Rudolf

Honestly I will never understand the rat-race for sharpness. I don't need that for video. furthermore I often tend to blur that clinical sharp digital image... Iam more interested in Resolution, color rendition, practicality. Just think about all the modern glass, most of them are super sharp I think.

Looks great! Lovely green and the Hypergonar shines.

Now I got it and I agree! If I get you right you are trying to create an amateurish yesterdays lofi look. Which some people could remind on small gauge film. This approach is often used for documentaries or musicclips I think. And in 20 years you are maybe after that feeling of the beginning of the century with its iphone footage in funny aspect ratio... (Btw the problem is no one can fake the projection. I own two blurays and a shelf full of super 8 Feature films - I am really into cinema)

I had this lens in Arri-SR mount which is by some considered to be superior. The c-mount version was very popular on filmschools as far as I know. For filmmaking I found it much too soft and sold it. However for a digital sensor especially the (somehow videoish GH4) this could lead to more pleasant results. I am looking forward for your video !

Mattias here is a film from Dagie Brundert shot in Stockholm. Dagie is a stunning artist. Her work is very interesting, inspiring and experimental. There is so much you can do with film (during process, mishandling,creating installations with projectors and loops). Most of the people just don't get what film is all about. I recently had an argument with a documentary filmmaker: She used such a Super-8 plugin and said: 'looks like super 8'... It's pathetic! https://vimeo.com/143934570

I don't know the classic anamorphic streaky look. The Helios is great with the Kowa and the Jupiter 85mm is a perfect addition (they are very prone to flares). If you choose a modern multicoated lens there is much less flare. The thing is though that anamorphics were not invented to produce flares or oval bokeh. They determine the composition and you can shoot with longer lens and get more shallow depth. It is a matter of the subject if you go the anamorphic route or not. But nowadays nearly everything is shot/cropped in 2.40. Not sure if even L. Trier does it now instead of his dogmas (didn't he say they are obsolete?)

Thank you Rich for sharing your thoughts! My anticipation is increasing... I somewhere read that some cinemas had technical issues and had to show the digital version of the movie. That is really a pity! I cannot recall where but maybe it was written here on the forum. I nearly bought tickets for a cinema in a small town five hundred miles from Hamburg but luckily I noticed the movie is also shown in Hamburg (my hometown). I am really looking very forward for the experience. I rarely go to the cinema since they were forced to switch to beamer projection. This was really very tough for the cinemas especially the smaller ones. The costs (especially cooling) for the beamers are much much higher than maintaining reliable old projectors. But for the motion picture companies it is much cheaper to stream the videos. It is a sad thing that there are only a few real cinemas left. But there is increasing demand for premium cinemas which are more dedicated to the "grown up" visitor rather the average customer drinking/eating tons of coke and popcorn throughout the whole 3d video. Example: http://www.savoy-filmtheater.de/savoy-filmtheater/bilder.html That was also the first Todd-A-O cinema in Europe That makes me feel rather old... my childhood cinema experiences were Star Wars, Inframan, tons of Godzilla and Bruce Lee flicks. But the great thing is I can enjoy them today on HATEFULL Super EIGHT in my home cinema sometimes even in Scope

I am not sure but but I think Mattias made a joke or typing error? (even in the old days when I started filming it was more expensive) http://www.bhphotovideo.com/c/product/920144-REG/kodak_1738053_vision3_50d_7203_clr.html

Thanks for sharing your experiences Volker!

Rich - you hit the nail with your answer ! (That Polaroid is fantastic. You are making really stunning things: Just thinking about the Forbes... and all the lenses) We are talking about negative film here. As far as I know Kodak did not announce new stock yet Developing negative film is different: Usually the film has to be cleaned and treated very, very carefully and gentle. There is also alot you can do during developing (forcing for more light) and therefore you need to be very experienced. I think it is much easier with reversal film. Unfortunately I have possibility to develop myself. And finally a good scaner is really expansive. Blackmagic offers some for example... You cannot compare a good frame by frame scan with DIY-stuff! I do it from time to time but I definately shot film for projection as I prefer watching and collecting movies on film. But I love good digital cameras and thinking of buying a second one...

Thank you Andrew that was a very intresting article but... Please! can anybody do me a favour and just copy and paste: "The GH4 is such a great camera and suits all your needs. You don't need to switch to FF and buy an old clumsy and complicated Canon 5D II" Or maybe should I sell the GH4? I am so confused. The world is upside down this morning.

I say even bigger THANK YOU! for your last post. Problem is many people just don't understand film. It is like telling video is digital film (my CDs are not digital records). And I would really like to know what you did with you Canon 814? That looks very intresting. I second that. It would definately help the thousands and thousands of videomakers to improve and teach them a lot: Less can be more - especially when you have to look more for quality and make sure to get the shot done. A very important aspect in filmaking.

Yes, please tell me... Something wasn't mentioned here. All this is about film! Keep in mind that there is no(!) fresh color reversal film available right now - for no format at all. And this new development of Kodak/Logmar could hopefully result in the new production of fresh color reversal film (we are still waiting for Ferrania...) And keep in mind: The magic bergins with the projection

Havent seen it yet (but I have tickets). I am totally confident it will be worth it!!! The effort is astonishing (the cameras, special anamorphics built by schneider just fur projection and on and on goes the list... )

I think film is not so much a matter of resolution or whatever... I mean it should not be compared with science in mind. I am a collector of super 8 features and movies (which is not exactly the same like 70mm) and projecting a film at home on a big screen in scope is so much more fun and there is so much more magic compared to my hd-beamer. I just cannot explain it. Film is more a matter of passion and there is so much you have to look after and take care of. I have so many different machines, tools, chemicals and cleaning stuff... my attic is a mess and that is so much fun I wish there would be more cinemas still showing films instead of tv (as Tarantino said I think)

I think it is a problem to find something wide for Kowa and GH4. You should forget about zooms at all I think. The aformentioned Tokina is great with Isco 54 but has a 77mm thread. Don't cosider the Angenieux (I sold mine)... this is a very long lens and useless for your Kowa. You need a small zoom. Sometimes I use a the Pany 35-70 f2.8 with Iscorama for convenience. 35mm is the widest without vignetting. Maybey the 12-35 is wider because it is shorter but don't expect much. If you want wider you have to use primes.

That was a festival of light.... The weirdest 50mm I own is an old Yashica 1.8 in m42

I am a die-hard Moeller fan... For me nothing comes close in terms of sharpness, imagequality, color, flare. These are so versatile and wonderful built. They have so much character. Maybe the difference is they were made for filming and the 16mm version could work on FF like any Kowa. I would definately go for Moeller 16/32 with Rangefinder if I had the money. On the other way they are so easy to handle... you don't need a rangefinder

You are both wrong: This is the only (super sharp and multicoated) focusing 1.33 ratio adapter made by Isco. It is very rare and very sought after. (not only by filmmakers) Same like the other Iscoramas. If I had the cash I would like to buy it. Maybe for home cinema...

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

I really enjoyed it! Great work. Looking so good. And the music is wonderful.

Nonsense! Shoot Vision3 50d with a good camera (Leicina Special or the new Logmar) and you end up with something looking very (very!) close to S16

I do like it! It is creative and not just a test with annoying flares and leaves. If it would be a lenstest and I had to focus on the look of the lens I wouldn't like it. But Hugo did a great job on the grade and it has a refreshing look and the image is not a vintage-wannabee. You should not make the fault and try with the SLR optics. Lomos, Iscoramas, Kowas, Bolex-Moellers were made for film and that is a huge difference!

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

I would beware in this case of the cheap double focus projection adapters. The only double focus anamorphics you can "really" use are the Moellers for 8 and 16mm small gauge. I had a Sankor and Kowa and they are good fun but you will not like to work with clamps and diy solutions for diopters and filters and fiddling with focus and maybe soft images. If it is important I would like to be safe. Another option could be the cinelux with FM or of course Rectilux? These paired with your afore mentioned taking lenses could do the job (maybe add Tair, jupiter...) Good luck and I would love to see the final video one day