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The 35-III has a Cinematography Electronics Accessory Block on the right side of the camera. I'm wondering if this might mean that the camera needs more power. I've no instruction manual/s. https://cinemaelec.com/products/35-3accessory_block

I'm pretty sure the power requirements to the camera are identical for both 4 perf and the 2 perf conversion. Both cameras were modified by Bruce McNaughton in Melbourne. I will email him too though I think he's retired now.

It's a bit concerning. Looks like the main fuse to the camera is still fine, since the LED numbers still light up. Could be a secondary fuse or something worse. I've emailed Cameraquip in Melbourne to ask some questions as they rent these models. Hopefully Dom might be able to help me out too with some advice. Might have to send the camera off to someone to see what could be wrong. In the meantime I'm thinking of first trying a 16V battery -- unless that's not advisable.

Update: Lowering the asking price to $10,900.

I don't know whether or not being 2 perf affects the amount of power the cameras require, but I have the 4 perf versions of both. My Arri 2c is a 16 volt system. Once you put a mag and film on it, 12 volts may not have enough juice to get it to speed. The Arri III is a 12 volt system, so if it conked out on 12 volts, you may have other issues.

Hi Mark, 1/40 s at 24fps makes sense as the shutter seems to have a 207° opening. No offense regarding the light meter. I only noticed that the production of the camera started before the „ASA update“. Hence, you might have used a light meter that came with the camera and that is as old as or even older than the camera. Does anyone know the differences in developing B&W reversal? At least Andec is processing the Kodak-reversal filmstocks separately from Foma/ORWO/Russian stocks. When the lab has mistaken your Kodak-film with ORWO-film, it might be a problem caused by them… (But that’s just a wild guess. I have not got any clue about developing.)

I am also willing to do some exchanges if anyone is ok with it. I can offer longer, thicker more expensive 19mm rods. Either Element Technica 19mm rods lengths 24 inches Or Stainless Steel Rods 19mm lengths 24 inches or 18 inches Looking to trade in addition to purchasing! Thank you so much! See pic below. eastco@gmail.com

I used 1/40th of a second exposure for 24FPS on the 70DR. I measured exposure with a modern Gossen Digital Luna Pro F at the cinema settings and the ambient dome. I know the meter is accurate from previous results. Mark Mark Eastman Palo Alto, California

I just had this serviced for a run/stop issue at AZ Spectrum - he also replaced the drive belt - and had it CLA'd at TCS where they adjusted the ground glass, tightened the clutches on the magazines, and fixed up the lens - so it's in great working shape. I just don't use it enough to justify keeping it. I'm in NYC so any local buyers are welcome to come check it out. Comes with the following: Custom Pelican 1635 AIR Case Super 16mm SR2 Body with HD-SDI Video Tap (3x) 400' Mags with collapsible cores Angenieux 15-150 T3.1 Lens Custom Top plate with nato handle Gold Mount Plate Cinematography Electronics Speed Controller II 15mm Rail Block Magnifying Viewfinder Dumb side cheeseplate 15mm Rail Block Pistol Grip Shoulder Pad 15mm dovetail baseplate I'd love to get $14,000 for this - it's a great, complete kit that's finally got all the kinks worked out mechanically. Open to offers so if you're interested shoot me a message and we can chat.

$2500

Hi guys i hope everyone is ok. i have summulix set and i wanna swap them minimum 26x master prime set . lenses are MINT CONDITION. please lemme know if someone interested naltinisik47@gmail.com thank you

Is your Camera still for sale?

If the camera’s shutter speed was „off enough“ to produce 2-3 f-stops overexposure, then the camera would have to also record the actual transport of the film. (Underexposure is a different topic, especially when using cameras with a variable shutter that might be damaged or that might have been accidentally ignored when setting the f-stop.) What shutter speed did you calculate with? Which lightmeter did you use? Was it designed before 1960, when the ASA-rating-system was drastically changed (ASA PH2.5-1960)? And are you sure that it’s using an ASA-scale (instead of Weston, GE, Scheiner, DIN, GOST, ISO, …)?

Hey everyone! I'm selling this Iscorama 54 MC Anamorphic Adapter with 1.5x Squeeze factor. The glass is in a perfect condition, no minor scratches or fungus. You can use it as a single Focus attachment with your taking lens. Shipping worldwide. Price: 2500 Euros

Thanks for all the replies and advice everyone. Thanks Bob, I used the filmfabriek here so I could push the RGB light source, I balanced it to be peak white. I've tried some colouring in resolve but I'm not that skilled, and it just takes away from the other colour of the film. I took some of the leader where the dye had also pressed into it, I couldn't get it out with any alcohol (iso and ethanol) and water. But it could be different to the film base. I could try steal some from the tail. It might be something I just have to leave as is. Just do the best scan I can. Maybe someone down the track can do some further work on the files

For the very first time I got a 2perf 2C powered up and running today. I've got film in the fridge and am gearing up to film a short narrative film/camera and lens test. I recently bought a 12v battery from Du-all. Tonight I connected the 2C to the battery and the camera ran fine. No mag or film -- just the empty camera body. So far, so good. I also connected the same 12v battery to a 2perf 35-3 which ran for just a bit (with, I thought, maybe a slightly anaemic running sound). When I stopped the camera and then later attempted to run it again it didn't run at all. The red LED lights that show the fps etc were lit up, but no movement from the motor at all. I think I remember that the 35-3 requires more power than the 2C. Would another battery be in order? For example, a 16v?

Surprised by joy

Bump...

Does that mean that you’re timing with printer lights? sounds like you’re in the process of creating a show print the old school way… or am I wrong?

FPP 40 is Kodak Plus-X reversal. There was also Plus-X negative film. ORWO U(niversal) N(egative) type 54 reverse processed would yield an effective sensitivity of ISO 200. The Kodak reversal films PXR, TXR, and 4XR are negative stocks with a few changes to them. They are coated on blue or grey triacetate base, which didn’t hurt with TV but covers detail in the brightest areas at projection. You can reverse every negative film but you can’t develop any reversal stock to a negative. For instance, Fomapan R(eversal) 100 that has a pure silver layer between base and photographic coating turns out black after simple development. The silver needs to be bleached and dissolved out to free the image. What’s the purpose of this silver layer? The same as the dyed film base, it’s a halo protection. What is halo? The effect is known since glass plate photography was begun, the unwanted glow around highlights caused by excess light bouncing back from the first and from the second glass surfaces into the photographic layer. If you shoot on print film such as Kodak 2302/3302 or ORWO PF 2 you have that. Please, newbies, read some books.

I was just scanning a 35mm feature IP today, they are interesting as they have allot of the final look in there but still need to be timed shot to shot. And they have excellent range and resolution while still being a positive image.

Most scanners these days have pretty sophisticated RGB LED lamps which can be calibrated to any RGB balance making the filter unnecessary. Doing a good 4K scan which is un-clipped and then trying to work on the base to remove the transferred dye. I would suggest finding a section at the head or tail to experiment on. Start with alcohol and move up in solvent strength to see if anything works.

You’re saying FPP 40 is Plus-X or it’s UN 54?

Cool, thanks so much for your response. Yeah I was wondering if it was something like an interpositive considering PTA still works in a photochemical post workflow/film dailies.

Some of this could be Interpositives being scanned as they have much more detail and latitude. That said you can scan a print and they can look great especially 35mm prints, the look is just more baked in.