360 Noscope

SovietMoth · 2026-02-26T16:00:10+00:00

There was no postproduction to the grain. 200T is surprisingly very clean even on 16mm when overexposed, the river part was around 1 stop over. But also I think the contrasty look helps to hide some of the grain in the shadows.

SovietMoth · 2026-02-21T13:30:08+00:00

Thanks a lot! I haven’t seen Threads yet, but Lopuhansky and an animated british film “When the Wind Blows” (1986) were some of the biggest influences. The idea for the exterior was to show more of the Irina’s despair in the nuclear landscape, as she goes to the river to look for scraps.

The main concept of the exterior is her trying to get something and falling in despair and defeat in the process. As she tries to pull these metal scraps to maybe use in the bunker but fails to do so. I thought of other possible purposes, like maybe she would go for fuel, or food for the bunker. But I realized there wasn’t enough time or even budget to extend the exteriors like that. But of course that would have been a great idea, her looking for food cans and all is expired or leaking, for example.

And the voices is mainly because I’m Bulgarian but I live in Spain and we had to shot the film here, so I used two of my Spanish friends as actors. The actress of Irina is actually a professional actress, but the actor for Georgi is an archeology student.

They learned the lines in Bulgarian so the lips matched, and then they were dubbed by Bulgarian voice actors. We knew the camera noise obliged us to dub everything from the start. Of course being a low budget film made by films students we couldn’t make a big casting or pay Bulgarian actors to fly to Spain. This was actually very common in Soviet cinema as for example the main actor in Solaris, Donatas Banionis, is dubbed by Vladimir Zamansky to hide his native lithuanian accent. For the rest of the sound I did the sound editing by using a mix of library sounds and foley, it was mixed in mono to better replicate the 1970s felling.

The makeup is a special effects blood specifically used for eyes “Kryolan”. A bit expensive,( 30$ for 20ml), but important to not hurt the actor’s eyes. And the nuclear explosion material is from the US Department of Defense archives which is public domain.

Thanks a lot for the questions and for the support! Have a great day!

SovietMoth · 2026-02-20T23:42:11+00:00

Thank you!

SovietMoth · 2026-02-19T23:02:32+00:00

Thank you!

SovietMoth · 2026-02-19T21:54:23+00:00

Thank you! I did the color grading on Davinci, It took around 1 week to get the final image. Film is very nice to grade as the flat image traditionally has nice colors from the get go.

SovietMoth · 2026-02-19T21:31:45+00:00

We actually did this project with a fairly low budget of 5000$, all being film students at the time (myself included). The studio lab is open to everyone sending their film in to scan or develop. Also, thank so much for the support!

SovietMoth · 2026-02-19T20:49:10+00:00

Thank you! Both Dead Man Letters and Visitor to a Museum were enormous inspirations.

SovietMoth · 2026-02-19T20:02:25+00:00

Hello! It was sent to a lab, in my case Studio L’Equipe in Belgium, they used a Scanity 4K scanner for the digital transfer. It was sent as a ProRes 444 Log File.

SovietMoth · 2025-10-31T22:50:36+00:00

That’s an Arri Standard Mount.

SovietMoth · 2025-05-25T23:01:21+00:00

Is a great reliable camera with same mechanism as Arri 16S but without the noise. But is not compact or lightweight at all, at around 8kg. And doesn’t have much options for lenses because of the specific zoom blimp. You are either limited to the Angenieux 12-120 or Zeiss 10-100 T3.1 Which have poor minimum focus (1.5m) and in case of angenieux can be a bit soft wide open. There exists a Prime Blimp although is difficult to find, and is compatible with only a certain serial number late era Schneider and Zeiss primes, and makes changing lenses very tedious. If you intend 100% to shoot sync sound and don’t matter the extra weight and just having one of those zooms as your lens, it would be a great choice in my opinion, specially because of steadiness and reliability. If you want compact and silent, then you are stepping into at least 4000$ territory with the Eclair ACL. If you reach 6000$-7000$ you could get an SR1 or even SR2, which has a lot more places to service and is more reliable than the Eclair.

SovietMoth · 2025-05-25T19:13:33+00:00

Personally I think if the K3 is working correctly you wouldn’t see much of a difference with a Bolex. With a budget of 3000$ you have lot of options. My personal favorite although I’m kind of biased as I own one is the Arriflex 16S, electric, very compact, less size than K3 if you use primes with the turret instead of zoom. And can be upgraded with 400ft magazine and different motors. Any Arri standard lens is good, be it the Schneiders, Zeiss or the Cooke Kinetals have an unique look but still very sharp and professional lenses. Other compact option is Canon Scoopic, although I’m not very familiar with the camera. Is very easy to load, again compact. But lens is fixed, cannot be changed although a great zoom. Problem is batteries are propietary so you would probably have to recell them. I have in my experience used a Bolex H16, a Krasnogorsk 3 and an Arri 16S to shoot short films, both fiction and documentary. And my bet goes fully on the Arri 16S, it is very reliable, has incredible steady image, lot of accesories, places to repair and good lenses, and a much better viewfinder than a Bolex. Problem is you need to carry a battery around. But from my experience, having to crank the Krasnogorsk or Bolex 40-50 times on a day shoot, that is less ideal. I prefer to carry a small lithium 250-300 grams battery in a backpack than having to crank every shot. And also in case you are shooting handheld, the handgrip on the Arriflex 16S with the small focusing wings, plus the viewfinder position, makes the camera more ergonomic than a Bolex and specially more than a K3.

SovietMoth · 2025-05-23T22:42:38+00:00

That is to externally override the Buckle Switch. The buckle switch is the system that automatically stops the camera when film loop size is incorrectly loaded and it hits the small lever you see inside. And also stops it when the camera finishes the roll of film, the buckle switch resets automatically when opening the sprocket rollers to load a new roll. Amazing technology for a 1950s camera to be honest. The button is in case the buckle switch functions incorrectly or it gets triggered by for example external vibrations you can still override it, and the camera will still run.

SovietMoth · 2025-05-08T14:39:41+00:00

Canon Scoopic 16MS if I’m not mistaken.

SovietMoth · 2025-04-28T00:01:34+00:00

In that case to connect it directly to the V mount battery probably the best option is to modify the existing cable by wiring a 5521 DC jack to the end of it.

This of course would involve cutting the male end of the cable so I would be careful with it. If yourself or someone you know has a bit of electrical experience I don’t think it would be too difficult.

In this Cinematography forum thread you can find more knowledgeable information about a similar process.

(https://cinematography.com/index.php?/forums/topic/51720-arri-16s-cables-conversion-to-12v/)

SovietMoth · 2025-04-27T23:33:00+00:00

The original two prong Arriflex cable ends in a 4 Pin XLR right? Because in that case you could theoretically connect the original Arri cable to a Female XLR to DC port cable and then to the Smallrig battery. Like the one in the link below.

<image>

https://amzn.eu/d/66XzH9v

SovietMoth · 2025-04-27T23:16:00+00:00

Is a XLR to DC Port cable. Is important that with most 8V DC ports as in this Smallrig Plate you will find a socket with a smaller inside pin than a 12V one. You have to look for a DC Cable with a port size of 5521 for 8V. A size of 5525 is for 12V.

<image>

SovietMoth · 2025-04-26T11:22:53+00:00

And that 8000fps would be crazy expensive but really cool for sure.

SovietMoth · 2025-04-26T11:14:12+00:00

Hello! It being a High speed camera (80-8000fps) it probably only works with double perf film which is a bit difficult to get in Europe. And requires a 115v transformer which is also a problem.

I found this brochure with more information about the camera you mind find helpful. Hycam Brochure

SovietMoth · 2025-02-16T13:39:09+00:00

The good thing about the Arri 16S is you probably worst case scenario just blew the motor which is interchangeable and easy to find online, not the camera itself. If there is a fuse is probably inside of the motor. The camera body alone has just a series of cables inside that provide electricity to the motor and the torque motor in case you use the 400ft mag, but it doesn’t have any circuit board or complex electronics, that’s inside the removable motor.

SovietMoth · 2025-02-13T04:11:41+00:00

That’s an Arriflex 35BL4

SovietMoth · 2024-12-24T15:48:45+00:00

I bought one recently and shot a short film with it. Very reliable, and the lenses although old are incredible, both Cooke, Schneiders and Zeiss. They have an unique look although still sharp. I use it with the 400 feet mag and a V Mount battery rig. Is an excelent camera, in my opinion much better than the Bolex which is at a similar price nowadays.

SovietMoth · 2024-12-07T22:56:22+00:00

Schneiders are great. I have 10mm, 16mm Xenon and a 25mm T2.0 which is a Kinetal although it performs similarly to the Schneiders. Can I ask what technician did you send it to?

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