Joe Taylor

The "Lonely Moan" is a compilation of 2nd-Unit landscape photography for a narrative film about a young man gravely wounded in enemy territory and far from home. Inspired by the world of 'Blood Meridian' by Cormac McCarthy. Music for this particular piece: "Fog Tropes," by Ingram Marshall. "Quelling Place" is by Steve Roach. The "Lonely Moan" is being filmed in 4K resolution with the RED ONE Digital Cinematography Camera and will pick up with the RED EPIC-X when released. Link to the "Lonely Moan"

Hello Jackson, I am very interested in your camera, but those links are dead. If you still have the camera could you please email some pics to Joe@Handcranked.com

I have an Alan Gordon Mark V Director's Finder that I plan to list on eBay on Thursday, December 15 unless I can sell it outright. This is a fantastic and still very viable director's/DP tool. For 35mm Digital Cinema and Film format this finder ranges from 1.33, 1.66, 16X9, 1.85, and 2.40 Anamorphic. This finder also has a Super 16mm setting and 2/3" and 1/2" Video Settings. All are 12 to 1 range. This finder is in excellent working condition with very fine glass. If you are interested you can PM or email at Joe@Handcranked.com. Feel free to call at 515.238.0617

Hello Rob. I still have several tube of Arri grease and an Arri glass tubed oiler. I am getting ready to list several Arri items including 6 IIc and III ground glasses on eBay for next week. Let me know and I will forward you the links.

Hello George. Congratulations on your purchase. That is certainly an A or possibly B model. If you are interested, I will be listing (3) 400' Arri magazine that come in a hardshell fiberglass case on eBay next week. Let me know if you are interested and I will forward you the link.

Thanks Freya, There are many reasons to be concerned. Mixed ratios when projected digitally are not nearly as tricky to get around as when done so with film. The aspect ratios for most film projectors are often determined using a hard mask. And almost all wide screen film projection (2.33 and wider) are anamorphic and use anamorphic lenses to dee-squeeze the image. If you have a 1.78 segment within your anamorphic presentation then you are going to have serious problems-- forget film projection. Digital projection use normally do not have those issues, but many theaters, mulitplex or otherwise, often set up their screens which is determined by the aspect ratio of the presentation. Ever noticed that in many multi-plexes the screen curtains are often moved around during the trailers and finally set for the big presentation? Happens all the time. I can imagine many issues that can arise. Ask you typical projectionist or even theatre manager about two or more aspect ratios for a given film and I envision a blank and confused look. DVD-BluRay presentation might also present some problems. Making the disk myself should not present any problems but if I ask a professional, he is likely to give me a hundred reasons why I shouldn't do this -- beginning with encoding and on and on. In short, this should be a no-brainer. Easy as you please. But I have experienced human nature and in the film world people are impossible.

Next year I will be shooting a short narrative, 35-40 min. that is a period drama/western set in 1850's Arizona. I am planning to film the bulk of this film in the 2.33 aspect ratio and have been long considering just sequence, where a critically wounded character experiences flashbacks, dreams, hallucinations, in the 1.78 aspect ratio. I recall several films that have had mixed aspect ratios, most all shot and projected on film, but in this day of digital delivery, I am hoping to get others takes on the pro and cons of projecting in two different ratios. This film will mostly play the festival circuit, and folks who have experience in this arena I am hoping will chime in. Again, the bulk, 95%, will be 2.33 with one sequence, 3-4 min, at 1.78. Am I asking for trouble?

Just 9 Hours to Go! ENDS TONIGHT @ 6:00 PM Pacific!!

Up for auction is an Astro-Berlin 300mm tele-photo lens in the 35mm Arri Standard/Bayonet Mount. This lens was manufactured in the 1960’s by the Astro-Berlin Fernbildlinse optics company. Serial No. 64704. ASTRO-BERLIN AUCTION LINK Like most Astro-Berlin lenses, this lens has a convertible adapter that allows numerous adapters to be used for different 35mm cinema and still photography mounts and with an inexpensive PL/Arri adapter, vintage lenses like this masterwork are given a new life in the digital age. I purchased this Astro-Berlin in the spring of 2001 from the original owner who made travelogue films in Alaska. As the photos in the EBAY image bin affirm, this lens is optically, cosmetically, and mechanically in remarkable condition. With the exception of some small dust flecks, there are absolutely no defects in the pristinely coated glass. As used by me, this Astro-Berlin worked on an Arriflex 2C for my award winning documentary film, Dead Lonesome, a labor-of-love project, filmed in glorious 35mm, about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome and examples of these lenses work online here: DEAD LONESOME After purchasing a Red ONE in 2008, I put this lens immediately to work, especially in March of this year while producing a documentary film about the Amish in Davis County, Iowa. The Kilfitt’s image circle covers the Red’s digital sensor throughout completely. I have posted several frame-grabs taken from the Red’s 4K image as examples of this lens’ ability in the digital age. This is a relatively light lens and requires no lens support. The original lens shade IS included. An excellent web site maintained by Exakaus and dedicated to Astro-Berlin photographic and cinema lenses can be found here: My linkwww.exaklaus.de/astro.htm Flat Rate shipping in the United States. I also currently have a set of Zeiss Prime Lenses listed for auction on Ebay as well as a Kilfitt 90mm macro-lens. ZEISS PRIMES SET Kilfitt 90mm Macro Arriflex Standard Mount

Up for auction is a Kilfitt 90mm f2.8-f32 Macro Lens (Makro-Kilar) in the 35mm Arri Standard/Bayonet Mount easily adaptable to work with PL mount and Red ready. This is a true macro-lens, manufactured in the late 1960’s, enabling 1:1 macro photography and cinematography. As the examples in the Ebay photo bin illustrate, this lens serves as a field lens for general photography equally well. It is very sharp with an especially pleasing bokeh aesthetic at close focusing distances. This is one of the best lenses I have ever owned. EBAY LINK: http://cgi.ebay.com/ws/eBayISAPI.dll...#ht_826wt_1141 Like most Kilfitt lenses, manufactured by the Heinz Kilfitt Munchen company out of Germany, this Kiflitt has a convertible adapter that allows numerous adapters to be used for different 35mm cinema and still photography mounts and with an inexpensive PL/Arri adapter, vintage lenses like this masterwork are given a new life in the digital age. I purchased this Kilfitt in 1999 from a Canadian filmmaker who made educational films about insects in the 1970’s. Being an adopter of the Metric system, this filmmaker had inscribed “US” and “Mitt” on the barrel. I used an emery cloth to erase these marking, leaving the only blemish on an otherwise perfect barrel. A detailed photo in the image bin illustates this mar. With the exception of some small dust flecks, this Kilfitt is mechanically and optically in excellent condition. As used by me, this Kilfitt worked on an Arriflex 2C for my award winning documentary film, Dead Lonesome, a labor-of-love project, filmed in glorious 35mm, about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome and examples of these lenses work online here: Dead Lonesome After purchasing a Red ONE in 2008, I put this lens immediately to work, especially in March of this year while producing a documentary film about the Amish in Davis County, Iowa. The Kilfitt’s image circle covers the Red’s digital sensor throughout completely. I have posted several frame-grabs taken from the Red’s 4K image as examples of this lens’ ability in the digital age. As mentioned earlier, I am the very proud 2nd owner of this Kilfitt and can attest to its condition. Flat Rate shipping in the United States. I also currently have a set of Zeiss Prime Lenses listed for auction on Ebay as well as 300mm Astro Berlin. These auctions can found here: Zeiss Primes Set And here: If you have any questions at all, please do not hesitate to phone me personally at (515) 238-0617 or if you prefer to contact me by email, my address is Sales@Handcranked.com

**EBAY AUCTION UPDATED**

Beginning at 6:00 PM Pacific Daylight Time, June 23: Up for auction is a set of Zeiss Standard Distagon and Planar Primes in the 35mm Arri Standard/Bayonet Mount that are all in EXCELLENT Condition. I purchased these lenses in the spring of 2001 from the original owner who bought these lenses new in 1978 (with the exception of the oddball lens, the 24mm (a Flektogon-- more later) and used them to make travelogue films in Alaska. EBAY LINK As used by me, these Zeiss Primes worked on my “A” Unit Camera on my award winning documentary film, Dead Lonesome, a labor-of-love project, filmed in glorious 35mm, about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome and examples of these lenses work online here: DEAD LONESOME Examples of these lenses at work on the Red ONE can be seen here: THE LONELY MOAN After the completion of Dead Lonesome, I took delivery of a Red ONE digital cinema camera in 2008, and have used these Zeiss Primes on the Red ONE extensively. The Zeiss image circle covers the Red’s digital sensor throughout completely. I have posted several frame-grabs taken from the Red’s 4K image as examples of this lens’ ability in the digital age. As mentioned earlier, I am the very proud 2nd owner of these primes and can attest to their condition. Cosmetically these lenses are in good to excellent condition with the only exception being the 32mm, which has a ding in the threaded portion of the upper barrel (seen in picture). This mar has absolutely no affect on its excellent optics or mechanics. The included 49mm Polarizer screws in nicely on the 32mm as it does on the entire set. The only oddball lens in this set is the 24mm Zeiss Flektogon. It is indeed intended to work on Arri standard and/or bayonet mounts but the focusing apparatus is different than the Planar and Distagons. I bought this lens independently from the main set in 2002. I have contacted Arri and Zeiss and both partiers tell me that this was a specialized retro-focus lens mount made for medical cameras. This lens package comes with a Pelican hard-shell case that is in very good condition. Also included are front and back lens caps. I also have an Arri Mount to PL Mount adapter that allows these lenses to work like a charm on newer PL mounted cameras. Installation is a matter of slipping the PL mount over the Standard mount and gently tightening three setscrews. Easy as you please and done in less than a minute. I will throw in the PL adapter mount for an additional $60. If you have any questions at all, please do not hesitate to phone me personally at (515) 238-0617 or if you prefer to contact me by email, my address is: Sales@Handcranked.com

I saw "Super 8" tonight as well. The first 1/2 was fantastic but things got too familiar when the superb acting takes a back seat to all the screaming, racing around and explosions that dominate part II. And we must discuss the lens flares. WTFH is up with all those very self conscious lens flares? Please, at least, tell me that they are real! All those distracting flares (so many flares that some are even diagonal) would get a guy fired circa 1979. Now it seems that they are added at great expense... even digitally. And at least the kids got it right with their super 8 production achieved sans flares (I know, the main dish was anamorphic 35mm but--- groan.)

From all the films I've seen this year, a large percentage so-called art house, "Hanna" tops my list as favorite thus far. There are some really beautiful moments, the English family being my favorite. As far favorite shots or sequences, the really cold-lit flashback when Marissa shoots at the car when just at the very cusp of day. Hanna walking laterally into the funhouse wolf. Pretty great movie.

I saw Meek's Cutoff tonight for the second time. It was projected digitally which pretty assures the audience that at least the correct aspect ratio will be employed. It was quite an experience seeing a modern-day arthouse film in the 1:37:1 but can't help but wonder if might have been more satisfying, for me at least, to see this film at least in 1:85:1, especially a western where almost every scene takes place in the wide open desert. I totally understand the filmmaker's motives for the academy ratio, but started missing the extra part of the screen.

Hello Clive, I have a set of 35mm Zeiss standard mounts, 16mm, 24mm, 32mm, 50, & 85mm, that I've used on both my Arri 2C and with my Red ONE (PL adapter). I'll be putting this set of lenses up on Ebay on Thursday, Feb. 3.

Hello Paul. Thanks for good words! Something like the decomposing of a dead animal should be done in a controlled environment with consistent lighting, I would think. It would also take time, maybe weeks. IF you can find such a place that wouldn't mind a little bit of stink, I'd say go for it. Good lUck.

ARRI Arriflex 2C 35mm Motion Picture Film Camera **LATER IN THE WEEK I WILL LIST A SET OF ZEISS PRIME STANDARDS** Ebay Auction Link Up for Auction is a complete Arriflex 2C Camera Package that is in EXCELLENT STRUCTURAL CONDITION and in PERFECT OPERATING CONDITION throughout. I purchased this camera package in the spring of 2001 from the original owner who bought this camera new in 1979 and used it to make travelogue films in Alaska. I have shot EXACTLY and ONLY 7400’ of NEW Kodak negative film stock in this camera since its purchase less than 10 years ago. This camera has not worked since 2005 and has just recently been serviced in preparation of this auction. As used by me, this Arriflex worked exclusively as my “A” Unit Camera on my award winning documentary film, Dead Lonesome, a labor-of-love project about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome, photographed 100% with this camera, online here: The package also includes a Tobin Crystal Variable Speed Motor that I personally purchased NEW directly from Tobin Cinema System just after I took delivery of this Arriflex Camera Package. www.tobincinemasystems.com This Tobin motor is in absolutely EXCELLENT condition and like the rest of this camera package, is in PERFECT operating condition. Contents of this Auction Include: Arriflex 2C Camera Body – Standard 4 Perf Academy Aperture (2) Two 400’ Arriflex Camera Magazine (1) One 200’ Arriflex Camera Magazine (1) One A&J Fiberglass 3-Teir Magazine Case www.ajcases.com (1) One Aerolyte Custom Made Aluminum Camera Case Tobin TXM-18 Variable Speed Crystal Motor with 24fps Sync Speed Original Arriflex Variable Speed Motor Original Arriflex 2C Hi Hat Original Handheld Matte Box Original Studio Matte Box ACAD/TV/1.85 Ground Glass If you have any questions at all, please do not hesitate to phone me personally at (515) 238-0617 or if you prefer to contact me by email, my address is Sales@Handcranked.com

Up for Auction is a complete Arriflex 2C Camera Package that is in EXCELLENT STRUCTURAL CONDITION and in PERFECT OPERATING CONDITION throughout. LINK to EBAY Auction: I purchased this camera package in the spring of 2001 from the original owner who bought this camera new in 1979 and used it to make travelogue films in Alaska. I have shot EXACTLY and ONLY 7400’ of NEW Kodak negative film stock in this camera since its purchase less than 10 years ago. This camera has not worked since 2005 and has just recently been serviced in preparation of this auction. As used by me, this Arriflex worked exclusively as my “A” Unit Camera on my award winning documentary film, Dead Lonesome, a labor-of-love project about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome, photographed 100% with this camera, online here: Link -> Dead Lonesome The package also includes a Tobin Crystal Variable Speed Motor that I personally purchased NEW directly from Tobin Cinema System just after I took delivery of this Arriflex Camera Package. www.tobincinemasystems.com This Tobin motor is in absolutely EXCELLENT condition and like the rest of this camera package, is in PERFECT operating condition. Contents of this Auction Include: Arriflex 2C Camera Body – Standard 4 Perf Academy Aperture (2) Two 400’ Arriflex Camera Magazine (1) One 200’ Arriflex Camera Magazine (1) One A&J Fiberglass 3-Teir Magazine Case www.ajcases.com (1) One Aerolyte Custom Made Aluminum Camera Case Tobin TXM-18 Variable Speed Crystal Motor with 24fps Sync Speed Original Arriflex Variable Speed Motor Original Arriflex 2C Hi Hat Original Handheld Matte Box Original Studio Matte Box ACAD/TV/1.85 Ground Glass If you have any questions at all, please do not hesitate to phone me personally at (515) 238-0617 or if you prefer to contact me by email, my address is Sales@Handcranked.com

Just Posted On EBAY! Provide is a LINK: ARRI Arriflex 2C Motion Picture Film Camera Package Up for Auction is a complete Arriflex 2C Camera Package that is in EXCELLENT ++ STRUCTURAL CONDITION and in PERFECT OPERATING CONDITION throughout. I purchased this camera package in the spring of 2001 from the original owner who bought this camera new in 1979 and used it to make travelogue films in Alaska. I also purchased the filmmaker’s personal Angenieux 25-250 zoom lens, also up for auction, that can be found here: Angenieux 25-250 T2 35mm Zoom ARRI / RED Digital Ready I have shot EXACTLY and ONLY 7400’ of NEW Kodak negative film stock in this camera since its purchase less than 10 years ago. This camera has not worked since 2005 and has just recently been serviced in preparation of this auction. As used by me, this Arriflex worked exclusively as my “A” Unit Camera on my award winning documentary film, Dead Lonesome, a labor-of-love project about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome, photographed 100% with this camera, online here: Dead Lonesome Nearly 100% of the work I shot with this camera over the course of ten-years was exclusively time-lapse work using a Norris Intervelometer purchased new from Norris Film Products in May of 2001. This Norris Intervelometer is also currently up for auction and can be viewed here: Norris Intervalometer/Capping Shutter ARRI Arriflex 2C The package also includes a Tobin Crystal Variable Speed Motor that I personally purchased NEW directly from Tobin Cinema System just after I took delivery of this Arriflex Camera Package. www.tobincinemasystems.com This Tobin motor is in absolutely MINT condition and like the rest of this camera package, is in PERFECT operating condition. To complete this camera package with Arri Bayonet mounted lenses, I also have a complete set of Zeiss Standards Prime Lenses and he excellent Angenieux 25-250 T3.9 Zoom Lens up for auction. Contents of this Auction Include: Arriflex 2C Camera Body – Standard 4 Perf Academy Aperture (2) Two 400’ Arriflex Camera Magazine (1) One 200’ Arriflex Camera Magazine (1) One A&J Fiberglass 3-Teir Magazine Case www.ajcases.com (1) One Aerolyte Custom Made Aluminum Camera Case Tobin TXM-18 Variable Speed Crystal Motor with 24fps Sync Speed Original Arriflex Variable Speed Motor Original Arriflex 2C Hi Hat Original Handheld Matte Box Original Studio Matte Box ACAD/TV/1.85 Ground Glass If you have any questions at all, please do not hesitate to phone me personally at (515) 238-0617 or if you prefer to contact me by email, my address is Sales@Handcranked.com

Just listed this auction on Ebay:Angenieux 25-250 T2 35mm Zoom ARRI / RED Digital Ready Up for auction is an Angenieux 25-250 T2 in the 35mm Arri Standard Mount that is in EXCELLENT + Condition. I purchased this lens in the spring of 2001 from the original owner who bought this lens new in 1979 and used it to make travelogue films in Alaska. I also purchased the filmmaker’s personal Arriflex 2C camera package, also up for auction, that can be found here: ARRI Arriflex 2C Motion Picture Film Camera Package This lens is a true gem, the same model used to shoot numerous classic Hollywood films throughout the 1970’ and 1980’s. A great deal of Stanley Kubrick’s Barry Lyndon, often cited as one of the most beautifully photographed movies in cinema history, was captured with this very model of Angenieux lens, the T2. As used by me, this Angenieux worked on my “A” Unit Camera on my award winning documentary film, Dead Lonesome, a labor-of-love project about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome and examples of this lens’ work online here: I have also supplied several “frame grabs” taken from the 2K transfer of Dead Lonesome that can be found if the photo gallery for this auction. After the completion of Dead Lonesome, I took delivery of a Red ONE digital cinema camera in 2008, and have used this Angenieux lens on the Red ONE extensively. The Angenieux’s image circle cover the Red’s digital sensor throughout its 25mm to 250mm range completely. As mentioned earlier, I am the very proud 2nd Owner of this Angenieux and can attest to its remarkable condition: from this lens’ perfectly coated glass to the rock solid mounting and perfectly fluid zoom, focus, and aperture movements. Cosmetically this lens would rate Excellent ++ if weren’t for the slight inscription of “U S” that the previous owner/filmmaker has so elegantly inscribed once near the focus readings and again near the aperture markings. He did so because of many years of working with metric lenses and as a reminder that this particular lens was American standard. This lens package comes with the very charming and original Angenieux zoom case that is fully intact and in very good condition. Also included is the original Angenieux front lens cover and zoom rod (very useful and hard to find.) There is also a Tiffen Dia. 119 drop-in 85-color correction filter with new filter rings for easy screw-on mounting. I also have an Arri Mount to PL Mount adapter that allows this lens to work like a charm on newer PL mounted cameras. Installation is a matter of slipping the PL mount over the Standard mount and gently tightening three setscrews. Easy as you please and done in less than a minute. Once in place it can be left as a semi-permanent mount if you like. I can throw in the PL adapter mount for an additional $60. Also, as mentioned before, this lens presently is supplied with the Arriflex standard mount. However, with a simple search many other mounts can be easily found. Angenieux also made mounts in Mitchell BNCR, CamFlex, Canon (which I had at one time), Nikon, Pentax, and I believe even older MovieCam Super Americas. Others were made as well. Changing out the mount is as simple as screwing on a filter and requires no flange adjustment. That being said, this lens has several lifetimes of use ahead of it and is a throwback to days when craftsmanship was an art unto itself.

NEWLY LISTED ON EBAY: http://cgi.ebay.com/ws/eBayISAPI.dll...#ht_553wt_1141 Up for auction are a Norris Intervelometer and Time-Lapse Motor for the Arriflex A, 2B, and 2C camera systems. Also included is a 3” Norris Capping Shutter. Both the Norris Intervelometer and Time-Lapse Motor are in MINT-LIKE condition and are in PERFECT OPERATING condition and have not worked since 2005. This Norris Intervelometer was purchased NEW from Norris Film Products in early spring of 2001 and worked EXCLUSIVELY on one project, my award winning documentary film, Dead Lonesome, a labor-of-love project about ghost towns and the mystique of the western landscape. You can experience Dead Lonesome, photographed 100% with this Norris Intervelometer, online here: Still Photo Frame Grabs made from the 2K 35mm Transfer of Dead Lonesome can be seen in this listings Picture Galley. The Arriflex Camera Package employed to make Dead Lonesome is also my personal camera system and is also currently up for auction. The link to this auction can be found here: The Norris 3” capping shutter was purchased when already in WELL-USED condition. I personally have only had to use it on one occasion where it performed flawlessly. If you have any questions at all, please do not hesitate to phone me personally at (515) 238-0617 or if you prefer to contact me by email, my address is Sales@Handcranked.com

There were several shot's in "Unstoppable" reminiscent of "Runaway Train," mainly the shot of the runaway smashing through through the last cars of a live train not quite fast enough to make it all the way off onto a side track. "Runaway Train" also had the added benefit of speeding through the haunting Alaska wilderness. Some of the acting in Runaway Train though makes it almost unwatchable. Look close for a pre-paroled Danny Trejo being pummeled in the ring by Eric Roberts.

Very entertaining movie with some of the most incredible train footage since "The General." I loved the look, has that vintage 90's Tony Scott chemical look likely totally achieved today in digital post. I would LOVE to told with certainty that I am wrong and that Scott and friends got this look by getting their hands dirty and done the old fashioned way. Anybody in the know?

Just posted a Mint Condition 4x5.6 Tiffen ENHANCING FILTER as well as a complete set of 4x5.6 Black ProMist Filters on Ebay. Links: ENHANCING = http://cgi.ebay.com/ws/eBayISAPI.dll...#ht_877wt_1141 Black ProMist = http://cgi.ebay.com/ws/eBayISAPI.dll...#ht_912wt_1141 Many more filters, 4x5.6, 4x4, 3x3, Series 9 will be listed in the next few days! Please Email, Joe @Handcranked.com or call 515.238.0617 if you have any questions!!