Its time for a battle of the titans… today we are going to compare the Canon K35 cine lenses versus Canon FD… Let’s go……… The Canon FD lineup offers some of the greatest vintage lenses… we are going to explore their Cinema DNA… in form of the Canon K35. They have been used in classic movies like
Aliens… and Barry Lyndon… shows like Westworld... Preacher… and the The Handmaid’s Tale, use the Canon K35s vintage characteristics for poetic storytelling. So, we join the Colonial Marines to answer the question Are there lenses that give us the look of
the Canon K35 in a somewhat affordable way? Choosing the right Canon FD lenses, we will
built a dream set that will give us a comparable, if not indistinguishable look to the legendary Canon K35 lenses as their optics are virtually identical. To get there, we put together the ultimate
guide to Canon FD from a filmmakers perspective, with history and versions, compare their similarities in image... …and design, talk about coatings, aspherical elements, radioactiv thorium and the effect on humans
and how to treat damage, find out where to start and how to develop
a set on a budget. We talk to an award winning filmmaker that
uses Canon FD and of course… test the most important lenses ourselves with a practical shoot as well as more technical test. We are going to show you how to declick and
to change the mount yourself, as well as sophisticated modding and calibration by Simmod. In our buyers guide, we discuss the value, where to buy them, and how to spot counterfeit lenses. And along the way… we will show you a little
bit on how we did the Aliens effect shots… using Filmconvert Nitrate Let that nerd inside you run wild… this
is Legendary cine lenses on a budget with the Canon FD Marines… welcome to the film school of the U.S.S Sulako, I am your…instructor… Lieutenant Nikolas… and I am going to teach you, what you can do with those helmet cameras of yours In battle... and beyond! Let’s start with a little history about
Canon cine lenses. Know your gear soldiers! In 1984 James Cameron directed the sequel
of the vastly popular movie “Alien”… simply titled “Aliens”. Alien redefined how a science fiction horror movie should look, Ridley Scott created a dense atmosphere with lots of shadows and beaming lights…. He used anamorphic lenses to captured claustrophobic spaces and vast stages, flowing into an epic cinematography. The camera movements are predominantly slow
and the movie has an overall slow pacing. Aliens had a totally different approach. The grittier, more realistic look was a combination of the almost exclusive handheld camera, faster, spherical lenses and 400 ISO film stock… it is considered one of the masterpieces that defined the action genre of its time and won
an Oskar for visual effects The lenses of choice for Aliens where the Canon K35. In the 70s, Canon decided to enter the cinema market with their own set of lenses. Unlike Panavision, Zeiss, or Cooke, Canon
didn’t have a long history designing cinema lenses, they couldn’t fall back on existing
designs in the same way. Developing a lens is extremely expensive,
and the low numbers to be sold in the saturated cine sector makes the return of investment
a challenge. What Canon did have, where their cutting edge
designs for photography lenses… especially the super speed lenses that used aspherical
elements – The Canon FD Asphericals with 24mm 55mm and 85mm focal lengths. The optical designs of these lenses where
pared with cine style housings and complemented by super fast 18mm and 35mm lenses, that remained
unique to the K35 cine lenses. The Canon K35 launched in 1976 as the first
super speed cine lenses that also incorporate aspherical elements in all focal lengths. The Zeiss Super speeds – then known as the
B-Speeds where launched a year earlier but only used aspherical elements in their wider
focal lengths The Canon FD have been designed for 35mm SLR
system… so their image circle covers Full Frame and Vista Vision sensors, and so it is no surprise that the Canon K35 do that too, except for the 18mm that vignettes. This quite unique among vintage cine lenses, as the vast majority of lenses where designed to cover super 35 only. For Comparison, the Zeiss super speeds cover
Full Frame from 50mm upwards but only barely with quite visible brightness falloff. As good as this sounds… in their time, the
K35 haven’t been vastly popular and only very few Hollywood production made use of them… even though they always had their fans, among them Stanley Kubrick. He utilised the extremely fast lenses in Barry Lyndon, that worked with as much natural light as possible. While the candle light scenes used the mysterious Zeiss Planar f0.7 we have an episode about that subject, link is up in the corner all other shots used the Canon K35… except for those famous zoom shots. As Barry Lyndon was shot in 1974, and the K35 where released in 1976, – never say we assume that he used prototype lenses never say no to a living legend. In modern times the K35 have been rediscovered for their extra creamy look and soft rendition of skin… quality that are highly thought after and rarely found in modern lenses. Like in 2013s "Her" The K35 have been used to give “American
Hustle” it’s vintage look They have been used on "Manchester by the See" to achieve an “out of things” feel… and they are also very popular with TV shows like here in the gloriously disrespectful
“Preacher”… or in “The Handmaidens Tale" or like here in “Westworld” where uncoated K35 have been used give the dreams and flashbacks of hosts a distinctive visual key. The image is softer, warmer, and dreamier
than modern lenses… there is something poetic … and… if you allow this analogy… something almost female about how the lenses render the image. But of course, they can look gritty just as
well… as “Aliens” shows. The K35 originally came with BNCR mount, so
all lenses that you can rent today are modified. This 5 piece set belongs to cinematographer
Roy Kurtluyan from the USA. He recently gave them a complete modernisation
with TLS rehousings… you can actually rent this Canon K35 set… just drop him a message
on Facebook. Also check him out on Instagram under the
handle VintageCinegear – links are in the description With the industry moving to larger formats
for digital cine cams like the Alexa LF, Sony Venice, and Red Monstro, vintage lenses like the K35 that do cover these larger formats, become more and more popular. Many say, that the market is completely overheated. The K35 are ridiculously expensive with some five pice sets costing more than 200.000 dollars at the time that means, that “per lens” the K35 are some of the most expensive prime lenses that you can buy… vintage or modern. I only need to know one thing... where they are …. it is more IF you can find them Vasques…. Even rentals are hard to get by due to high
demand. Bringing us to the question…. Are there lenses that give us the look of
the Canon K35 in a somewhat affordable way? Based on the Canon K35s History, the obvious answer is… of course… the Canon FD Some of them. what exactly are we dealing with here … are you sceptical Reese. …. what’s up punk? Hudson Sir… he’s Hicks … sure, sorry…. wrong movie…. That’s what you get when a director permanently uses the same actors. Our tech sergeant Ripley will give us now an overview, how easy it is to change the mount of a Canon FD lens... Ripley... I tell you what I know we tried to get if off... it wouldn't come off Later it seemed to come off by itself and die I think we're gonna need another opinion on that one So, how close are Canon FD to the K35, and
with all of the different FD lenses, which ones. Let’s take a very general look on the Canon
FD system Canon FD is a system introduced in 1971, and there where two major lens generations with subdivisions… The first series is called the Chrome Nose,
because they feature a chrome filter ring They where the lenses to introduce the breech-lock
FD mount, that replaced the older FL mount The second series replaced the chrome filter
ring with a black ring and engraved the coating "S.C." in white or "S.S.C." in red on the
front of the lens. The third series changed the green Auto aperture
"O" to a green "A" and the chrome aperture ring lock button was changed from chrome to black. In 1978 Canon introduced the New FD series Canon changed design altogether, reduced the weight, and switched to a bayonet mount, that is still compatible with the older mount, but doesn’t have a locking mechanism. The new FD lenses are often called nFD or
FDn… just go for what you like. The nFD area also saw the advent of the L
series of lenses – L standing for “Luxury” – and this brand is still in use for Canons
high end lenses today. All FD variants are manual lenses… electronic
connection and servos for focus where introduced in 1987 abandoning the FD mount to the still
popular EF mount. Spanning over 16 years, the FD system has
been around for a long time and it has been very popular – the high numbers of lenses in the market make them very available and comparably affordable. The low prices and the all manual design make Canon FD one of the most popular vintage systems. An nFD 50mm f1.4 can be head for just 50$. And this is so great about the FD system…
it is a system that can grow with you… from a building a cheap beginners set... that still looks amazing… right up to lenses that look virtually identical to the K35. If you need to expand your set, you usually
don’t have to brake the bank, there is always a relatively cheap lens to fill the position…
and if you feel the need and you have the resources, you can upgrade that position to
something really special later. As affordable as the Canon FD starts, there
are some real unicorns in the line up. The 24mm f1.4 S.S.C Aspherical in mint condition
will set you back around 4.500$ at this time. The breech-lock mount of the first generation has a locking ring on the lens instead of the camera, and I have to say! It is great for filmmakers. While the usual Bajonett mounts can be applied
quicker, the FD locking mechanism guarantees zero play… perfect for using a follow focus
or a focus motor. Of course, If you adapt the lens you will have a little play between the adapter and your cameras mount but still, it is one less connection
to worry about, and IF your camera has a locking mount itself, like our Kinefinity E-mount
does, you have a rock solid connection. Canon FD lenses of the first generation have
a very sturdy metal build and the barrels in the optical block are made from heavy brass…with introduction of the nFD, Canon switched to lighter materials. nFD lenses have more plastic parts inside and outside and the barrels of the optical block are made from much lighter aluminium. We prefer the feel of the S.S.C. over the
lighter build of the nFD, but if weight is a critical factor – like for use with drones
or on gimbals – the nFD may be just right. The chrome noses have either Spectra Coating
or Super Spectra Coating but neither coating is signified on the front of the lens. When coating became an important marketing
tool for many manufacturers, Canon starter to signify S.C. or S.S.C. on all lenses with an engravement. While the S.S.C. brand disappeared on the
nFD, the same general coating remained in use… the marketing hype around coatings
just levelled off a bit. So, most Canon FD lenses use S.S.C. coatings… but that doesn’t mean they are all the same. A S.S.C. branding does not entail that all
use the exact same receipt. You can see significant differences when light
reflects from the surfaces. Some lenses look golden, some greenish, and
some neutral. Indeed, the coating didn’t only change slightly
between versions of the lenses but also from lens to lens and sometimes, from one serial
number range to an other. That is something that is also the case with
K35… that means, that sets that are assembled from different period lenses, will most probably
show subtile shifts in color reproduction. Even a lens designer from Canon would have a hard time to tell you the exact coating a lens has. This means you shouldn’t hang yourself too much on the coatings branding… it is… more or less… a marketing vehicle. Starting with the FD system, Canon was the
first manufacturer to offer a lens with an Aspherical element for 35mm SLR The surface of a aspherical lens is exactly
what is says it is – not spherical. It has a more complex surface profile and reduces or eliminates spherical aberrations and astigmatism. It can also reduce the number of lens elements needed and therefor allow for lighter and brighter designs. The graphic shown here exaggerates the aspherical
surface to show the concept. With the shift to S.S.C. branded lenses, Canon had a small set of super fast Aspherical lenses in their program. The 24mm f1.4 Aspherical, the 55mm f1.2 Aspherical,
and the 85mm f1.2 Aspherical As the Aspherical elements had be grinded
by hand with painfully tiny tolerances of only 0.1 micron (that’s a 1/10.0000th of
a millimetre), they are rare and therefore more expensive… but more importantly … they
where the blueprints for the K35 lenses. The corresponding K35 focal lengths are optically
virtually identical with these lenses. With the advent of the nFD lenses, Canon found
a way to machine aspherical elements, and all the nFD L series have such aspherical
elements. The K35 are often repaired with elements of
the Asphericals and these lenses are used to fill up K35 sets with missing focal lengths. There are minimal differences in the use of
Thorium with the 24mm and 85mm focal lengths… we will see that reflected in the upcoming
radioactivity test. While we can’t make a direct comparison
as no K35 are available for rent at this time, we have been assured by P+S Technik that offers
professional rehousing of the K35 and FD, that the difference are neglect able. The K35 have one obvious diffrent visual feature compared to the FD… a rounder Bokeh due to their higher count of iris blades. The iris of the FD lenses can be exchanged
against a higher blade count iris with a rehousing. Rehousing are quite expensive though and will set you back 3000 – 4000€ depending on the lens So, if you want to turn your FDs into real
cine lenses that work on PL cameras, or to pimp your existing K35 set… this is your
first address. Thank you P+S Technik for your input. Optically, the S.S.C. Asphericals seem to be virtually identical to the legendary K35. That means we can go on our mission now! We are going to built our K35 “look a like”
dream-set using the S.S.C. Aspherical lenses ... and test it. damit!!!! I dropped it How many drops is this for you lieutenant? Really Ripley? ... I mean REALLY? we are going to add a 35mm f2 concave… an other highlight from the Canon FD line up. We are also going to test more affordable FD lenses and pitch those against our dream-set, to see, if the Asphericals are worth it, and how close you can get on a budget. Here we are pitching an 55mm S.S.C. f1.2 and a 24mm nFD f2 against their aspherical counterparts, While we are at it, we also going to pitch a 50mm S.S.C. f1.4 against an 50mm nFD f1.4 to see, if we can spot any difference. If you have seen our “affordable legendary Cine lenses” episode about the Zeiss Super Speed and their photo siblings… the Contax
Zeiss... I’ll put a link in the corner, you know that we like to start with something that isn’t a technical test, but an emotional piece... this is supposed to allow you to get a feeling for the lenses. Later, we are going to make a more technical test. For the emotional part, we are only going to only use our K35 “look a like” dream set. Now that you have gotten a feeling for the FD look lets get into a very plain technical test that should show you things like flare, breathing, sharpness, color rendition and so on and of course give you a few specs along the way. The light are set and the the room is hazed
to give a bit of a cinematic look. We are going to start with the Dreamset and
the 85mm Aspherical – we will go wider from there and show the cheaper Canon FD afterwards. The 85mm Aspherical is quite a beast that
opens up to a super fast f1.2 Unmodded, it weights a hefty 744 grams
At f1.2 the lens is soft with expressive Bokeh. The breathing is tolerable. Focus throw is about 180°. And here you see what the K35 and the Canon FD are famous for… the soft and pleasing rendition of skin. The 85mm is a very good portrait lens, that
is forgiving to skin of elderly people like me The lens flares absolutely beautifully while
not going over the top, just like you would want it in a narrative. Close focus is good for a 85mm with 1m Closing the lens down to f2.8 sharpens the image considerably And the difference in the overall look is massive The image tells a completely diffrent story,
details pop and the look is much more modern. Flares are still interesting enough. As always… this is a prop gun… absolutely
legal and harmless. Closing to f4 sharpens a bit more and ads
depth of field. This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds For “Limbo” we used the 85mm wide open for dreamy shallow DoF and flares. The 85mm f1.2 Aspherical is very rare and if you can find one, they cost around 1500$ at this time A good alternative is the 85mm nFD L f1.2 that goes for around 700$ A budget alternative would be a 85mm S.S.C. f1.8 for around 250$ You will find ebay links in the description Next up is the 55mm Aspherical that also has
the super fast f1.2 aperture Unmodded, it weights 561 grams
At f1.2 the lens is soft with expressive Bokeh. But not as soft as the 85mm. The breathing is tolerable. Focus throw is about 190°. Even wide open it considerably sharper compared to the 85mm while maintaining a nice vintage look The lens flares look beautiful and harmonic Close focus of the 55mm is good with 60cm Closing the lens down to f2.8 sharpens up
the image. Again, the image tells different story, but
not as pronounced as with the 85mm Closing to f4 sharpens a bit more and adds depths of field This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds For “Limbo” we used the 55mm for the wider shots. On full frame it is still a focal lengths
that can be shot handheld without valium… making it the ideal companion for filming
street life in low light. The 55mm f1.2 Aspherical is rare and costs
around 800 dollars if you can find one A good alternative is the 50mm nFD L f1.2
that goes for around 800 dollars A budget alternative would be the 55mm S.S.C. f1.2 for around 200 dollars… we will test in a minute, how close that one gets! You will find ebay links in the description The next lens is the 35mm Concave… the only lens in our Dreamset that is not an Aspherical and “only” opens to f2. Like the name entails, the front element is not convex but concave. All 35mm under the serial number of 100.000
have that Concave front element. The Concave are said to be vastly superior to the later 35mm version with the convex front element. We included it into the set to close the wide
gap between the 55mm and the 24mm aspherical… and, because the 35mm allows for very close
focus … bringing it into the macro range. We used it in “Limbo” for the ultra close ups. Unmodded, it weights 376 grams At f2 the lens is already reasonable sharp. The breathing is tolerable. Focus throw is about 180°. Of course, the 35mm is naturally missing a
bit of the vintage magic the faster lenses offer but it still works great as a bridge that fits with general rendition and flaring. The real benefit is the close focus of 30mm, that allows you to show important details in your narrative… …or very dramatic perspectives… …or lets you have you blair witch moment. Closing the lens down to f2.8 sharpens up
the image a little. Because of the small jump, the images remain
very consistent Closing to f4 sharpens a bit more. This is the same shot how the framing looks on super35 …and this is the framing on Micro Four Thirds The 35mm f2 Concave is quite available and costs around 200$ at this time be sure to look after serial numbers below 100.000 to get the concave version A lights alternative would be the 35mm nFD
f2 for around 200 dollars… but we prefer the concave for sure. You will find ebay links in the description The last lens from the Dreamset is the 24mm f1.4 Aspherical… and that is a real Unicorn, It is ultra rear and expensive as hell… so, you might want to look into the alternatives we will show Unmodded, it weights 503 grams At f1.4 the lens is already reasonable sharp. The breathing is minimal. Focus throw is about 170°. You can see, that on Full Frame there is some visible vignetting… this might be the fault of the matte box On full frame, 24mm is already very wide, and about the widest you would go without
having an “effect“ shot look. Wide lenses tent to be good at close focus and the 24mm aspherical has a 30cm minimum focus distance, not great, but it allows you to show off details in a larger context. Closing the lens down to f2.8 sharpens up the image, but not by much as f1.4 is already at f2.8 the vignetting is mostly gone and
everything else including flares remain about the same. Closing to f4 sharpens a bit more. This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds
For “Limbo” we used the 24mm for handheld pans as very wide lenses look smoother in
motion.… and of course, for ultra wide shots. Like we said, the 24mm f1.4 Aspherical is
ultra rare and a mint lens can cost 4.500 dollars if you can find one
Even the logical alternative, the 24mm nFD L f1.4 is stupid expensive at about 3.000
dollars A budget alternative would be the 24mm nFD
f2 for around 200 dollars… we will test in a minute, how close that one gets! You will find ebay links in the description We will now go through some great budget options
that still offer a very nice vintage and cinematic look… and while we do that, we will put
them right next to the lenses of the dream set. We will also compare the 50mm SSC and nFD
to see if there is a difference. (lighter build wiggle) We will start with the elephant in the room…
the 55mm SSC f1.2… that looks almost identical to the Aspherical version, and has the same
super fast aperture of f1.2… which is why it is used to counterfeit the much rarer and
pricier 55m Aspherical, we will tell you how to spot a counterfeit lens in our buyers guide. So, how does it fare in comparison? Unmodded, it weights 522 grams
At f1.2 the lens is soft with expressive bokeh. The breathing is tolerable. Focus throw is about 180°. At the
first glance it looks very much identical to the aspherical version – even wide open. The lens flares look beautifully and harmonic
Close focus of the 55mm is good with 60 centimetres Closing the lens down to f2.8 sharpens up
the image. Closing to f4 sharpens a bit more. This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds If we put the Shots of the 55mm Aspherical
and the 55mm SSC side by side we can tell, that the look very much alike. Overall sharpness and general look are close
to be indistinguishable. That is wide open and stopped down. Where the Aspherical shows a visible advantage,
is in aberrations in the corners of the image. This might be desirable in FX, product, and
architecture videography but much less in a narrative context. For those cases you would not go for a vintage
lens to begin with. For somebody that wants vintage character
in their image, this is absolutely neglect able. For Filmmakers on a budget that look for a
super fast vintage lens, the Canon FD 55mm SCC is a must have. The 55mm SCC f1.2 has good availability and
costs around 200 dollars You will find ebay links in the description
If that is still a bit much, or you are looking for a lighter lens there are 50mm f1.4 that
can be had starting around 50 dollars. There is the SSC 50mm f1.4 and nFD 50mm f1.4. How close can you get with those… let’s
find out. Let’s start with the SSC version of the
50mm f1.4 Unmodded, it weights 312 grams
At f1.4 the lens is pretty sharp. The breathing is tolerable. Focus throw is about 200°. The lens flares look beautifull, just like the
look on the more expensive siblings Close focus of the 50mm is good with 45 centimetres
Closing the lens down to f2.8 sharpens up the image. Closing to f4 sharpens a bit more. This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds The 50mm SCC f1.4 has good availability and
costs around 80 dollars The nFD version of the 50mm f1.4 is next
As the nFD have the same or very similar SSC coatings and the design is the same, we can
expect very similar results compared to the SCC version
Unmodded, it is a bit lighter at only 244 grams
At f1.4 the lens is pretty sharp. The breathing is tolerable. Focus throw is about 200°. The lens flares look beautifull just like the
SSC version Close focus of the 55mm is good with 45cm Closing the lens down to f2.8 sharpens up the image. Closing to f4 sharpens a bit more. This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds The 50mm nFD f1.4 has good availability and
costs around 50 dollars Next to each other, we would say they look
more or less the same… differences are only found in the density of the haze. The seems to be a tiny difference in the color
temperature, but nothing that you can’t fix easily in the grade. And how does that look in relation to the
slightly faster 55mm f1.2 that cost about 4 times as much? From the feel, they are pretty much the same,
so if you want to be cheaper and you don’t need the little extra Bokeh and brightness…
the 50mm lenses are very good bang for the buck. You will find ebay links to all of them in
the description Our last entry is the 24mm nFD f2
With the extremely high prices of the f1.4 24mm aspherical and the 24mm nFD L, this lens
is your fastest and cheapest option in the Canon FD lineup
Unmodded, it is a bit lighter at only 286 grams
At f2 the lens is pretty soft. The breathing is tolerable. Focus throw is about 180°. Close focus is 30 centimetres
Closing the lens down to f2.8 sharpens up the image. Closing to f4 sharpens a bit more. This is the same shot how the framing looks
on super 35 …and this is the framing on Micro Four Thirds If we compare the 24mm f2 against the unicorn,
the 24mm f1.4 aspherical, we see a vast difference The f2 is much softer and the highlight are
blooming much more, even though it is significantly slower. If we zoom into 200%, that becomes very obvious. So, like it was to be expected, the 24mm nFD
f2 can’t compete with the 24mm aspherical… but due to the price, this might be very well
a bitter pill you will need to swallow. The 24mm nFD f2 is quite rare and costs around
400 dollars If that is still too much, there is a 24mm
f2.8 that can be had starting around 250 dollars. You will find ebay links in the description In the end of this episode we have a buyers
guide. There we will discuss which lenses you should
get and why… where to get them… and the development of value. I hope the test help you to build your opinion
on the Canon FD lenses… but besides that, let see what a award winning cinematographer
that used Canon FD feels about them Thanks a lot for your insight Benjamin…
you’ll find a link to his Vimeo account in
the description. Next up, we are going to sow you how we pulled
of the Alien Spoof using simple setups and Filmconvert. After that we will talk about modding the
Canon FD for filmmakers, evaluate how to deal with
radioactive lenses in your sets and show you how to spot counterfeit Aspherical lenses. While Ripley and Newt play with my pet, I
can take you behind the scenes of the Aliens spoofs in this episode
……sorry Kids, but it is really the best way to deal with Arachnophobia… trust me! Actually, it isn’t that hard to do, with
some props… lights… a bit of passion. You don’t even need a studio… we where
on Corona-Lockdown and shot all scenes in my small living room
The post is super simple and fun using Filmconvert Nitrate. Let’s start by getting the right props,
we got a jump-suit, a cap, and the insignias that the colonial marines wear… on ebay. We also got a vintage military headset…
nothing is similar to the real Aliens props, but it’s close enough. And here comes the passion we where talking
about. Lieutenant Goreman has a shaved head… so,
off with the hair for a little bit of movie authentity. We set up a couple of lights to resemble the
direction an quality of light in the original footage. A popup backdrop will prevent folds that make
keying difficult, we use the blue screen, because the jump-suit is green. As we don’t move around we can light the
screen with one lamp right behind us. A Canon FD 55mm aspherical will give us something
very close to the K35 used in Aliens. We apply some artificial sweat and shoot the
required takes… different scenes require changes in the light setup and wardrobe. We do the post in Adobe Premiere and AfterEffects. We edited a storyline with existing footage
to see what backdrops in what length will be required. We now just throw our blue screen footage
roughly cut on top… when we get a timing match, we export backdrop and blue screen
shots to After Effects. Here we do all the movie magic to make the
footage match. A simple and fun way to simulate film stock
is Filmconvert that we have been using for years. The new Filmconvert Nitrate is the next step
in Filmconverts evolution. If you don’t know Filmcovert Nitrate, it
is an easy to use plugin for After Effects, Premiere, Final Cut, and Resolve to emulate
the film look. Simply install Nitrate into your suite and
download the camera pack matching the camera you are shooting with. This will allow you to emulate a variety from
film stocks from Kodak to Fuji optimised for your camera, either in log or in the specific
profile you shot with. This can also be used to match different cameras
you used on set. Besides this one step solution, Filmconvert
has quite powerful color correction tools built right in. Really unique is the film grain tool. Here you can not only dial in the film format,
but also choose what size, softness, and strength the grain should have. You can even use a curve editor give shadows,
midtones or highlights just the right dose of grain to exactly match the grain of a movie
scene. The perfect tool to make scenes like this
one work. Give it a break Ripley!!! …… she doesn’t
bite… hard. We showed the guys from Filmconvert some of
the Aliens scenes, and they where nice enough to sponsor this episode… This means that we got help to make this episode
bigger and better than we would have without them and it means that you can get Filmconvert
Nitrate 10% off, using the code mediadivision during checkout. You can own Nitrate for 125 dollars instead
of 179 dollars… that is a real bargain for a plugin that we use almost every day and
that has a constant stream of updates and profiles for new camera releases. Thank you Filmconvert for your support. As always links to all props, gear, software,
and music are in the description Before we continue with modding, please give
us a like if you think we deserve one, subscribe to see more of wicked filmmaker fun, leave
us your comment below and if you want to become a member the “Join” button is right there… The “Scott” is our supporter tier, you
will get out honest gratitude and Access to our “Deep Dive” tutorial on how to execute
some of the Aliens Spoof from this episode and the Shining Spoof from a former episode
… if you ever had the feeling that all this
shouldn’t be free, this is where you can shows us some love for only 99cents a month The “Lynch” is our team tier, you will
get access to some exclusive members contend with each new episode. Besides the “Deep Dive” Tutorial you will
also get some After Effects files and a Filmconvert Nitrate test version. Here you will have the right Nitrate settings
and some of our bluesceen footage to play with… The Lynch tier costs only 3,99 per month. The “Kubrick” is our pro tier. Kubrick members get everything the lower tears
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for only 9.99$ per month. All active members are credited in the end
titles of each episode, Our Kubrick members will also get a personal shoutout during the
end credits … Thank yo very much for your support… you make it possible!! The copyrighted movie footage is under fair
use and not included in any of out member files. We love the filmmakers behind it and respect
the copyright holder… we hope that these playful homages will keep the legacy of these
great movies alive… and make them relevant for the next generation. Why don’t enjoy Aliens in its full beauty
one more time? Head over to your favourite store or steaming
service after this episode and show them some love too. Links are in the description If you want to know what we are cooking and
get some IGTV for the road, please join us on Instagram under our handle media.division
Here you can also get some exclusive behind the scenes and insights in our Setups and
VFX… for this episode, you will find the lighting setup of the lens test over there. If you are more into in depth discussions
with us and a growing community of passionated filmmakers, join our closed facebook group…
here you can drop any question you might have regarding this episode or any of our other
epic episodes… Links are in the discription. If you haven’t done so already, why don’t
you watch our epic episode about shooting with f0.7 lenses after you finished this one. One of the major holdbacks is, that the FD
mount is NOT compatible with the popular EF mount. Unlike other vintage lens systems from the
same time like Contax/Yashika or Leica R the Flange of the FD system is not longer but
a little shorten than EF. That means, that there is no easy way to adapt
the lenses to EF (or PL for that matter) and still be able to reach infinity focus. You can use an additional optical element…
a diopter, inside the adapter. Many cheap products are available on ebay
These adapters cause a considerable degrading of the image quality… especially when shot
wide open…… so, don’t do that! Canon did this presumably on purpose so FD
users had to buy all new lenses for their EF system. All systems that use a shorter flange system…
basically all mirrorless systems like Nikon Z, Sony E, Canon RF, L mount, X mount, Micro
Four Thirds… all these only need a simple mechanical adapter. Adaters with Diopter elements may be tempting
to get the Fps onto otherwise incompatible cameras like the EVA1, but all out test results
have been awful so we don’t recommend them. Plain mechanical adapters do the job just
fine when Canon FD is used on short flange systems. As you can see, it has an integrated wheel
that you have to turn from open to lock after installing the lens, otherwise your Iris will
always stay at maximum aperture. This is just part of the FD system. Adapters will work on all mount variations. For smaller formats like super35 and Micro
Four Thirds, there are native Canon FD focal reducers on the market. This is an older Metabones Speedbooster for
Micro Four Thirds with a 0.7x factor, so it will gain one stop and give you a 0.7x wider
field of view on MFT cameras… as all Canon FD lenses are Full Frame that will still mean
that you can’t use the whole image projection. As of now, there is no XL version of the Canon
FD focal reducer on the market. We put a links to buy adapters and focal reducers
for all systems in the description. Of course, this will leaves a few popular
camera systems in the cold. The Alexa, the Panasonic EVA1, The Blackmagic
Pocket 6K, The Canon C-Cameras… for Ursa mini, and RED DMC2, there are third party
mount on the market. An EF mount on the Canon FD will make the
lenses just so much more versatile and a lot of gear that you might already have can be
used with this lenses, too… like most of you already own a Speedbooster for EF. While it is considerably easier to exchange
the mount of longer flange systems like Leica R, it is still possible to do so on Canon
FD… it is just a little… sportier. This will bring us to our next big segment
– modding Canon FD Hello…… Ripley… its the middle of the night?!?! So you are with us to mod a set of Canon FD
lenses. This will mean to make them more practical
and versatile for filmmakers. We are going to add gears to focus and Iris,
unify the thread size, de-click the aperture ring and look into possibilities to change
the mount to EF You are going out to destroy them… not to study, not to bring back Of course not, we want to give vintage lenses
a second life and we strongly believe that the real value of any lens lays only in its
usability… but we would like to make you aware that some of the Canon FD lenses are
considered collectibles. Especially the S.S.C. Aspherical are popular with collectors…
a modded lens will not be considered “mint” and unmodding might be complex. For collectors, modding a lens will reduce
its value. On the other hand, if your buyer is a filmmaker…
the added value of a modding could pay off. We are great fans of the “Do it yourself”
approach and we are going to show you how to declick, dampen, gear and exchange the
mount of a Canon FD mount yourself. But if you are going to invest in something
like the S.S.C Asphericals or nFD L, it makes a lot of sense to let professionals do the
job… they have other services on the menu as well that need some serious experience
to pull of… we collaborated with Simmod in the United States to show you the benefits
and beauty of a professional modding of the Canon FD This is our dream set after it came back from
modding. We got focus gears, and front ring sizes are
unified to 80mm… a common size for smaller cine lenses and really practical if you want
to attach a matte box. Of course, the lenses are declicked and dampened
for smooth aperture operation. The most important part of the modding is
probably the mount exchange to EF. Simmod is the only service that has mount
exchange for the aspherical on the menu The extreme high speed of the aspherical require
a short flange and that means that that the optical elements of the original mount are
already inside the mount… and this is where you see why mount exchange on these lenses
is especially difficult – irreplaceable parts can easily be damaged – and that is
why it should be handled by a professional service like Simmod to begin with. A beautiful lens deserves a beautiful finish,
all lenses got machined aluminum caps with our tailor made designs. If you like this design, all our higher tier
members will find files for these in this episodes action pack… and if you need them
for other focal lengths or with your companies logo… hit us up per mail or in our closed
facebook group. But Simmod can do more than meets the eye…
the lenses have been re-greased. After decades of use, some lenses can get
a little rough to focus and that can be problem using weaker focus motors. The re-greasing can makes operation smooth
again. A fair warning… not all lenses can be made
smooth again. If the barrel is warped, no grease will help. Never send a wreck to modding, it is not a
repair… but a refinement that should be applied to only the best lenses one can find. I especially want to mention the calibration
service. The infinity markings on the focus ring usually
never really hit infinity… making the hard stop of a manual lens only halve as good. Simmod can re-calibrate the alignment of the
focus barrel, so your infinity hard stop is actually spot on infinity. A full service by Simmod like the one we got…
including mounts, gears, caps, calibration… the whole shebang… will cost around 200$
per lens… depending on the lens. But as Simmod is just as nice as they are
professional, you can use the code “media-division” during checkout, and you will get 25% off
the original price in the two month. You can find the link to Simmod and and the
sales code in the description. Thank you Simmod for your support and for
giving our dream set all new professional features. media-division 25% off until October 15th We totally understand, that if you only spent
50 dollars on a lens, you will probably hesitate to spend 200 dollars on professional modding
service. Unfortunately there are only very few “Do
it yourself” kits around. One “go to” address was EdMika in the
past… Simmod will sell these kits in the Future,
but only to lens service professionals and expert users under restrictions. One option is the quite costly kits from FDtoEF. They charge 151 dollars for SSC kits and 131
dollars for new FD kits… and… they have no options for the Asphericals. They do come chipped for data but that is
hardly worth the premium. If you add the costs of focus gears and front
rings… not to mention your time, a full Simmod service has to be the recommended option. For those of you that might be in a country
where you can’t send your lenses to the USA, we will show very briefly the DIY exchange
of the mount, declicking, and addition of focus gears to a Canon FD S.S.C 55mm f1.2
using a FDtoEF mount kit and gears by followfocusgears.com Conversion Video There is also a 3D printed version available
on Shapeways – but… we are not convinced that that is a good idea. You will need the usual gear, screwdrivers
– preferably magnetic, some tweezer, a light helicoid grease and a strong nyogel for the
iris ring, and cleaning products. As always, everything you do to your lens
is on your own risk… and lens modding is risky… don’t come here and cry if something
went wrong. First, we will have to remove the mount…
there are two small screws on the side of the chrome part… only remove those, if you
are sure you want to exchange the mount permanently. if you just want to declick the lens, turn
the chrome element to reveal three screws underneath… remove those screws. Now you can lift the whole mount off in one
pice. If you choose to remove the tiny screws on
the side, a nose will fall off, that is quite hard to put back in. If you DO want to exchange the mount permanently,
removing the tiny screws will allow to screw the chrome part of the mount and give easier
access to the large screws underneath. Remove the three large screws, now you can
lift off the lower part of the mount. These two screws hold a metal plate that keeps
the focus ring in place… remove screws and plate. Now you can remove the iris ring. There are two little metal balls and tiny
springs in these two holes… remove balls and springs with your tweezers. For the dampening, we show you a little trick,
that allows you to give the Iris ring exactly the resistance you want. First, put some light grease on the lower
plateau of the iris ring. Now take the nyogel, and put a couple of small
dots around the same platform… spread that out evenly. Put the ring back on, and see, if the resistance
suits you… if it is to light, put some more dots of nyogel around and repeat until you
got it right. If it is to much resistance, clean the ring
and start over. Remove any access grease. Put the metal plate back in place and screw
it in. Now it is time to put on the EF mount. This is a FDtoEF kit and betides the bayonett
itself, it comes with shorter screws and a small plastic part. We start by removing this little metal part
held by two screws. As you can see, this little fork is moving
the iris, and it will have to be attached to the part that had the metal piece attached. We attach the plastic part that came with
the mount, it is important, that the ring holds is only attached to the nearer one of
the forks pins. Use the two screw wholes to screw in the plastic
part in. Iris ring and Iris are now permanently attached
to each other … and fully manual. Place the EF Bayonett on the lens and attach
it with the screws that came with the mount. You can attach 3D printed seamless gears,
like the ones that followfocusgears.com offers. Just slip them over the focus ring. The poor man uses a simple step up ring to
unify the front sizes… we like 77mm, as this will cover all from sizes, and you still
find cheap photo equipment to fit those. Done… is the Do it Yourself cine mod. The 55mm SSC f1.2 now fits an EF mount, allows
to use a focus motor and has a ceclicked and smooth iris ring Do it yourself or professional modding … The
gears of the modded lens will allow us to use a follow focus or a focus motor… the
focus barrel extends during focussing and even though, that is just a little, it brings
some problems. The gears have to be wide enough, and the
motor has to be set carefully, so the gears don’t just spin off. Simmod gears are reasonably wide and set in
the exacts same position, so you don’t have to reposition your follow focus or motor after
each lens change. The real problem is, when you want to attach
a matte box. You basically have two options. You can use a larger matte box with a flexible
lens attachment… like the Arri MMB2 offers one, but it will take ages to swap lenses. For a compact lenses like the Canon FD, it
makes sense to use an ultralight matte box, that clamps directly to the lens front, and
therefor extends with the lens. As professionals, we like to use our wide
4×5.65 cine filters. There are only few options for that , like
the Bright Tangerine Atom, that costs about 330$… a bit much for a glorified filter
holder. Thank good Tilta released the Mini Matte Box. It is a very well through product and only
costs 99$. It comes with mounting options for different
lens thread sizes, a 15mm rod holder, and a carbon top flag. Without a filter it weights only 140g with
a small donut, it works on the 80mm front rings… just perfect for our modded dream
set. With the adapter rings you can easily clamp
it on lenses without a modding. We love the little details that Tilta put
in to make life easier. The top flag has a practical locking mechanism…
a feature we miss on much more expensive matte boxes. You can slide a 4x4 or a 4x5.65 filter inside
the mount, and a safety pin will hold it in place… even if you choose to use it on a
rollercoaster. While the filter is inside, the top flag with
the locking mechanism doubles as protection. With the Matte Box attached and our favourite
Pro Mist filter inside, you barely feel the extra weight… and that means, that it doesn’t
put significant stress on the focus barrel of the lens… focusing with a focus motor
still works. We use the Tilta Nucleus N here that is also
a very affordable and simple solution that we can recommend for vintage lenses, as the
remapping will allow to set an extra long focus through… when you need it. There is always a grain of salt… from the
lenses of our dreamiest… the 24mm has a rotation front element, that means, that an
attached matte box will rotate while focussing… besides the weird look, the wide field of
view of the 24mm will show vignetting with the rotation matte box, making this solution
unusable for the most part… if you don’t have a camera that has built in ND od a short
flange to fit an ND filter behind the lens, Simmod offers a nice vary ND, that fits the
80mm front rings perfectly. Still, the Tilta mini Matte Box is an ideal
companion for the FD and for all vintage lenses… as long as you only require one stage, but
two stages with filters might put too much stress on the focus barrel. Well done Tilta… thank you for letting us
review the mini Matte Box… and if you want to grab one, there is a link in the description. If we talk about Canon FD, we will have to
talk about… radiation. Some lenses we are talking about are radioactive
due to the inclusion of thorium dioxide. Let’s talk about why they use thorium, what
that means, how to deal with side effects, and of course, if they are a hazard to your
health. Like many other brands, Canon used Thorium
to spike lens elements. Thorium is an abundant, naturally-occurring,
radioactive metal. If mixed into the glass, it changes the index
of refraction of glass while maintaining size and thickness as well as low dispersion. This allows for low aberration and distortion
with simpler, lighter and cheaper designs. The amount of thorium inside the glass is
much higher than one would expect considering that thorium is a metal… an opaque… it
can contain up to 30% by weight in thorium. Thorium was replaced with other materials
after international treaties banned it from the mid 70s due to… you guess it… health
concerns. From the lenses we present to you in this
episode, two use thoriated glass, and they are both lenses of our dream set. The 55mm f1.2 S.S.C. Aspherical and the 35mm f2 S.S.C. with Concave
front element – that are the serial numbers below 100.000 – are radioactive. Also radioactive are the following lenses
from the FL/FD lineup: From the K35 lineup the following lenses are
reported to be radioactive As you can see… all nFD, including the L
lenses have abandoned thorium and are therefor not radioactive. Using a Geiger counter we can measure Counts
per minute, or short CPM to evaluate the strength and origin of the radiation. The 35mm f2 S.S.C. concave reads 524 CPM on
the front……… and 1422 CPM on the rear element. This is considered moderate radiation
The 55mm f1.2 S.S.C. Aspherical on the other hand is a real bad
boy. It is the lens with the third strongest radiation
among vintage lenses. From the rear it reads 6226 CPM……… and
from the front a whooping 33251 CPM… that is 23 times worth the radiation of the 35mm Can we put this in perspective to understand
the probable effects on your health. We all know, that high doses of radiation
can cause serious health problems including a heightened risk for developing cancer later
in life. A high enough dose is deadly. The amount of time while radiation is absorbed
is crucial. We use “Roentgen Equivalent Man”, or short
“rem”, to evaluate the effect of radiation on a human body. One rem carries with it a 0.05% chance of
eventually developing cancer. Doses greater than 100 rem received over a
short time period are likely to cause acute radiation syndrome………… and… death So, how much rem does a 55mm f1.2 S.S.C. Aspherical and presumably the k35 55mm leave
in the body? If you would hold the lens front directly
on to your head, and you would leave it there for one hour… you would receive a dose of
something like 10 mrem. That dose is equal to what the body absorbed
during a dental x-rays or a transatlantic flight…. in only one hour Thorium 232 is an alpha emitter. Alpha radiation can be easily shielded, even
with a lens cap… or, human skin. Alpha emitters are more problematic when ingested. Unfortunately, the decay chain includes progeny
isotopes that are beta and gamma emitters. While this sound dramatic… a Swedish study
from 2013 using a way less radioactive Zeiss Tessar, came to the conclusion that with typical
usage for an average professional photographer, this adds up to a mere 0.2% of the maximum
annual radiation dose to the eye, allowed by the conservative Swedish Radiation Protection
Authority. That would mean that even with the bad boy
Canon 55mm you would easily remain in safe waters. I had the chance to talk to my radiologist
about the subject. Gamma radiation decreases just like visible
light by the inverse-square law, so intensity decreases to a quarter if we double the distance. With a distance from two meters, radiation
from the lens will likely drop below the natural background radiation. To make it short… don’t sleep on your
lens and don’t store it in close proximity to humans or animals. If you break the lens, don’t inhale or ingest
particles. Don’t throw it in the trash. With this in mind, you are good to go! A little disclaimer: Keep in mind that we
are neither experts on radiation nor on the related medicine. We are aware that CPM is not easily converted
to rem and that there are better more complex and conclusive methods to determine radiation
effects. We used the rule of thumb calculations of
advisors that have done radioactive measurements in a more scientific fashion. For here and now this shall do. After we are clear on the health… does the
radiation harm your cameras sensor? Radiation has been reported to damage sensors
over time when used in nuclear power plants and in space probes. In both scenarios the radiation is higher
by multitudes. We have no report of thoriated lenses causing
damage to a modern CMOS sensor, but we suggest not to leave radioactive lenses on your cam
during long term storage. Thorium 232 has a half-life of about 14 billion
years… so, don’t hope for the lenses to be less hazardous any time soon, but that
also means that you don’t have to worry about radioactive decay influencing the integrity
of the element…… Unfortunately, the radiation causes crystallographic
defects also known as F-center over time……… that means the glass of the element develops
an amber tint. Besides the obvious shift in the color reproduction
this will also reduce the light transmission – so your lens is not as bright as it could
be. Some consider this tint as a vintage characteristic,
but as it is not intended by the designer, we like to compare it to rust on classic car
– hardly desirable. Luckily, there is a cure … and what might
be this miracle cure for radiation damage… you guessed it. IKEA
Well… it is UV light that shines directly into the lens. It is important to use cold light sources,
as hot light might change the viscosity of the grease in the lens… and that means that
the grease will run in places where you don’t want it. LED with a high UV output are the ideal source. IKEA produces the Jansjö LED lamp that is
rumoured to have a decent enough UV output while being dirt cheap and practical… let’s
test that. Our 35mm Concave had very little but still
noticeable yellow cast. As we know from the measurements, the rear
elements are causing the tint, so we place the lens head down a tiny hand mirror. This will bounce the UV light around the lens
to enhance the effectiveness. Now we place the head of Jansjö above the
rear element… and leave it there for a long long time. Of course, you don’t have to rotate the
lens… it just looks cooler to film. After 48 hours we where able to see a little
improvement. For good measure, we treated the lens for
a whole week and the result is a lens that has no meaningful tint – this seems to prove
the rumoured effectiveness of Jansjö, though it works at glacier speed. Our last part is our buyer guide, in which
we let you know what we talk about value, price development, and which lens is suitable
for which user. We also consider the best ways to acquire
lenses, and how to spot counterfeit lenses. Like we already mentioned in our Canon FD
overview, one of the key benefits of the lens range is that you can find a lot of very affordable
starting points to built a set. You could just go and buy a 50$ nFD 50mm f1.4
to see, if you like the look. In the slower range you can than add cheap
options for longer and shorter local lengths. In terms of format, the Canon FD lineup is
– like most vintage systems – weaker and costly on the wider end. We recommend using a focal reducer when possible. Unfortunately On Micro four thirds, there
is no native FD XL speed booster. Be aware that the 85mm f1.2 does not fit the
EF speed booster ultra as the lens elects touch each other. While it is always “nice” to have a dream
set with the aspherical, or the Ls, or something comparable, I hope we have shown to you, that
you don’t need those to create an appealing image. The Canon FD can be very very budget friendly,
and you can create images with these, that are just as beautiful, as the expensive ones
– and maybe… down the road… there will come a time to improve your set. IF an expensive set is your hearts desire
and you have the resources… by all means, go for it. These lenses are truly timeless, and as Thorium
is, and will stay a thing of the past, these lenses will remain unique and their supply
limited. If prices will go up or down is as hard to
predict as the stock market and depend a lot on the future of independent filmmaking in
an ever changing marked place. The prices are quite high for the unicorn
lenses already, but some lenses just keep going up. We say: There are safer investments if you
want that. If you want to gamble? gamble!… if you fell in love with an image,
a lens has its own reward… buy accordingly. In any case… links to all lenses from this
episode and beyond, and to all the gear and services that you could possibly need, are
in the description. Of course, there is nothing better than to
look at the state of a lens yourself and to negotiate the price in person… if you are
good at it. The ideal way to set you up for that is to
visit a fair… but, who has time for that. Besides that the obvious and best source for
vintage lens is ebay. Ebay also gives you some safety agains fraud. If you buy on ebay, always look for offerings
that are inside the same free trade zone that you are in. Importing lenses from other countries can
be painful and expensive especially with higher priced goods. Diffrent countries will have diffrent import
rules and taxes. Unfortunately, the lens you are looking for
might not be available in your trade zone. Carriers like DHL and FedEX have a service
that can make the import less time consuming… but more expensive. Especially Canon lenses are commonly offered
by professional Japanese dealers. Luckily, most of these dealers know what they
are doing but they also know the value of a lens, so don’t expect to make a bargain
there. If you can… buy locally… that also helps
when you are unhappy with your purchase, for example if you find scratches or fungus, that
wasn’t mentioned in the product description. Ebay also gives you a good overview for what
price a lens is traded at the time. If a lens has been up for a while and you
want it, it is always a good idea to make a reasonable offer below the asking price
first. We often got the lens we wanted considerably
cheaper than the listed price. Over many years of trading lenses on Ebay,
we didn’t have a bad experience so far. A list with ebay links to lenses we show or
talk about in this episode is in the description. These are affiliate links. If you use them, it doesn’t cost you more,
but we get a little something for our tip-jar. So, if this episode made you purchase a lens,
consider to use one of those links… than ks a lot. There are reported sales of counterfeit Canon
FD S.S.C. Aspherical lenses… specifically, the 55mm
f1.2. The problem is, that there is the non-Aspherical
55mm f1.2 that looks almost identical on the first look. The only really obvious difference is the
name plate inside the front, that marks the lens as Aspherical… or not. The ring can be removed and swapped with the
simplest of tools and without special expertise. All a crook has to do, is to reproduce the
ring of an 55mm aspherical and buy a couple of cheap non-asphericals… he can than resale
for a massive price bump. There are ways to easily tell the difference
when you have both versions next to each other… the aspherical is slightly longer with a wider
space above the focus ring… but when do you have both next to each other… especially
with an online offer? Here is a little trick… ask the seller to
send you a photo of the side of the lens… like here… but turned, until the 0.6 meter
mark is barely visible on the right side. If you can now see the feet and meter markings
on the left side it is indeed an aspherical… if you don’t see markings… this is a non-aspherical
and worth a fraction. It is time to say thank you to everybody that
make episodes as complex as this one possible We would like to thank all the Partners that
collaborated with us to make this episode possible … please give them your love! Filmconvert, for sponsoring this episode and
their awesome film emulation Nitrate. Simmod, for modding our lenses, Benjamin Dowie
for giving us his input from a filmmakers point of view.… and P+S Technik for giving
us some insights of K35 lenses… literally. You can find links to their products and services
in the description. Thank you to Christopher for playing the fallen
man… always a pleasure shooting with you! I would also like to give my warmest thank
you to Patrick West Newman for shooting the Canon S.C. and Canon FD L to match our setup,
and Dan Edser for his Photos of the Chrome noses… your contributions are essential
for our work! Most of all I want to say thank you to all
our Members. Our Kubrick Members deserve a special shout
out. During the final days of this production,
the following Kubrick Members supported the Creation of this episode … Thank you Kubrick Members… May the odds be ever in your favour. And thank you to our Lynch and Scott tier
Members as well… you make it possible. Give us a like if you think we deserve one,
leave us your thoughts in the comments, visit us on Instagram and in our Facebook Group…
and please consider becoming an active supporter yourself by joining one of our Membership
tiers. The making of the Aliens “spoof” and and
action pack with files are waiting for Lynch and Kubrick members. This is Nikolas… signing out with nerdalicious wishes… shoot something amazing!
