Rudolf

bernie is  a great man and a fine old school  movie film camera and lens  repair guy.
he has rebuilt more bolex moller than anyone alive today  more than 6 just from me.
he is quicker than all the big companies around the bolex moller is treasure the grease needs replacing and he can tune up the x y alignment.
 
what can delay things is sometimes retention lock screws can get seized up so they need to be worked loose over time.
sending something like moller to a regular  repair guy is a sick idea .
some of my lens  i had where  owner damage  or attempted repair  3 where in pieces  all where rebuilt in less than  a month from scrap  bits and bobs to lovely usable condition.
 
bernie and his wife can answer any of your questions by email or telephone

Final version of video.
 
 
 

The Cinegon is a single coated 36 as well

That was a great way to spend 15 spare minutes! Really a pleasure and relaxing after a long day with much work! Wonderful video
 

Hello community, I have finally finished my new video "A Journey through the St. Marks National Wildlife Refuge”, when you have 15 mins to spare and want to relax to some nature / lens porn, I love for you to check it out. On a good screen with sound ;)
Filmed over 3 years with Baby Hypergonar 1.75x, Bolex 16/32 1.5x, Kowa C35 1.5x and Kowa Inflight 1.75x.
Taking lens used were the Voigtländer 42.5mm f0.95, Voigtländer Color-Skoparex 28mm 2.8 , Olympus Zuiko Pen F 38mm f1.8, MeVis 35mm f1.8, Takumar 200mm f3.5, SMC Takumar 135mm f2.5 and the Zeiss Ultron 50mm f1.8.
Edited in Adobe Premiere and colored with Colorista III and Film Convert.
 
If you give me a screen grab of a shot you like I will tell you the combo.
Bonus, of the 160+ shots 2 are not scope.
A special shout out to John Barlow for his lovely Rectilux Hard Core DNA and 3FF-s which are all over this piece.
Thanks.

Read the spec sheet, saw all of the things it doesn't have, saw the price, know full well I have zero lenses for it.....
Still did this
 

Turns out the TL2 is much improved right up until the point you attach their Visoflex EVF at which point it, erm, breaks.
Sales suspended until they fix it and seems as big a failure in testing as Leica have had since they decided on Victoria Beckham as a good candidate for a bit of celebrity product placement.
 

Of course the mighty Iscorama 54 is the best bet for Super 8. It was built for that purpose. Works great with the high quality Schneider zooms you could find on many different Super 8 cameras especially the better ones (Leicina, Braun, Beaulieu, Movexzoom, Fujica ZC, Nikon, Canon). But this is quite expensive. I have another suggestion but I am not sure if this will work (I sold my Sankor 16F about 6 years ago...): The tiny and cheap Canon 310 XL-S is a great camera and has a very small zoom lens. This could reduce vignetting significantly. This could be a cheap alternative. Good luck!  

Stick to super 8 like me  Your Movexoom is a good camera. Most of the cameras are ridicolously cheap but stock and processing is so so expensive. I think its not cheap in Japan either. Single 8 was very popular there btw and is maybe better than super8. The problem with super 8 and anamorphic is that 2x stretch is too wide. The film is just too tiny and too grainy. The grain look oval. Thats why all those Iscos, Mollers (for 8mm) had only 1,5 factor. Only the Baby Hypergonar with 1,75 was wider. So you could achieve true 2:35 cinemascope. But the image was too bad. Try to use Kodak 50D negative stock that has so little grain like 16mm and will work best with your 2x Sankor. Keep on filming !

Very interesting read and great footage and images. However I have to admit that some videos are so sharp... they almost hurt my eyes. I wish I had a Moller 16. But I think there is a little advantage of the small brother: With my Moller 8/19 I can focus taking lens and anamorphic at the same time (not with Nikon glass of course). And that is a wonderful light setup. Moller-Wedel has a very long tradition in optics and microscopes. I am often nearby their factory when I am around with my racing bike

Very interesting read and great footage and images. However I have to admit that some videos are so sharp... they almost hurt my eyes. I wish I had a Moller 16. But I think there is a little advantage of the small brother: With my Moller 8/19 I can focus taking lens and anamorphic at the same time (not with Nikon glass of course). And that is a wonderful light setup. Moller-Wedel has a very long tradition in optics and microscopes. I am often nearby their factory when I am around with my racing bike

I can answer... but it's actually the same as asking 'how old are you' ...you mostly do not ask that ;-) But, here we go; my setup, the Bolex 16/32 1.100 dollar (yes it can!), the HCDNA, 900 dollar, rig 250 dollar, Ultron 40mm 350 dollar. I had a Iscorama 36 and sold him. This setup is huge and weight a lot more, but the quality IMHO is much better than the Iscorama. And at least, I don't sell my Bolex ever again.
 

Hi, thought I'd share my recent experiment with you guys. What do you reckon? Worthwhile or stick to digital? 

Selling a Bolex Moller 8/19/1.5x anamorphot in great, clean condition and as well as a Redstan clamp for $1,200.
Selling it because I just don't use it often enough (bought it about 8 months ago and honestly used it once). I need the money to produce a short film, so I'm parting with it as a result.  It took me about 3 months to track this down when I purchased it and I bought it for $200 more than I am selling it for.
The Redstan clamp is 52mm. If you need any info about me feel free to ask.
Paypal only please!
-Matt

I have tested a lot of the popular anamorphics (except Lomo). I sold them all and only kept the most versatile and easy to us Isco pre 36 and 54. I still have the baby Moeller for the most beautiful image and it is also easy to use (you can pull focus with some practice). Regarding Kowas and Elmoscope I think they have to be considered as the best projection lenses and that is how I use them (Elmoscope II). Last but not least: Sharpness is overrated  

Check out my picture of lens. From left to right. 2 Baby Hypergonars, 2 Kowa 1.75x Inflights, Kowa C35 1.5x, Bolex 16/32 and Bolex 8/19. The Kowa C35 has a much bigger back then Bolex 16/32 and the Kowa Inflight is much bigger then the C35. 

 

The iscorama is the lightest, widest and most compact setup. You can go 40mm with a pancake on full frame, and nothing quite beats those warm flares.
The only issue I see is close focus, but that is also workable with regular diopters, since you have a 72mm front, which is easy to cover. Oh, and the 49mm threads at the back are also super easy to mount to taking lenses.

I bought cameras and lenses here and it was always ok http://www.dslr-forum.de/forumdisplay.php?s=c2db1c13bb03ef035817844351507695&f=6

Lovely!!! Some really stunning shots. I enjoyed it very very much. Music is great. I will watch it again on the my screen. Yeah... great lenses and another proof that the GH4 is a very good camera

Yeah, beautiful Ian! And what a lens selection omg hahaha

This is a new video where I mix three years of CinemaScope footage from 4 different lens. A surreal nature reel. I hope you enjoy.
Filmed on a GH4 in 4k. Finished in 2.35:1 CinemaScope
Anamorphic lens used - Baby Hypergonar 1.75x 8mm, Bolex 16/32 1.5x, Kowa C-35 1.5x and Kowa 1.75x Inflight
Rectilux Core DNA and 3FFS were used.

Although I have no idea how the exchange rate was in '79 but that 'Super 8 cinemascope' seemed to be a bargain shop compared to this...

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

Very special "character" - dreamy....

but but but but but this is NOT a low light camera...