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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

James Darren said:
With that logic, have you ever used any Tilta, DJI, Wooden Camera or SmallRig products?
Click to expand...

Yes I do have lots of stuff from all of them and yes I see some moral issues with that. You dont?

Ripoffs is an accelerating problem in this industry no doubt, difficult to avoid.

But as I see it, if you want to copy cat stuff, which I think is bad, then at least try not to do the double fault by also riding on the originals name. Is that too much to ask for?
 
I believe Tommaso said it best "let the market do the talking" Its akin to hunting in a sense that lets remember that these are all tools, much like rifles are meant for hunting, and movies and the like are the game. So push come to shove if you go out and shoot the the amazing "game" nobody cares what rifle and much less which bullets you did it with...My opinion 2c
 
sergio arguello said:
I believe Tommaso said it best "let the market do the talking" Its akin to hunting in a sense that lets remember that these are all tools, much like rifles are meant for hunting, and movies and the like are the game. So push come to shove if you go out and shoot the the amazing "game" nobody cares what rifle and much less which bullets you did it with...My opinion 2c
Click to expand...

I assume you are not in the lens making industry but in the film making industry? So just an example that you possibly understand better. You make a movie you name it "Something". Then I make a movie and name it "NEO Something" I try to make it just like yours, I even found your script and followed the story as good as I could, did not really succeed so its a bit different but still, Then I go around to film festivals and present it as the better newer version of Something, are you cool with that?

Nobody cares about bullets...
 
Björn Benckert said:
I assume you are not in the lens making industry but in the film making industry? So just to explain. You make a movie you name it "Something". Then I make a movie and name it "NEO Something" I try to make it just like yours, I even found your script and followed the story as good as I could, did not really succeed so its a bit different but still, Then I go around to film festivals and present it as the beter newer version of Something, are you cool with that?

Nobody cares about bullets...
Click to expand...

Bjorn they have been doing exactly same thing in film industry since last 100 years.Have you seen A Star is Börn?
 
Björn Benckert said:
I assume you are not in the lens making industry but in the film making industry? So just an example that you possibly understand better. You make a movie you name it "Something". Then I make a movie and name it "NEO Something" I try to make it just like yours, I even found your script and followed the story as good as I could, did not really succeed so its a bit different but still, Then I go around to film festivals and present it as the better newer version of Something, are you cool with that?
Click to expand...

That has been the industry for eternity! Look at Apollo 11 and First Man and so on. I even have a personal story about a film that's going through the same thing with *more important people* doing it. But every product and film stands on it's own feet.

The key thing here is that Baltars do not exist any more. It's not like a copy of a selling product. There was no interest in B&L continuing the name or the designs. They were throwing them all out. They didn't care, nor were trying to protect something. If this was a Neo Panchro then that *is* an issue as that is a current product.

I think it's akin to labelling a lens in terms of type - a Planar for example (current selling design so can't use that). These are Baltars which are a design formula. Lomo is a name that has been reused a number of times though. So has voightlander as i said. Both are defunct companies.

cheers
Paul
 
A little history lesson.


Manufacturing Optical Glass 1944 Bausch and Lomb Optical Company




By markdcatlin




 
Here's the PDF for the Neo Super Baltars.

http://caldwell-photographic.com/uploads/Neo_Super_Baltar_Brochure_web.pdf

20190412-123139.jpg


Here's the PDF for the Neo Baltars

http://caldwell-photographic.com/uploads/Neo_Baltar_Brochure_2017_web.pdf

20190412-123110.jpg
 
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I own a set of original "non-Super" Baltars, which are being remade by Mr. Caldwell too. The Baltars is the previous series from the 1930's and the Super Baltars are from the mid 60's (they were made for the then new reflex cameras). I'm happy if more people can have access to them. They are lovely and largely unknown lenses for most people out there and I'm glad they have chances to become more popular. People rents or wants to own lenses they know. Make people interested in lenses they don't know or haven't heard from before is really difficult and takes a lot of time and effort. As a note, I asked once Peter Martin from Vantage Film, the developer of the Hawk Anamorphic lenses, if the felt that the (then) new Zeiss Master Anamorphics or Cooke Anamorphics could hurt his business, and he told me that the fact that more people is making anamorphics actually would help to raise or increase the interest in the format, and thus it would benefit his business. Since that conversation at the ASC Clubhouse took place five years ago, and the market for anamorphic lenses is still growing, I think Mr. Martin was right.

Film lenses have been rehoused or reworked for decades. Don't forget Panavision first line of lenses made from scratch was the Primos, circa 1987. The old Standard Speeds are a mix of Cookes, Kowas, Super Baltars and maybe still glass from what I've been told, while the later Ultra Speeds MKII (know rehoused as PVintage) are said to be a mix of Nikons, Canons and Pentax, among other brands. Or the Z series, based on Zeiss glass. Are these a fraud? I don't think so, they carry a big brand name, but are modified lenses from different sources, some more heavily reworked than others. If it's legal, and I think it is if the patent is owned by the current manufacturer of has already expired, I'm very happy to see new versions of old lenses put again on the market, as it increases choices for us filmakers or director's of photography.
 
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paulcurtis said:
That has been the industry for eternity! Look at Apollo 11 and First Man and so on. I even have a personal story about a film that's going through the same thing with *more important people* doing it. But every product and film stands on it's own feet.

The key thing here is that Baltars do not exist any more. It's not like a copy of a selling product. There was no interest in B&L continuing the name or the designs. They were throwing them all out. They didn't care, nor were trying to protect something. If this was a Neo Panchro then that *is* an issue as that is a current product.

I think it's akin to labelling a lens in terms of type - a Planar for example (current selling design so can't use that). These are Baltars which are a design formula. Lomo is a name that has been reused a number of times though. So has voightlander as i said. Both are defunct companies.

cheers
Paul
Click to expand...

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?
 
Ignacio Aguilar said:
I own a set of original "non-Super" Baltars, which are being remade by Mr. Caldwell too. The Baltars is the previous series from the 1930's and the Super Baltars are from the mid 60's (they were made for the then new reflex cameras). I'm happy if more people can have access to them. They are lovely and largely unknown lenses for most people out there and I'm glad they have chances to become more popular. People rents or wants to own lenses they know. Make people interested in lenses they don't know or haven't heard from before is really difficult and takes a lot of time and effort. As a note, I asked once Peter Martin from Vantage Film, the developer of the Hawk Anamorphic lenses, if the felt that the (then) new Zeiss Master Anamorphics or Cooke Anamorphics could hurt his business, and he told me that the fact that more people is making anamorphics actually would help to raise or increase the interest in the format, and thus it would benefit his business. Since that conversation at the ASC Clubhouse took place five years ago, and the market for anamorphic lenses is still growing, I think Mr. Martin was right.

Film lenses have been rehoused or reworked for decades. Don't forget Panavision first line of lenses made from scratch was the Primos, circa 1987. The old Standard Speeds are a mix of Cookes, Kowas, Super Baltars and maybe still glass from what I've been told, while the later Ultra Speeds MKII (know rehoused as PVintage) are said to be a mix of Nikons, Canons and Pentax, among other brands. Or the Z series, based on Zeiss glass. Are these a fraud? I don't think so, they carry a big brand name, but are modified lenses from different sources, some more heavily reworked than others. If it's legal, and I think it is if the patent is owned by the current manufacturer of has already expired, I'm very happy to see new versions of old lenses put again on the market, as it increases choices for us filmakers or director's of photography.
Click to expand...


Its wrong to make a comparison to Panavision. They rent out their glas, then completely different sets of rules apply then if you sell.
 
James Darren said:
So it's a case of "do as I say, not as I do"?
If you have a moral issue, why are you buying all their gear?

Yes I do have issues with copying things, but I'm not the one preaching to everyone here.

You're upset because you own a set of Baltars. I think it's less about morals & more about what's affecting you directly...
Click to expand...

I try to be vegan as I dont like what we do to animals, but sometimes I eat a burger or meat as it taste really good. Still, I see some moral issues.

I used to have a Super Baltar set about 10 years back dont have any now.

Now I only got my Cinemascope Baltars. But I never rented them out or really used them for anything and they are way different from these NEO lenses or normal Baltars so dont think this will really have any affect on me. But sure, they partly share the name and yes possibly thats why I care, problem with that? Or I need to be a saint myself to point this out?
 
Classic cinema lenses on modern cameras, with Jody Eldred




By RedShark News





If you've ever wanted to get that classic film look, there's no better way than to use vintage lenses. In this fascinating video, DP Jody Eldred visits fellow film-maker Todd Fisher to test out some of cinema's most classic lenses, used on films such as The Shining and Casablanca, on his Blackmagic Ursa Mini 4.6K.

Thanks to Blackmagic for giving us access to this film
 
LENS TEST - an actual lens test AND short film, all-in-one!



By Ned Farr



Things get out of hand during a real lens test for Behold Optics’ Baltar and Super Baltar lens packages.

Director: Ned Farr
Cinematographer: Alexandre Naufel
Featuring: Adiamond Baker, Paris Pickard, and Jack Rutkowski

NedFarr.com
BeholdOptics.com




Bausch & Lomb Super Baltars Test



By Escape Life Films



 
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SEARS Primavera 2019


BY Daniel Anguiano


Director: Manolo Caro
Production Company: Mr Woo
Executive Producer: Vanessa Castro
Line Producer: Rodrigo Diaz
Director of Photography: Daniel Anguiano

with
Mariana Bayón
Jonathan Valdez
Lorena Barreiro
Carlos Contreras
Alexa Mini + Bausch & Lomb Super Baltars
Shot in Jardines de México, México & Hacienda Chinconcuac




SOLIDARIS-FEMME



By Brecht Vanhoenacker



Director: Brecht Vanhoenacker
Ex Producer: Werner De Coninck
Agency: BBDO
Dir Photography: Wim Vanswijgenhoven

Shot on Alexa- Super Baltars




Land of Leopold trailer




By Akis Konstantakopoulos, GSCPLUS


https://vimeo.com/182440396

Due to copyright, it will have to be viewed on vimeo

Drama - feature film
Shot on Red Epic with Super Baltars (uncoated)
Austin, TX




“South Down Orchard” Trailer





By Emerging Cinematographer Awards



Directed by Brian Leavell, South Down Orchard is a crime drama about a petty thief after a betrayal lands him in prison. The film is centered on the day that he will escape or die trying. Cinematographer Andrew Shulkind shot on the ALEXA with a set of old Super Baltars.

“I like how the lenses flare and wanted to soften up the Alexa’s sensor with some vintage glass to complement both the grittiness of the prison and the nostalgia of these intimate moments,” Shulkind says. He and the director used two nihilist movies in particular for much of their reference, A Prophet and Animal Kingdom, so the Swedish Easyrig was a natural choice to get the controlled handheld that they were after. Shulkind’s artistry with naturalistic lighting and his proficiency in color correction rounded out the unique and stylized look of this dark film.
 
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SPHERICAL VINTAGE LENS TEST


46 minute test


By JOHN W. RUTLAND




Canon K35
Zeiss Standard Speed (uncoated)
TLS Rehoused Super Baltars
TLS Rehoused Cooke Speed Panchros

This test was shot on the Arri Alexa Mini in 2.8K 4:3 mode and cropped to 2.39:1 aspect ratio. For each set of lenses I shot the 24mm / 25mm and the 50mm / 55mm. I shot each lens at wide open, 1 stop closed down from wide open and 2 stops closed down from wide open. I did this with and without a Tiffen 1/4 Black Pro Mist filter.





Two People - ‘Phone Call’





BY Edward Goldner



Title: 'Phone Call'
Artist: Two People
Director: Freya Esders
Cinematographer: Edward Goldner

Shot on Arricam LT with Bausch & Lomb Super Baltars

edwardgoldner.com
 
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Anamorphic + Cine & Photo Spherical Lens Test - Blackmagic UMP 4.6K





By Luca Rocchini




WEBSITE: http://www.lucarocchini.com/
INSTAGRAM: http://www.instagram.com/lucarocchinidop

Lens test on my Blackmagic Ursa Mini Pro 4.6K PL & EF. I have tried as many lenses I could possibly put my hands on! I hope it might help other productions to choose the right lenses for their projects.

I have tested mainly on 50mm lenses at T4, with similar lighting set ups. Shot in different spaces, so not too scientific, but it should be helpful to get an idea.
I have used 75mm and 100mm of the available anamorphic lenses.

Camera set up - 25P - 3200K - 180º - 800ISO - T4
Recorded at 4K PRORES HQ 444
Basic grade - gentle overall increase of contrast and saturation.

A big thanks to ARRI Rental, Feral Equipment and Shootblue to give their time and availability. Thanks also Colum O'Dwyer and Marzia De Chiara for their help and time during the shoots.

These are the tested lenses - with direct links:

0:36 - 1. ARRI ZEISS MASTER ANAMORPHIC T1.9 - 100mm @T4
1:34 - 2. HAWK APL ANAMORPHIC T2.4 - 75mm @T4
2:15 - 3. COOKE ANAMORPHIC/i T2.3 - 75mm @T4
3:14 - 4. COOKE XTAL ANAMORPHIC T1.4 - 75mm @T4
4:05 - 5. KOWA MIRRORSCOPE ANAMORPHIC T2.8 - 75mm @T4
5:10 - 6. TOYO EIKI ANAMORPHIC T2.3 - 100mm @T4
6:09 - 7. ARRI MASTER PRIME COATED T1.3 - 50mm @T4
7:08 - 8. ARRI MASTER PRIME UNCOATED T1.3 - 50mm
8:03 - 9. ARRI LDS ULTRA PRIME T1.9 - 50mm @T4
9:07 - 10. ZEISS SUPERSPEED PLANAR T1.3 - 50mm @T4
10:05 - 11. COOKE S4 T2.0 - 50mm @T4
11:03 - 12. COOKE SPEED PANCHRO TLS SER II T2.3 - 50mm @T4
12:12 - 13. LEICA SUMMILUX-C T1.4 - 50mm @T4
13:15 - 14. BAUSCH & LOMB SUPER BALTAR MPE T2.3 - 50mm @T4
14:27 - 15. SIGMA FF T1.5 - 50mm @T4
15:09 - 16. SCHNEIDER/P+S TECHNIK CINE XENON T2.4 - 50mm @T4
15:56 - 17. LOMO OCT19 T2.2 - 50mm @T4
17:05 - 18. LOMO SUPER SPEEDS T1.4 - 50mm @T4
17:54 - 19. CANON K35 T1.3 - 50mm @T4
18:47 - 20. ZEISS LWZ ZOOM T2.6 - 15.5-45mm @T4
19:51 - 21. ARRI ALURA ZOOM T2.6 - 18-80mm @T4
21:33 - 22. LEICA SUMMICRON-R F2 - 50mm @F4
22:28 - 23. ZEISS ZE PLANAR F1.4 - 50mm @F4
23:17 - 24. NIKON AIS F1.2 - 50mm @F4
24:02 - 25. CARL ZEISS JENA EF F1.8 - 50mm @T4
24:53 - 26. HELIOS F2 - 58mm @T4
25:55 - 27. CANON EF F1.8 - 50mm @T4
 
50mm Shootout - 26 Anamorphic and Spherical lenses - Part1



By Mikko Timonen




Part1 - Aperature, Bokeh and Flare

Master Anamorphic @ 0:26
Cooke Anamorphic @ 2:14
Elite Anamorphic @ 4:38
Kowa Anamorphic @ 6:37
Powerscope Anamorphic @ 8.47
Lomo Roundfront @ 11:02 (T4 incorrectly is labeled Squarefront)
Lomo Squarefront @ 13:13
Hawk V-Lite Anamorphic @ 15:37
Todd AO Anamorphic @ 17:53 (T2.8 is actually T4)
Arri Master Prime @ 20:55
Arri Ultra Prime @ 23:00
Cooke S4 @ 25:05
Cooke Speed Panchro @ 27:08
Super Baltar @ 29:24
Leica Summicron @ 31:34
Leica-R GL mod @ 33:42
Celere HS @ 35:57
Xenon FF @ 38:19
Zeiss Super Speed Mk3 @ 40:40
Zeiss CP2 @ 42:50
Xeen @ 44:51
Canon CN-E @ 46:51
Rokinon @ 48:57
Lomo Spherical @ 50:44
Takumar 6x7 Medium Format @ 53:23
Dog Schidt @ 54:40




50mm Shootout - 26 Anamorphic and Spherical lenses - Part2




By Mikko Timonen



Part2 - Lens Distortion and Edge Sharpness

Master Anamorphic @ 0:24
Cooke Anamorphic @ 0:44
Elite Anamorphic @ 1:06
Kowa Anamorphic @ 1:28
Powerscope Anamorphic @ 1:59
Lomo Roundfront @ 2:24
Lomo Squarefront @ 2:42
Hawk V-Lite Anamorphic @ 3:06
Todd AO Anamorphic @ 3:28
Arri Master Prime @ 3:45
Arri Ultra Prime @ 4:04
Zeiss Super Speed Mk3 @ 4:25
Zeiss CP2 @ 4:53
Cooke S4 @ 5:17
Leica Summicron @ 5:48
Celere HS @ 6:20
Xenon FF @ 6:52
Canon CN-E @ 7:22
Xeen @ 7:46
Rokinon @ 8:12
Cooke Speed Panchro @ 8:38
Super Baltar @ 9:06
Leica-R GL mod @ 9:37
Lomo Spherical @ 10:03
Takumar 6x7 Medium Format @ 10:31
Dog Schidt @ 10:56
 
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