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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

NEO Super Baltars

2YS-Drumsticks (Dop reel & Grading test)





By Kopp Corentin





Directed by Smith & Smith (Jerome Guiot & Maxime Pasque)
Director of Photography : Corentin Kopp
Camera Assistant : Laura Pieters
Gaffer : Wout D'Hondt
Electrician :
Key Grip : Harold Hotermans
Grip: Thomas Sercks
Set design : Emmanuelle Segura
Ass. Set design : Charlie Cantraine
(Sorry if i don't have all the name from the crew & cast)
Shot on Alexa Mini + Super Baltar.
 
Pin Cushion - Trailer





By Screen Anarchy





Info about the film and how it was shot can be found here.


https://britishcinematographer.co.uk/nicola-daley-acs-on-pin-cushion/



Which States;


"...The production shot 1.85:1 spherical, Pro Res 4444 XQ, with Alexa XT Plus and Super Baltar prime lenses, provided by ARRI Rental UK. Lights came from KG Lighting, London."




Super close Mother LYN and daughter IONA (Dafty One and Dafty Two) are excited for their new life in a new town. Determined to make a success of things after a tricky start, Iona becomes ‘best friends’ with KEELY, STACEY and CHELSEA. Used to being Iona’s bestie herself, Lyn feels left out. So Lyn also makes friends with BELINDA, her neighbour. As much as Lyn and Iona pretend to each other that things are going great, things aren’t going great for either of them. Iona struggles with the girls, who act more like frenemies than friends, and Belinda won’t give Lyn her stepladders back. Both Mother and Daughter retreat into fantasy and lies.

Starring Lily Newmark and Joanna Scanlan, directed by Deborah Haywood.
 
Generali Kampagne 2016 - TV-Spot





By Christian Stangassinger


https://vimeo.com/198748502




Production: Hunter&Retzer
Director: Chiara Grabmayr
Dop: Christian Stangassinger
Alexa Mini Bausch&Lomb Super Baltar
 
So Rand. After posting around 20 questionable videos all shot with the Super Baltars we can now conclude that story comes first. Nothing here comes close to Godfather right? This is what you are trying to say I’m guessing ;-)
 
Marcel,



Yeah, something like that. But really these videos were meant to show as broad a spectrum of what has been achieved with the Super Baltars by various individuals of different projects. No one should expect to achieve the look of the Godfather in it's entirety by just using a similar lens used to shoot it.
 
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PRIVATE SELECTIONS food commercial



By Jeff Barklage



Beautiful photography wraps this TV spot for Kroger's house brand PRIVATE SELECTIONS.
We had a gorgeous day to shoot, a wonderful location, super great director & crew AND my SWEET Super Baltar primes :-)
Shot in Portland.
Jim Walter directed, I DP'd
 
LMT_Viedpaligi_40_lat_HD





By Cinematographer Janis Eglitis





ALEXA CAMERA RAW
SUPER BALTAR LENSES
 
Memory of the Peace





By self-directed studies

https://vimeo.com/219743228


Due To Copyright, Video can only be viewed on Vimeo

Info for the Camera and Lens used can be found at the link below:

http://www.farhadghaderi.com/4764789-memory-of-the-peace



Screenshot-252.png



Arri Amira | Super Baltars


AWARDS

Best Short, Local Sightings Film Festival 2018
Impact Award for Social Change, Local Sightings Film Festival 2018
Matrix Award for Outstanding Achievement in a BC Short Film, VWIFF 2018
Special Mention: Best BC Short, VIFF 2017

SCREENINGS

Edinburgh International Film Festival 2018
Film Festival Della Lessinia 2018
Local Sightings Film Festival 2018
Labocine June 2018 Issue
Vancouver Women in Film Festival 2018
Vancouver International Film Festival 2017
The Image Before Us: A History of Film in British Columbia, Feb 5 2018 @ Pacific Cinematheque
DOK Leipzig 2017

A young male oil worker, an Indigenous female, and a Dane-zaa drummer intersect in the historic oil-rush town of Fort St. John as they navigate the cyclical forces of industry, resource extraction and colonization that have shaped Canada for a century and a half.

starring JAMES GARTEN, CONNIE GREYEYES, TRAIL ACKO
written, directed & produced by JENNIFER CHIU, JEAN PARSONS
cinematographer FARHAD GHADERI
editor AYNSLEY BALDWIN
 
Björn Benckert said:
This goes in circles. Just because you like old Porsches does not mean you can take a blueprint and start to make Carrera 944´s, call them NEO Carrera 944 and take them to market just because Porsche is not making them any longer. It does not work like that.

Or am I missing something? Does Cadwell have a contract stating that he can use the Super Baltar name? If he have an agreement with B&L, then, all great. If not, then its not all great. See the difference?
Click to expand...

As has been pointed out elsewhere in this thread, the "Baltar" trademark expired decades ago. I don't have a contract, and don't need one. Only a handful of the lenses were ever patented, and these patents expired even longer ago than the trademark. I decided to use the names "Neo Baltar" and "Neo Super Baltar" to be transparent about what the lenses are, and to avoid treading on the toes of re-housing companies that like to engrave the names "Baltar" and "Super Baltar" on external metal parts when re-mounting antique lenses.

Just to be clear, the goal of my project was to faithfully reproduce the original lenses as accurately as humanly possible. Nothing was "improved". Aberrations are identical to the original designs, as is illumination falloff. As far as I know, no one else has gone to such lengths to re-manufacture vintage optics. When comparing these lenses to originals, the main difference is slightly greater haze in the originals due to numerous cleanings, resulting in microscopic scratches in the polished glass surfaces. So, what you get from me is effectively vintage glass as if it were new from the factory.

One thing I decided *not* to do was to melt my own glass to match the original B&L glasses. What I did instead was use the closest possible modern glasses and make very minor adjustments to the design to retain the original aberration balance and flare characteristics. I also used single-layer MgF2 AR coatings on all lens surfaces, just as B&L did. These adjustments are so small that if you overlay a cross-section of an original Super Baltar with a corresponding Neo Super Baltar its difficult to tell the two apart.
 
Brian Caldwell said:
These adjustments are so small that if you overlay a cross-section of an original Super Baltar with a corresponding Neo Super Baltar its difficult to tell the two apart.
Click to expand...

Honestly after seeing images from the 75mm in particular last week, I'd say it's pretty dead on.
 
BALTAR/COOKE LENS TESTS FOR EPIC NIGHT


They are actually Super Baltars tested in the Video.


By Arlene Muller


https://vimeo.com/320829402


Due To Copyright, Video can only be viewed on Vimeo
 
50mm Cinema Lens (Wide Open) Shootout



By Daniel Rodriguez



Far from a controlled environment and a bit more thrown together than I like to admit but this test should give a rough idea of unique characteristics in popular cinema lenses.

Order of lenses:
- Zeiss Standard Speed
- Canon CN-E
- Bausch + Lomb Super Baltar
- ARRI/Zeiss Master Prime
- Cooke Speed Panchroi
- Zeiss Super Speed
- Cooke S4

Shot At ARRI Rental in Secaucus, New Jersey.
ARRI Alexa Mini 3.2K ProRes4444
 
POSTNL - Van De Kaart




By Boje Ploeg



Advertorials for PostNL.

Shot on ARRI Amira with Bausch & Lomb Super Baltar lenses.

production company: Big Shots
bureau: Isobar
director: Danny van den Bersselaar
DP: Boje Ploeg
production leader: Nicky Brinkman
executive producer: Manon Zwaan
producer: Mitchell de Bie
gaffer: Tjeerd Melchers
grip: Onno Perdijk
focuspuller: Jelle-Jan van der Wagt
2nd AC: Julian Culverhouse
bestboy: Mels Rademakers
colorist: Robbert Nieuwenhuis
set dresser: Eva van de Ven
assistant set dresser: Marieke Westenenk
make-up: Patricia Steininga
 
Silurian Blue_Floating Points




BY Jordi Ruiz Maso


https://vimeo.com/223329347






Info for the Camera and Lens used can be found at the link below:

http://jordiruizmaso.com/music-video-reflections-format-6k-role-cinematographer/

TECHNICAL INFO
Camera: Red Dragon
Lenses: Super Baltar
Aspect ratio: 1:2.35



In late August 2016, Floating Points and his band travelled to the Mojave Desert to write and rehearse before the start of their US tour.
Whilst visiting Joshua Tree National Park, they were struck not only by its physical beauty, but also by the sonic reflections from the rock formations; A unique combination of reverb, echo and phase shifting modulating the surrounding sounds of the landscape.
The band took advantage of this environment to write and record some new music at the base of some of these natural sculptures, documented in this film.
-----------------------------------------------------
A PLUTO and HAMILL INDUSTRIES Production
Directed by ANNA DIAZ ORTUÑO

Floating Points Band
SAM SHEPHERD, MATTHEW KIRKIS, ALEX REEVE, SUSUMU MUKAI and LEO TAYLOR

Director of Photography
JORDI RUIZ MASÓ, AEC

Recording Engineer
MICHAEL PARKER

Audio Mix
SAM SHEPHERD, JACK SUGDEN, JOE RUBEL

Colorist
CRISTINA PÉREZ

Graphism
MICHELE ANGELO

© Floating Points
 
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