Jump to content

Search the Community

Showing results for tags 'Glass'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


  1. Canon FD 24mm F1.4 L The glass and the body are in stunning condition. FD 24mm F1.4L Canon FD 55mm F1.2 S.S.C. Aspherical Beautiful and very unique lens. The glass and body are in great condition with a little wear from the age. FD 55mm 1.2 SSC Aspherical DM please and make a reasonable offer for either or both. I have more FDs I'm open to selling if you're interested please reach out.
  2. Selling some very clean front anamorphic optics for square front Lomos. I have various single and complete glass groups: 35mm Cylinder set - element 1, Element 2, Element 3+4 doublet nice glass in good shape ($4500 for complete Cylinder) ($2000 for front elements) 50/75mm Cylinder set - element 1+2 doublet, element 3+4 doublet ($4500 for complete Cylinder) ($2500 for front groups) All glass in good shape. Some slight markings to be expected but great replacements or completes for an anamorphic project. Also have some original lomo metal work from the front housing in poor condition available for $500 each. This is just front anamorphic glass, no spherical parts, great for replacements.
  3. Hi there! I'm looking for a USED set of Glimmer Glass and a 138mm Tiffen +0.5 Diopter. My email is gpolofilms@gmail.com Many thanks!
  4. I'm looking for SR3 | 416 Fiberscreens. In particular - 1.66 and 2.35 or 2.39 Does anyone have these and looking to sell?
  5. I have three Zeiss Planar Standard Speeds all in PL mount::: 85mm, 100mm and 135mm T2.1 All the glass is super clean, all the gears work just fine. Very moderate signs of wear on the barrels. - Zeiss Planar 135mm T2,1......$5900 - Zeiss Planar 100mm T 2,1.....$4700 - Zeiss Planar 85mm T2,1.........$4200 FOR PICS CLICK HERE
  6. Set #217 are Cooke Speed Panchros ser# 6XXXXX, just the 75 and 18 are 7XXXXX They all work fine, very minor cleaning marks in few of them. Price is 19.5k. Please let know if you have any questions. FOR PICTURES CLICK HERE PS - We do have a couple other sets available in better conditions for higher price. Thanks!
  7. I have three Zeiss Planar Standard Speeds all in PL mount::: 85mm, 100mm and 135mm T2.1 All the glass is super clean, all the gears work just fine. Very moderate signs of wear on the barrels. ****Willing to split up the set. Pics HERE Price $14.8k
  8. Hello everyone! I'm one more time asking for your help on this forum! I'm shooting a short-film and I got this shot in which the camera dollies left filming photos that are framed up on the wall. It's kind of a close up and I don't want to see my reflection in the glass of the frames, then the camera stops as we see the reflection of the actress in one of the frames. So I was thinking of maybe removing all the glass except on the frame in which we're supposed to see the reflection of the actress and then re-add the glass in post using after effect, but is that possible? And how much of a headache is that going to be? Has anyone ever done that in post? If I use a filter on the lens to remove reflections I'm not gonna be able to see the reflection of the actress on the frame... Any ideas anyone? It's a scene taking place in daylight, in a pretty bright, white wood living room. Thank you so much!
  9. Hey everyone, I'm a film student working on a project that requires me to shoot a model miniature. The problem is, the model is inside a protective glass case. It's only about an inch thick, but I can't remove it. Any tips for lighting the model through the glass? The model is fairly large (6 ft x 6 ft) so I was thinking of using a soft fill on the opposite side than I am shooting to reduce glare but that's kind of restrictive to the shots I can get. Not sure if anyone has done anything like this before but I thought I'd ask. Thanks! Zach
  10. 317mm Telepanchro - Excellent condition, Just PL'd lubed + optics cleaned + camera support added, very very nice....Price $7,495k PICS HERE I also have another 317mm that is Arri Standard mount for $6,495. Email if interested. PICS HERE This is my personal Telepanchro. Duclos did the report and Optitek cleaned optics + did the PL work. Feel free to reach out. I'm located in Los Angeles. Local pickup preferred! Email me if I need to ship. I'll think about shipping it, but depends on your location. FYI - I have two full panchros sets (ser II + ser III). One in excellent condition @ 24.5k PICS HERE and one in good condition for 21.9k PICS HERE. Sold three sets so far! Last two sets available. Thanks! Best, Alex asafdie@gmail.com
  11. Hey all! Just finished the ASC Manual and there are a few spots that speak about "Ground Glass". From what I've collected, it seems to be a piece of glass that works between the gate and the reflex and often includes different aspect ratio guides? Can anyone give me a clearer definition? Thanks, Jake
  12. Hello everyone, I would love to hear your opinions on the following.... I'm waiting for a Russian K3 16mm camera to arrive which I bought recently and ordered some Kodak 16mm stock for it.... .....in the meantime (as one does in this day and age) I've been thinking about 'upgrading' to an Arriflex SR +....then I started thinking....why? which is where you all come in I hope to offer advice, knowledge.... An aside.....I used to shoot stills with a Hasselblad 503CW back in the day and now I have a standard 500CM but using the same excellent Hasselblad zeiss lenses = same quality of images.....the lenses give me the quality NOT the model of the Hasselblad I am using....thats a fact with me..... So i was thinking of how this relates to the K3 or Arriflex SR (whatever) scenario.... If the K3 gives me the 24fps without variation (it is a winding mechanism after all) using my beloved zeiss glass on it via the M42 mount..e.g. my superb 50mm aus jena f1.8.....or even using a Hasselblad V mount to M42 adapter (also in the post).....surely I will get the same results as using the same glass on an Arriflex.... my question really is, as long as the film is moved in front of the gate properly and at the correct speed does it matter what camera body I use (variable) given the quality of the lens???? or even simpler....would I get the same quality of image if I use the same lens on a K3 and an Arriflex SR3? There is a lot of garbage shot on 16mm which probably degrades the 'image' of the medium, sure this has to do more with the fact people do not know how to shoot film as opposed to cheaper cameras....cos the film is the same quality as long as a great lens is in front of it but sensors on digital cameras...well, we all know how different those all are.... (obviously the above is assuming I don't want internal light metre, video monitoring, audio capabilities, timecode, and any other advanced features that have nothing to do with image quality) Thank you for your time I look forward to replies....
  13. Set of Cooke Speed Panchros ser. II and III, seven lenses in arri mount, 18-25-32-40-50-75-100, ser # they range from 5XXXXX to 7XXXXX. The 32mm has no focusing mount. Normal signs of usage, only the 40mm has more wear on the barrel. Glass does not have any scratches, some lenses do have irrelevant faint small cleaning marks. PICS HERE Price $19k
  14. They have these "levitation-like" shots in a zero gravity space ship. https://youtu.be/L8eRzOYhLuw?t=1m36s At first I thought maybe a wire harness or they did this with a chroma key/green screen Then I believe the closeup shots around 3:01 gave it away. Pause at 3:01 and it looks like she's laying on a glass layer that for the most part looks invisible but here you can see small scratches on the glass. Also how her hair appears to be laying on top of something instead of floating in some of the closeup shots. Anyone know what the name of this "invisible glass" is or is it just regular glass that they hid with lighting and post?
  15. Hi. I'm testing some spherical primes made by Technovision and I'm wondering if anyone here knows what lenses their conversions were based on? The T-stop is 1.4 on all of them and they cover Full Frame. Zeiss? K35, but the T-stop doesn't match? The 25mm confuses me. Thanks, Robert Blom
  16. Hi, I've been assigned to shoot and direct and documentary in Nepal in two months time and I'm looking to gear up for the shoot. The project is a low budget / indie documentary for which I thought to get the Sony A7s ii for the job for its low light conditions as most likely I'd use very little available lights. I own a Blackmagic 4K ef mount which I plan to sell as I find it to bulky and heavy for the job and not great on low light. I am currently looking for lenses, and understanding more about the different type of glass. I'm looking for recommendations I want to achieve a filmic / cinematic look, nice aesthetics, soft nice skin tone and color rendition rather than sharp HD video and I have a very little budget to cover the whole rig. I even thought of old film slr lenses to give me a softer look but I am scared of vignetting of which would be best to go for. The documentary will be 30 mins highly visual, poetic biopic rather than talking heads, so any help on the choice of lense would be great . I currently own Nikon prime DX 50, 85 mm 1.4 lenses but don't think they're good enough or if it'd vignet. I'm not super technical so any advice on this would really help, many thanks.
  17. Just got a complete set of the Cooke Speed Panchro ser II + III's, all geared: 18-25-32-40-50-75-100mm D.F.) All lenses have serial numbers above 700000. Gently used, some lenses have light cleaning marks, minor specs of dust. Would consider offers for the six lenses 18-25-32-40-50-75 (without the 100mm D.F.) They all focus fine. Price $19.5k Pics here
  18. Lately, I've been very interested in experimenting with various glass/flashlights/translucent objects to distort the frame. I wanted to gather feedback from other people on objects or techniques they've found to work well. I've used various pieces of beveled glass, vaseline smeared on UV filter, water bottle and got some pretty cool results. Using a flashlight to veil the lens gets pretty nice results, but it's hard to find consistency using some of these techniques since the results are so variable. Anyone ever rig a flashlight to 15mm rails so the veil stays in the same spot? I'm also interested in getting the "double edge" look and experimenting with glass beads. It seems that when using caustics two of the big rules are: 1. Use longer focal lengths. 2. Shoot into backlight. Two notable examples: 1. 2.
  19. I have some Super Baltars:::: 25mm f2, 2 inch 50mm f2, 3 inch 75mm f2 They are all in Mitchell R-35 mount. All the glass is in great condition. No haze and no scratches. Only the 25m 2 inch has a couple faint cleaning marks on the rear element. Mechanics are good with both the focus and iris. Let me know if you have any questions. Pics here $15900
  20. I have some Zeiss Super Speeds for sale. Pics here They are:::: Distagon 35mm f 1,2 Planar 50mm f 1,3 Planar 85mm f 1,4 All of them are in Arriflex bayonet mount, and the 35mm Distagon does have the adapter to PL. So it's easy to move the adapter around to either lens. All three lenses are in very nice shape, no issues on the glass, focus and iris are perfect. The 50mm might have some very faint haze or just need a cleaning, but this is very minimal. All the lenses have an 80mm exterior front ring diameter. Price is $15,000
  21. I am making a low-budget short film in July, where the actor punches through the passenger window while another character sits in the passenger seat. They'll be multiple takes, so I want at least 10 breakaway windows. I've tested sugar glass, but it's tinted yellow. I've thought of using food coloring to try and dilute the yellow, but in case that doesn't work, I want other options. SMASH! Plastic (from smooth-on.com) looks realistic & clear. But don't want to pay $200+ for it. Is there some way I could make this plastic concoction on my own? Or another method to make smooth & clear glass under $100 for 10 windows?
  22. Apologies if this question has already been ask, I couldn't seem to find a thread on this topic. I own a set of 4x4 filters, a variety of glass Tiffen FX and ND filters. I just haven't found a way of cleaning them without smearing the filter. I've tried a variety of methods, including rosco fluid/tissue, pancro, some other brand of spray on lens fluid I have in my kit; I haven't found a way that works yet. What is the best way you have found to clean filters? Circular cleaning from the centre like a lens, or just go crazy? :) Any specific fluid/tissue brand combination that seems to work best? Also a fun story for everyone. I was prepping kit for a shoot at a rental house the other week, and the filters had all been repackaged in the plastic like most rental houses do. The word 'OK' (after being cleaned by the rental house) was written onto the plastic for each filter with permanent marker, which had gone through onto every filter!
  23. I'm looking to buy some lenses. They all must be scratch free glass. Please contact me here or at asafdie@gmail.com WTB: Dallmeyer Super-Six, Meyer Kino-plasmat: - Dallmeyer Super-Six Anastigmat 51mm, 57mm, 63mm, 76mm & 82mm f1.9 - Hugo Meyer Kino-Plasmat 90mm f1.5 WTB: Cooke Technicolor, Pinkham Smith - Cooke Anastigmat Technicolor 50mm f1.7 - Pinkham Smith series VII 2 inch f3 Thanks so much! Best, Alex
  24. Reflector holder & glass reflector for Studio 5000 Theatre, Compact 4000, Studio 2000, ... (can be used as retrofit kit for old glass reflector versions) -EBAY LINK: http://www.ebay.co.uk/itm/-/321919867922?
  25. FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied cinematography autodidactively, read the ASC Mag, Painting with Light, Film Lighting and books like that for quite some time now and have a handful of questions as I am currently approaching my first feature film. I can’t really say a lot about it at this moment but it will all come in the future. THE PROJECT The film takes place in the late 60s and the sets will be old european buildings and modernist 50s & 60s architecture (Wright, Rose, Bauhaus, …) My moods are 2001: A Space Odyssey, Dr.Strangelove, Lola Montes, Touch of Evil, Brazil, North by Northwest, Yojimbo and Grand Budapest Hotel. I know it’s a bit colourful and partly entirely different but these are some the films that will inspire the look of this project. I would love to use film, which there is not enough budget and my first digital choice would be an Alexa. Now, there might not be enough budget for that as well and Even though I never wanted to do that, I’m thinking about/kind of pre-decided on a red dragon camera. I am not looking for a digital look, which sounds funny, but you know what I mean. I also won’t shoot 16mm because I want as much lens coverage as I can get. And I don’t want all that film hassle on my first feature, where I’ll have enough hassles already. The plan is too use the entire sensor (only possible in 6K) and tuning it down to 4K DPX Seqs. (Also handy for stabilizing shots). If I’m using vintage lenses and a 1/8 pro mist filter or something like that I’ll be fine. My first idea was to use 1.33x anamorphic lenses and I would really like to do that to get even more space. I didn’t find any 1.33x anam lens wider than 25mm, which is a 19 on FF (stretched to final image). And I want something a bit wider. More like a 14mm or 16mm FF equivalent. I thought about using the Letus Anamorphx Adapter. I don’t know how good it is, or what it can and can’t handle as there are few reviews out there. I would really like to test it though, but there are none in Austria, where I live. I am buying looking into buying lenses for the project and there will be 10-20k euros for that. Why not rent? because you can’t rent any vintage PL glass in Austria and I also really want that glass : ) . I also thought that maybe the set and dressing alone will have enough vintage flair and I could use newer lenses, like the CP.2s. THE DREAM I’m looking for something like this. 14mm - 21mm - 28mm - 35mm - 50mm - 80mm SOME LENS SET OPTIONS _ 2-3 anamorphic lenses + something like a 14mm Arri/Zeiss PL with an anamorphx (or not) I am afraid though, that the 14mm shots would look very different than the anam shots. The Anamorphx Adapter could fix some of that, but who knows. I also thought about the Tokina 11-16 cine rehousing but I’m even more worried about fixing up that look opposed to a 14mm Zeiss. _ An old PL Set + Anam Adapter _ CP.2s + Anam Adapter Maybe the 1/8 Filter + the Anam Adapter could deliver our vintage look? _ An old PL set and shooting 16:9 ACTUAL QUESTIONS I would love to hear your thoughts on it and if you have any other ideas or know any other anamorphic adapter aside the LV7200 and the anamorphx. What other filter I could use for achieving a “vintage look”. Another approach to this entire thing. P.S. Sorry if the post is too long : )
  • Create New...