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I'm on the look out for lenses that were manufactured around the 1950s era that will clear a 54mm image circle. They can be either cinema lenses, or photographic lenses: if they are high quality. I've heard a lot of conflicting info regarding which lenses and/or which focal lengths will clear what format size, so I'm interested in hearing some input as well as some suggestions for lenses I haven't mentioned from this era that I may be interested in. Bausch & Lomb Baltar and Super Baltar? -- I've been told that the standard Baltars will clear a larger image circle than their Super Baltar counterparts, though I have heard varying figures as to what that image circle is. Some estimate around a 44mm image circle, whilst others say that the 50mm lenses and above will clear a 54mm circle. Some say the Super Baltar's in their higher focal lenghts (75mm and up) will clear large format, but accounts have varied from person to person, and I have had a few people tell me they'll only clear a 44mm circle. Cooke Double Speed Panchro and Dupanchro? -- I hear that Cooke Double Speed Panchros will only really clear VistaVision, but that maybe certain focal lengths will work with a larger format. The Dupanchros will definitely work, but they're one in a million, and I am certain I won't find one of those. Would also like to hear if perhaps some of the higher focal lengths for the Speed Panchros (maybe Ser iii?) will clear 54mm. Photographic lenses for medium format? -- Lots of photographic lenses used on medium format have been rehoused and used in various projects. People tend to think of lenses made specifically for cinema as the gold standard, but you will always find some gems from that era which began life in the photographic field. I would love to hear about some lenses to keep an eye on.

Hello, I'm interested if anyone has the original bausch and Lomb cinemascope anamorphics for 35mm film which were arguably the very first complete set of anamorphics for film and used the original baltars as taking lenses (I know there's a set on fjs, I'm just not interested in paying what they're offering it for) or the super cinemascope lenses for cinemascope 55 that can cover full frame and is the first lenses mentioned on Arris white paper about using the Alexa LF and anamorphic lenses. If you have either of these lenses and are interested to sell them, contact me.

French DOP sells his unique and extremely rare BALTAR series prime in original case. 7 lenses in perfect condition. 25 mm / 30 mm / 35 mm / 40 mm / 50 mm / 75 mm / 100 mm - BNC removable mount. link to Ebay : https://www.ebay.fr/itm/292921746755 more photos or informations on demand. best regards

Originally posted in FILM STOCKS Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think

I was wondering about the mount of this lens. I'm trying to adapt to micro 4/3. It looks like Arri standard, but it didn't mount to my Arri standard adapter. Does anyone know which mount this is? Thank you