Joe Taylor

The way I've always done it going back to my film days, is the lens support post screws directly into the mounting collar on the lens (most of the time) and when correctly balanced the setup will slide smoothly right up to the mount and positively lock with no friction or force needed when properly aligned.  You should be able to test the weight and setup by loosening the mount from the rods and it will slide right back perfectly balanced.

Afterwards, you'll probably be quite pleased with yourself and you'll walk off and go have a beer and brag up a storm about how awesome your lens balancing skills are and so forth. 

The Tiffen Antique Suedes are fairly mild for #1 and #2 with #3 being of course the strongest.  I'll take a pic of the filters I have against a neutral BG so you can easily see the difference.  

Expanding a bit more on movies as good examples where a "warming" look was chivied either through filtration or combination of timing, I've been looking for scenes from particular films where that look really stood out.  Apocalypse Now has some very rich scenes that are very "warm."  Since AN was shot many years before Di I'm wondering if that might have been achieved in post?  It looks like a #3 Antique with even a Chocolate Combo.  Does anybody know?  The Proposition, Australian western from 2005 also has several shots that have a very rich "warming" effect.  I have a American Cinematographer from 2005 but there's not mention of filtration effects.   The first mention of the Antique Suede, which made me make a special stop at Abel Cine in 2000 to buy a 3x3 AS #1, was the mention of their use in "George Washington."  I loved that look and wanted it for a look I was going for in the first 35mm film I made straight out of college.

My "Antique Suede" looks I'm getting today are simply a bit warmer with the color temp with a touch of green.  Works wonders.  But I am much more interested in how it was done in the day of chemical releases.  

Will likely list these for auction at 6.00 PM Pacific this evening if a best offer is not made. Many thanks!

Up for Sale are absolutely BRAND NEW and NEVER USED Sony NP-FZ100 Battery and Sony BC-QZ1 Battery Charger.

Both of these items just arrived with a Sony A7R III Camera Package.

Removed from packaging just moments ago for photos and promptly placed back in original packaging.

$130 for Both or BEST OFFER + $7.00 Shipping

Feel Free to text at 702.289.9618 or message me here.

Battery New from B&H is $78.00

Selling for $60

Charger New from B&H is $88.00

Selling for $70

Wow, Robert Hart. There's a world of info in those posts and I'm very appreciative. I'll go through them again tonight when I get home to try and glean some of the 99% of what went way over my head just now.

I had thought about doing trying to get a shot using the ground glass off an old 4x5 speed graphic, but it needs to be telephoto.

There's a lot of good ideas and suggestions all around. Another reason I want to try and do this all "in-camera" simply because it's fun and I have the time before we shoot on the 23rd. But I will shoot a couple of takes that are clean in case I can get more realistic results in post. The one thing I am not after is something that looks stupid, which is what often happens when people take too firm of a stand.

Hate to say it.. but what about post effects .. thats going to give you the most freedom in image manipulation .. and make it alot quicker to shoot it on the day.. there are millions of effects out there now that takes a couple of seconds too apply..

I'll use post with a clean shot as a Hail Mary.

Get some very cheap, thin diffraction grating material and cut a ring out of it to just go around the inside 1/4 of the lens; a doughnut shape. Might have to experiment with ring thickness and edge roughness to make it subtle enough. Shouldn't take much...

 

https://www.amazon.com/Sheets-Diffraction-Gratings-Lines-inch/dp/B07D9K1582/ref=sr_1_14?ie=UTF8&qid=1538970309&sr=8-14&keywords=diffraction+grating+sheet

 

That should give you some weird aberrations...

 

Maybe you could remove the front lens element and find an arrowhead maker to knapp the element; chip it up on the edge and then replace it. Not hard to remove those front elements...

Those are really cool! Great idea!

It would be nice to find a way to get a lot of chromatic aberration and edge softness... dont know if it would focus properly if shot though a magnifier glass or if you put two diopters together, one backwards to cancel the first one, etc.

I have an old Canon zoom that I can 'Frankenstein' with the elements. I have a couple of weeks to try something.

I'm going to be filming a scene for a western where a character is being pursued on a dry lake-bed where those giving chase are perhaps a half-mile behind. The lead character pulls out an old spyglass to gauge their position and I want to degrade the image and make it both interesting and realistic and I want to do this all "in-camera." I'm likely going to stack some old filters, (one is a pitted Black ProMist and the other is a 4x5 filter I made from a 150-year-old window. I'll likely use an old Canon FD telephoto zoom at f22 @ 100mm. This added depth of field will make the debris on the filters more pronounced.

Can anybody suggest anything else I can do to scuzz up the image to make it interesting? I've even thought of putting a thin coat of greenish motor oil with flakes of hair and other stuff, but I could be taking this too far by doing that.

Love to hear some suggestions. Should be fun.

https://www.ebay.com/itm/292720234241?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

https://www.ebay.com/itm/292720203530?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Up for auction is a brand new, unopened Sony NP-FZ100 battery for the Sony A9, A7R III, A7 III camera line.

Welles use of overlapping dialogue is still very exciting.

I'm pretty sure it was Wells use of overlapping dialogue, especially in an early newsroom scene, is what inspired Steven Spielberg's heavy use of this technique throughout his career.

Thank you Dom. I've never had this issue before with Canon or Red, but the article you linked helped a lot. Many thanks.

Just processed some 4K video and Sony RAW images I made with a Sony A7R III. Used at Canon 24-70 @ 65mm f 3.2 1/50 and a B+W 10 stop ND filter. Can anybody chime in as to what might have caused these weird horizontal dotted lines through the suns flare? It happened in both motion video and stills.

Just processed some 4K video and Sony RAW images I made with a Sony A7R III. Used at Canon 24-70 @ 65mm f 3.2 1/50 and a B+W 10 stop ND filter. Can anybody chime in as to what might have caused these weird horizontal dotted lines through the suns flare? It happened in both motion video and stills.

Just 20 Min. TO GO!!!!

You should go to the Large Format Forum. They are crazy for that stuff.

Large Format forum? is that part of Cinematography.com ?

https://www.ebay.com/itm/292669611124?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Up for auction is an Eastman Model 2D 8x10 View Camera that is in fantastic physical and functional condition and with a modern or even vintage 8x10 sheet film holders this camera can go right to work today. Or if you are so inclined this camera would make an excellent candidate for a frame down restoration project. I bought this camera in 2004 and used it to photograph Colorado ghost towns with b&w negative and color chrome films and it has always operated perfectly.

Hey Tim, I'm looking at the Appstore and not find that app. I wonder if it's still available?

Rosco #15 Deep Straw. And it's Plan B. Full CTO.

Hey Tim. I can get certain gels here in Vegas but the Heavy Straw 15 is a special order item that nobody here in town has in stock. Even B&H doesn't have it in inventory.

This is the house I will be filming. I shot this last fall, just random photos.

I actually would be really tempted, as Phil mentioned, to make "gas light" maybe a mixture of full plus green or lime and some yellow-- maybe even rosco 2003

I'd love to test these ideas too, but i won't have time. I'm in Vegas and finding gels-- well, I might as well road trip to Burbank. I can get some them from B&H but they have a 7-14 day order period. I can medium straw from JR lighting here in Vegas.

There's an interesting bit of historic lighting technology involved here which might actually mean the gas light would be - believe it or not - greenish, so you can motivate something really odd if you want to. Gas lights of the late 19th century used mantles doped with rare-earth metals (much like those in the phosphors used in LEDs and fluorescent tubes) which emit a lot of visible light when heated, and not much infrared light. That makes for better efficiency, but it means that the light isn't being produced solely by incandescence. That is, it's not just glowing because it's hot, or at least it is mainly glowing because it's hot, but it glows in an unusual way. See candoluminescence.

 

Early types looked greenish. Later ones looked less green, but gas mantles made to this day still look slightly... well... minty.

 

P

Hey Phil. The history here is indeed fascinating. I'm trying to think of movies I've seen with gas lightning and Elephant Man is the only one that comes to mind-- and I'm sure you know that it's not helping much. But I appreciate your contribution here. (I think if I went for accuracy it might actually confuse most people.) Still though, I really want that nice rich "flame" effect.