What camera should i rent?

[Mr. Macgregor]

Hi all. In two weeks we will start filming a shortfilm for which i need a camera:

 

- capable of 3 perf (2 perf would be wonderfull)

- super 35mm

- as lighter as possible since the director wants as many hand held shots as possible (last time i almost died with a 435 in my shoulder for only 10 minutes)

- we need to record sound, so a quiet camera is a must (unless there is no other option than dubbing later)

- capable of slow motion (60 fps)

- variable shutter settings with easy access or electronic control.

- cheap to rent :D

 

So the arri lite would be perfect, but it only gets up to 40fps if i remember well.

A BL4 is not too bad for shoulder mount, but i think it is not easy/fast to change shutter angle.

A 535 is far to heavy.

Arri 2C is too old and too much window movement, besides nooooise.

 

I have never used aaton/moviecam, so i dont know if there is something to choose from.

 

What do you think?

Edited September 17, 2006 by Mr. Macgregor

[David Mullen ASC]

There aren't a lot of cheap options. I'm afraid that indie folks shooting sync-sound 35mm generally have to live with hefting a heavier camera rather than use all the new lightweight sync-sound camera options.

 

The Moviecam Compact would be good all-around compromise if you can live with 50 fps as a top frame rate. And if you can find a 3-perf version to rent.

 

Otherwise, if you really need 60 fps from a sync-sound 35mm camera, you're talking about the Arri 535B, or an Arricam.

 

If you can live with 40 fps as a top rate, the Moviecam SL and Aaton 35-III are lightweight sync-sound cameras designed for handheld / Steadicam, just a bit noisier than the typical sync-sound camera:

 

http://www.aaton.com/products/film/35/35specs.php

http://www.moviecam.at/international/html_...ameras/sl.html#

 

There is also the Panavision Panaflex Millenium XL2, which goes up to 50 fps, but is not cheap -- more in the same rental price category as a Arricam Lite.

[Chayse Irvin ASC, CSC]

There aren't a lot of cheap options. I'm afraid that indie folks shooting sync-sound 35mm generally have to live with hefting a heavier camera rather than use all the new lightweight sync-sound camera options.

 

The Moviecam Compact would be good all-around compromise if you can live with 50 fps as a top frame rate. And if you can find a 3-perf version to rent.

 

Otherwise, if you really need 60 fps from a sync-sound 35mm camera, you're talking about the Arri 535B, or an Arricam.

 

If you can live with 40 fps as a top rate, the Moviecam SL and Aaton 35-III are lightweight sync-sound cameras designed for handheld / Steadicam, just a bit noisier than the typical sync-sound camera:

 

http://www.aaton.com/products/film/35/35specs.php

http://www.moviecam.at/international/html_...ameras/sl.html#

 

There is also the Panavision Panaflex Millenium XL2, which goes up to 50 fps, but is not cheap -- more in the same rental price category as a Arricam Lite.

 

I believe Aaton 35-III is the cheapest. But make sure they have it 3 perf because not everyone will and they do get loud... Clairmont Vancouver's one isn't even listed as a sync camera because its so noisy.

Edited September 18, 2006 by Chayse Irvin

[Mr. Macgregor]

PROBLEMS, PROBLEMS, PROBLEMS.

 

There are no 3perf cameras available at the rental house. So I am totally confused now in what to do. This is a shortfilm so the budget is very limited. These are the 2 budgets that the producer forwared to me:

 

Budget 1: 3.650 euro (more or less the same in USD)

 

CAMARA ARRIFLEX 535B (or MOVIECAM COMPACT MK II)

ZEISS T2.1 (16-20-24-32-40-50-85mm.)

O'CONNOR ULTIMATE head

 

Budget 2: 2.200 euro

 

CAMARA ARRIFLEX BL IV

ZEISS T2.1 (16-20-24-32-40-50-85mm.)

O'CONNOR ULTIMATE head

 

 

The final prints will be 2.35 scope.

I prefer to use the Cooke ultra prime S4 instead of these zeiss T2.1. Even i think i would like more the superspeeds if i dont have the chance of using the S4.

 

But still we would be filming 4 perf spherical super 35mm when the goal is to go to scope. A pity and waste of film.

 

The rental house gave me the possibility of renting a ULTRASCOPE T2.2 lense set (35, 40, 50, 75 and 100mm) which i have no idea how they will perform. Probably and old and not a very high quality glass. Still, does it make sense to with the higher definition anamorphic workflow with the ultrascope or to shoot s35mm with the S4?

 

Thanks

Edited September 18, 2006 by Mr. Macgregor

[Adam Frisch FSF]

One of the best lightweight options is the Moviecam SL - it's still one of the lightest 35mm cameras ever made and a pleasure to handhold.

 

As for choices; The BL4's are good, solid cameras and can do most things a 535 can do - save the money and spend it on something else instead. The Zeiss T2.1's are also not to be knocked - they're one of my favourite lenses to shoot. Sharp, small, lightweight (the S4's are huge and weigh a ton without really being any sharper) and come in a nice range.

 

Never heard of the Ultrascope. But scope is of course always nice.

[Brad Grimmett]

(last time i almost died with a 435 in my shoulder for only 10 minutes)

 

A BL4 is not too bad for shoulder mount, but i think it is not easy/fast to change shutter angle.

A 535 is far to heavy.

 

I have never used aaton/moviecam, so i dont know if there is something to choose from.

 

What do you think?

First off, a BL4 is heavier than a 535B. And if you almost died from handholding a 435 for ten minutes then you shouldn't even consider a BL4 or 535. They are both much heavier than a 435. The Moviecam SL is my favorite camera to handhold because of it's weight and ergonomics. I'd push for the SL if you can. I don't mind handholding a BL4 or 535, but they may not be good options for you considering your last experience with the 435.

Good luck.

[Andy Sparaco SOC]

Just finished a TV commercial with the aaton 3. Very hand holdable. With super speeds/ or standard primes and a improvised barney a capable sync sound camera. Especially with very directional mics and a tweek in post with audio software like Soundsoap. Like the MoviecamSL also but the ergonomics of the aaton 3 "the cat on the shoulder" feel is superior.

 

3 perf is tough not a lot of cameras available yet, two perf impossible

[Max Jacoby]

UltraScope are lenses made in the 50s and not compareable to modern anamorphic lenses.

[Chayse Irvin ASC, CSC]

PROBLEMS, PROBLEMS, PROBLEMS.

 

There are no 3perf cameras available at the rental house. So I am totally confused now in what to do. This is a shortfilm so the budget is very limited. These are the 2 budgets that the producer forwared to me:

 

Budget 1: 3.650 euro (more or less the same in USD)

 

CAMARA ARRIFLEX 535B (or MOVIECAM COMPACT MK II)

ZEISS T2.1 (16-20-24-32-40-50-85mm.)

O'CONNOR ULTIMATE head

 

Budget 2: 2.200 euro

 

CAMARA ARRIFLEX BL IV

ZEISS T2.1 (16-20-24-32-40-50-85mm.)

O'CONNOR ULTIMATE head

The final prints will be 2.35 scope.

I prefer to use the Cooke ultra prime S4 instead of these zeiss T2.1. Even i think i would like more the superspeeds if i dont have the chance of using the S4.

 

But still we would be filming 4 perf spherical super 35mm when the goal is to go to scope. A pity and waste of film.

 

The rental house gave me the possibility of renting a ULTRASCOPE T2.2 lense set (35, 40, 50, 75 and 100mm) which i have no idea how they will perform. Probably and old and not a very high quality glass. Still, does it make sense to with the higher definition anamorphic workflow with the ultrascope or to shoot s35mm with the S4?

 

Thanks

 

 

You should find out how much not going 3perf is going to end up costing you... because on my last film it translated into lots! We ended up having to shoot S16mm with a SR3.

[Mr. Macgregor]

Thanks to all. Finally the decission is to go with the Arri 435 super35 4 perf (yes, a waste of film) and the zeiss T2.1. Price: 2,500.

[Jon Kukla]

You're using the 435 for sync sound?

[Max Jacoby]

You're using the 435 for sync sound?

That was my first thought too.

[Jonathan Benny]

Thanks to all. Finally the decission is to go with the Arri 435

 

How did you come to such a decision? Are you sure you didn't mean "535"?

 

AJB

[Mr. Macgregor]

How did you come to such a decision? Are you sure you didn't mean "535"?

 

AJB

 

 

Yes, no sync sound during the filming.

[Mark Henderson]

Yes, no sync sound during the filming.

 

 

2-perf is 1:2.35

3-perf, Super 35 is 1:1.80

 

Mark

[David Mullen ASC]

2-perf Full Aperture (Super) should be approx. .980" x .368" = 2.66 : 1

3-perf Full Aperture (Super) should be approx. .980" x .551" = 1.78 : 1

[Jon Kukla]

Yup, 3p-S35 is 1.78. (Silent gate 4/3 divided by 3/4 perfs = 16/9)