Sebastian Bock

If somebody is in need of rear lens caps for Arri bayonet mount lenses (e.g. Zeiss 16mm lenses): I created some 3D printed ones for myself and uploaded the .stl files to thingiverse for fellow filmmakers. If you have access to a 3D printer, you could easily print them as hard shell (with PLA filament) or as rubber cap (with TPU filament). If you print with TPU, I recommend resizing the caps in the slicing software to 99.5% for a tighter fit. Here is the link: https://www.thingiverse.com/thing:6591059 Sebastian

It is probably the same emulsion as the 2023 released still film, so you'll find a couple of tests and images online. Since it is an orthochromatic film, it is less sensitive to the red spectrum and it has its highest sensitivty at the green wavelenghts. Here is the datasheet: FOMAPAN 400 (fomaobchod.cz) It is pobably not an "all purpose" film but it is really good news, to have a new tool in the toolbox... As far as I know, Foma sells 400ft rolls only as special order. Regularly they sell the motion picture stocks only on daylight spools.

Good news: https://fomaobchod.cz/en/news/fomacineortho40016mm305bm1xperfo[14705]

Reduced to 1.500 €

Congratulations, David! And thank you for sharing your knowledge with us here on cinematography forum!

The price is not carved in stone...

Selling my Movi M15 with remote controller and a lot of accessories for cameras up to 6.8 kg. I used it on a feature film 2 years ago and on a live show last year without any problems. Now it needs to go because it is sitting in the shelf, staring at me... Everything you see in the pictures is included (except the light stand). - M15 with sliding plate - remote controller with neck strap - can also be setup as mimic controller (very cool...) - handle bars with top handle and additional rod clamp for accessories (monitor, teradek, etc.) - ring with feet - tripod holder - side brackets for Alexa mini with IDX v-mount battery holder - side bracket for RED (don't know, which one - I never had a RED) - 4 batteries + charger + LED Lipo warning + battery to D-Tap cable (for accessories, powered by the 2nd battery) - spare parts and screws - wifi controller (never used it, because if you attach it, you can't use the remote control any more afaik) - quick start instructions At the antenna of the remote controller the thread ring got loose. I substituted the original Freefly antenna with an antenna from a D-Link router. I will send the original antenna for reference / in case you want to glue it. Because of the weight of the whole package and the battery shipping restrictions I am selling and shipping the complete set only in EU countries. (If you are from outside EU and really want it, I can only ship it without batteries and you are responsible for import duties / tax. A pickup flight to Germany might be cheaper than shipping...) Price: 1.750 € + shipping Item is located in northern Germany / Hamburg If you want to calculate shipping to your country: The big pelicase weighs ca. 17.5 kg, the ring needs to be shipped separately in a 2nd package because it doesn't fit into the pelicase. Any questions? Please ask.

If you own the 40mm I’d say there’s no need for a 50mm. I use my 135mm lens very rarely. So if I were you, I’d consider to buy the 90mm macro instead of the 125mm. But of course this depends on your personal shooting Style and the type of projects. 25/40/75/90 macro would be my choice.

I would say there‘s not THE correct answer. If you observe the number of eyelights in real life situations, you will see that they are dependent on the surrounding, no matter if indoors or outdoors. When I am sitting in a café, I can see the reflections of multiple windows, a candle and the ceiling lamp in my friend‘s eyes, depending on the position of the head. So multiple eyelights are a natural phenomenon. More important than the number is the shape of the reflections. If you are shooting a candle light dinner and the reflection has the rectangle shape of a Kinoflo, that might look weird. Worst for my taste are ring-lights. But honestly: If your audience starts thinking about the number or shape of eyelights in the actors faces you have a much bigger problem than your light setup… it‘s your story…

Thank you very much for this detailed information. That saved me from a lot of try and error ordering.

Interesting interview with Jenkins. He really is the archetype of an independent film maker. https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/mark-jenkin-bait-cornwall-fishing-village-tourists

Thanks! Have you seen his other film „Bait“? Also a recommendation - also shot on his Bolex and self-developed by himself.

„Athena“ for example.

Hi Dom! Thanks for taking the time to answer. You are right, the meter should only be activated, when the main switch is half down (metering position), not when a power supply is attached. My problem is definitely not a bent needle - it is moving without any distractions from zero position (no power supply) to the "+" section, as soon as a battery or power cable is attached. My camera has not been converted - it is still the bayonet mount. It is the version with auto exposure functionality. I disassembled the light meter today, to see, if I could do something. It's a very interesting construction with two gradual ND glass discs that affects the amount of light falling onto the light sensor regarding to the film speed and fps set on the dials. But this is only mechanical - nothing that gives me a clue about the malfunction of the meter. So I assume, my problem sits somewhere on the electronics board and since I am not familiar with electronics, I assume, I have to leave it as it is... although it bothers me... ? Yes, that is what I already adjusted. Still, the up/down tension is not affected by this. Thanks for your warning. I am aware, that some adjustments are not meant to be done by the user, but since it is nearly impossible to find a service technician in Germany who is still in business, I don't have much other options to get the camera serviced. And I am so fascinated by the machanical mastership of these old cameras that my curiousity almost always wins over the worry to damage something. If there's a screw easily accessible, I want to see what's behind it - this is part of me since my childhood... But I don't touch screws or levers that are sealed with a protection varnish.

When I read your last post, I remembered, that I once documented the servicing of the Kiev16 lenses. I put it together in a post here: