Rudolf

you can still buy it if you hurry upp

I still have almost one can, I think it have like 350ft. I still need to shot a couple of shots.
Here are they like new  

I wish I had 900ft... I have only two rolls of Velvia left right now

Hi everyone. I have uploaded a test sequence with shots from a indie feature I´m doing. We Shot a small scene with film because we wanted a really particular look for this par in the movie, more vintage, like memories from childhood. Se we shot on a SRII super 16mm Fuji Eterna 8673 stock. Then scanned on an Arri scanner.
I never color graded film. So wanted to hear some opinions about.
If any one have questions, please be my guest  
PASSWORD: fuji test
Also, i wanted to share the raw clip for anyone who want to give it a try. Remember its film log. compressed in DnxHd
https://mega.nz/#!hFh1hAyA!b0mxVAk1KtjL7guXYcRExBEcdTAVinaTLfMIQq5k-24 

Such a shame Eterna is no more. 
But there are still some in stock and I have 900ft in my freezer :-) 

I know Kodak has some really different tone that i like, but there was very low supply of film stock and Eterna was the only available at the moment. I still love Fuji look

Pretty much the final edit, but if you do see things that make you wince or just seem bad timing or out of place - please make yourself heard (just be good to have a 2nd, 3rd, 4th...set of eyes).
Thanks
PW: stu
 

Looks great! I love film and especially S8 (happy birthday Super 8! For 50 Years! and hope for many more but doesn't look good) Anyway... maybe you choosed wrong stock: Kodakchrome looks totally different (warm and reddish) and that is the look of our childhood

The Trump looks great! I would love to test this on day on some old super 8 stock I still have in the fridge. Is the Trump 38 on MIR 38 basis? The Helios is very long for S8.

I would shoot spherical and apply all that flares in AE. You can achive this look much easier with videocopilot stuff or similar... And if it has to be anamorphic - maybe the adapter from SLR magic is the one to go with as it produces blue flares and looks modern/"artificial" or clinic and is just easy to use I think.

I would shoot spherical and apply all that flares in AE. You can achive this look much easier with videocopilot stuff or similar... And if it has to be anamorphic - maybe the adapter from SLR magic is the one to go with as it produces blue flares and looks modern/"artificial" or clinic and is just easy to use I think.

Just a sample segment from a doc that's nearly finished.
Just wanted some feedback really - what strikes you as needing change?
All shot on the BMPCC (ProRes), the 54 & either the Tokina AT-X Pro 28-70 or Mir-24
Password: 54
http://vimeo.com/135461772

yes.
If its a "real" conversion they recenter the lens as well.
But most K3 shooters are happy with just the filed gate. The included zoom covers from 27mm and up. On the m42 one can use a Zenitar 16mm or Peleng 8mm with full coverage. 
On http://www.k3camera.com/ there are instructions on how to do it.
Also one can buy the gate only on eBay. 

I'm shooting as we speak

No need for a changing bag on the K3, daylight spools only.

It is so stunning that these old pieces of glass can still deliver so well. Remeber they were built nearly 60 years ago!!! The DV crap from Panasonic, Optex, Century is no match for
 most of them. The fact that 2x stretch is so rare depends on the low resolution of 8mm. There is also too much grain and that distorts as well. Therefore the Hypergonar was not good for 8mm: I never saw acceptable film with it.

It is so stunning that these old pieces of glass can still deliver so well. Remeber they were built nearly 60 years ago!!! The DV crap from Panasonic, Optex, Century is no match for
 most of them. The fact that 2x stretch is so rare depends on the low resolution of 8mm. There is also too much grain and that distorts as well. Therefore the Hypergonar was not good for 8mm: I never saw acceptable film with it.

It is so stunning that these old pieces of glass can still deliver so well. Remeber they were built nearly 60 years ago!!! The DV crap from Panasonic, Optex, Century is no match for
 most of them. The fact that 2x stretch is so rare depends on the low resolution of 8mm. There is also too much grain and that distorts as well. Therefore the Hypergonar was not good for 8mm: I never saw acceptable film with it.

Two more episodes online, all about the Rectilux. I have the Century WS-13 planned for next week.
ANAMORPHIC CHOP SHOP - ASSEMBLING THE RECTILUX 3FF-W.
http://tferradans.com/blog/?p=7747
ANAMORPHIC ON A BUDGET - RECTILUX 3FF-W.
http://tferradans.com/blog/?p=7742
 

I posted this in my other thread, but it's kind of hidden and not everyone would think of looking there. I've spent the past few weeks working on reviewing the Rectilux 3FF-W, paired with a Kowa B&H inside. Taking lenses are Contax Zeiss and an old Nikon which I regret picking up. Camera is the Canon 5D3, shooting RAW everytime.
There are charts, flares, vignetting and a real world test there. Check the video and a written review at http://www.tferradans.com/blog/?p=7742
Subscribe to my channel (http://youtube.com/tferradans) for upcoming reviews and anamorphic content!

more anaMOREphic...
 
 

Here is The Rectilux 3FF-W with a 25mm from SLR Magic at T/2.8 on a GH4. I'm prepping for another feature in the next couple months and wanted to start making direct comparisons between the Kowa Bell & Howell and the Schneider ES Cinelux. First, I wanted to see CUs of an actor as well as some focus pulls. 
 
 
 
 

Hey Julian, your Petit Cinevision must be really one of the rarest anamorphic adapters out there and  I remember the discussion about it here on the forum back then... And YES - you should take it out as the image looks very good!  BTW the focusing with the Bolex-Möller is so easy because you can just grab both taking lens and the Möller and focus both at the same time. This works because the throw of the Möller from 1m to infinity is only about 90º (from 0.5 to 1m it is another 90º) But this doesn't work with Nikons of course... but great with Canon FD for example.

Someone needs to make a RED shell that houses other cameras. Most clients wouldnt know the difference but would be STOKED.

Nice one Tito - its good to see someone dedicating their time to creating this resource.
Its nice to see someone else thinking that the 42 is the sharpest of all the Iscoramas & its metal!
I've found that you can run'n'gun with the 54, yes its heavy but that weight really gives you that extra bit of stability. However, as Rudolf has said, its not that easy with the Tokina combo (too long more than too heavy), which I think is my new favourite taking lens. I've also noticed with the 54 that it can be picky with taking lenses, some producing sharper images than others - the Super Takumar 55mm f1.8 producing the sharpest images (its also the funniest match due to the enormous size differences).
Recently, been filming a lot with the Isco Widescreen 2000 in combo with the Mir 24m 35mm f2 + RJ focal reducer on the BMPCC - it has now become my goto R'n'G anamorphic. For some reason I never really felt the love for the WS 2000 on other cameras or perhaps I didn't give it enough time - just glad i kept it.