) even though from time to time there’s a moody low-key scene that seemed to come from another movie. I have a hard time believing how poor is the photography of that great film and how nobody complained about it on rushes or something, as it’s so much below the quality of the directing, script and even the acting. Easily one of the less inspired “great films” that I’ve ever seen in terms of lighting, at least in my opinion. I seem to recall that Lois Chiles in “Moonraker” was lit in a very similar way to what Clade Renoir did on “The Spy Who Loved Me”, but I’d have to check (“The Spy Who Loved Me” doesn’t have a gaffer credit on IMDB, but “Moonraker” had a french gaffer who had worked previously with Claude Renoir on “The French Connection II” so, maybe, there was indeed a “connection”). Of course, having some nice locations, lots of money, a great crew and Ken Adam’s sets always help to have a better look… I remember “Moonraker” as an overall extremely silly picture (so silly in fact that it makes “The Spy Who Loved Me” as serious as a John Le Carré novel), but with incredible miniatures and effects and, of course, the famous sky diving opening scene shot in 35mm anamorphic. Maybe I’d give it another try in 4K too!

Sorry to resurrect such an old thread, but I got to see "The Spy Who Loved Me" in 4K (iTunes) and don't want to start a new one. In my opinion it holds up quite well and it's the best Bond film on which Roger Moore starred. The movie was mostly shot apparently with a Panavision front anamorphic zoom, not primes, and it must be the very rare "Panafocal" lens that I have seen in old catalogues (there were two versions, both T4.0, I think they were a 45-90mm and a 50-95mm or something like that), as I don't think Panavision had other anamorphic zooms at the time that were not rear converted (that's why the don't behave at all as true anamorphics). This lens was also used later in "Moonraker" (1979) and had been used prior to that on "Chinatown" by John A. Alonzo, who might have used it as well on "Black Sunday" (1977) and "The Cheap Detective" (1978) among others. Does anyone know something about this particular lens or has seen it? It performs (or performed) quite well and seems to match the C-Series primes and thus, is intriguing. Speaking about the cinematography, there's one thing that surprised me a lot. I have never seen the movie in 35mm and I think that I saw the Blu-ray, but this time I realized that most if not all of the night scene set at the pyramids and the sphinx is all miniatures, double exposures and optically composited shots. Pretty amazing stuff that blends really well with the first unit on set coloured lighting effects. Obviously the tanker at the end of the movie is a model, and a very good one indeed, but that was easy to spot. Claude Renoir did a very good job with the movie. It's too bad he couldn't do "Moonraker" as expected. "The Spy Who Loved Me" is a great mixture of classic lighting techniques (have a look at Barbara Bach's portraits, mostly hard lit with some on lens diffusion) but also very nice location shooting taking advantage of available light (in Egypt for instance) and the right amount of fill. It seems to be true that Stanley Kubrick suggested how to light the inside the tanker scenes at the end due to Renoir's failing eyesight, but also, to be honest, these gigantic sets by Ken Adam weren't the easiest, specially you have to light them for something like a T5.6 at 100 ASA.

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And they look extremely similar to my Super Baltars in terms of flare and veiling: Super Baltar Test

Most vintage glass is really expensive to rent these days, so I would go to Kowas directly if I wanted to imitate them. Kowa Cine Prominars are kinda unique because most vintage lenses tend to a yellow or warm bias, but Kowas are very cool in color rendition. They also have very nice green & golden flares. As the previous poster said, their optical design is similar to Super Baltars, but the SB are very warm and have blue flares instead. Perhaps the Kowas are indeed a bit lower in contrast than Super Baltars, which already are pretty low-con. The Super Baltars have a very round iris though, similar to that of Panavision Primos, while some Kowas have an octogonal iris that resembles a lot the bokeh of Cooke S4's. The cool bias of Kowas can be achieved easily these days in a digital grade, either using Super Baltars, Cookes, Canon K35's or even rehoused stills glass such as FDs, and 1960's or 1970's Nikons or Leica R's. Any of these sets should provide the look of the trailer, in terms of texture, contrast, etc. as I don't see any specific Kowa characteristic on it. If you were looking for the flares, the closest thing I've seen is the Canon FL (pre FD) stills glass from the 60's, which has very similar coatings to Kowas. But you'll have a very hard time finding a cine set of Canon FL's, if there's a complete one.

We have a very complete camera kit for sale, this unit has been barely used. The kit includes: Canon C300 Mk III camera set Two mounts, PL and EF Shim kit for mount adjusting Camera monitor, support and cable Handgrip Shoulder strap Mic support Canon handgrip Top cheese plate Wooden camera kit (for 15 mm. bars) Top Handle 6 batteries BP60 (two original and four third party) One Canon Single charger One Canon Power supply One double digital charger extra Three 512 cards CF Express. Two card readers Hour meter shows 56h. since reset. PICTURES: https://ibb.co/V9nZzP3 https://ibb.co/pWBWNgB https://ibb.co/qpkMqvZ https://ibb.co/7KG13nV https://ibb.co/mhs1D7k https://ibb.co/mGb8FTV https://ibb.co/G2J1Dt7 https://ibb.co/8sPLCzq https://ibb.co/P5nPD9H https://ibb.co/gWWz8z2 https://ibb.co/5RRCHHN https://ibb.co/RBRHj7r> ASKING: 11.750 EUROS. CONTACT: info at harmonicarental dot com 21% Spanish VAT is NOT INCLUDED on price. 0% VAT offered for EU VAT registered and International Buyers (price remains as shown). International Buyers - Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. Please get in touch in case of any doubt.

Selling some items. Prices in EUROS. Shipping not included. Each link goes to Ebay so you can see pictures & descriptions. Get in touch if interested. Camera: -Red Ranger Gemini 5K Kit. SOLD Lenses, adapters & Accesories for lenses: -Arri/Zeiss Ultra Prime 85mm. 5.999€ -Feet scale for Arri/Zeiss Ultra Prime 85mm. 299€ -Feet scale for Arri/Zeiss Ultra Prime 50mm. 299€ -Elite Anamorphic Adapter. 4.499€ -Zeiss 135mm Standard Prime (old version). 399€ -Mitchell R35 Mount to ARRI PL Adapter. 199€ Cards: -Sandisk CFast 2.0 Cards Extreme PRO 128GB (Arri Alexa Mini, Arri Amira, etc). 155€ per card. Several units available. Fluid Head: -Cartoni C40s Fluid Head. Serviced. 2.799€. Follow Focus: -Arri Follow Focus. 19mm rods. 1.150€ -Arri Follow Focus. 15mm rods. 899€ -OConnor CFF-1 Follow Focus. 15 & 19mm rods. 1.250€ -Scorpio Wireless Follow Focus (Service Vision). SOLD. -Cinegears Wireless Extreme Follow Focus. Single Axis. SOLD. Mattebox: -OConnor Box Mattebox. SOLD. Video: -Teradek Bolt Pro kit. SOLD. -Osee LCM215-HDR 21.5inch 1000nits Field Monitor. 975€ Recorder: -AJA KiPro Mini recorder. SOLD. CONTACT: info at harmonicarental dot com 21% Spanish VAT is NOT INCLUDED on price. 0% VAT offered for EU VAT registered and International Buyers (price remains as shown). International Buyers - Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. Please get in touch in case of any doubt.

Bump, open to offers.

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Bear in mind "Touch of Evil" was shot in regular 4-perf 35mm, which has a diagonal of (aprox) 27.2mm, while 4-perf Super 35mm is 31.1mm, thus increasing the risk of vignetting and/or portholing. Most of the modern S35 sized sensors at least 27mm or more.

Price reduced

I've done this for dark, moody situations a lot of times. Even if I want them to look really dark, I've overexposed by two stops, so that in case they want to raise them later in post, there's even more latitude to do that. It has worked for me with RAW recordings with Alexas and Reds.

Yes, I have two different sets. One has 1 TX / 1 RX and the other has 1TX / 2 RX. Get in touch via email if you're interested. Regards

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