Astronaut Farmer camera on Ebay

[James Steven Beverly]

http://cgi.ebay.com/ARRIFLEX-35-IIC-PACKAG...id=p3286.c0.m14

 

This is an Arri Panavision mount that was supposably used on the The Astronaut Farmer. I would imagine Mr. Mullen would know if it was used on it. I'm just curious as a lot of times Ebay ads "exaggerate" their merchandises pedigree, BUT because it is a PV mount and Farmer was a relatively low budget film that might have used an older Arri, it is possible this camera could have been on the set. Anyone know, again, just outta curiosity as I can't afford it right now but It might be a good deal for someone. B)

Edited August 30, 2009 by James Steven Beverly

[Tim Carroll]

He's relisted the camera because it didn't sell the last time. When it was first listed I contacted David Mullen (because once, after shooting with that camera I believe, he said that if he would ever own a camera, it would be an Arriflex 35 IIC like that one). Anyway, I contacted him and he confirmed that yes it is the camera they used for B-Roll and pick up shots on Astronaut Farmer.

 

So here's someone's chance to own a piece of filmmaking history.

 

Best,

-Tim

[Brian Dzyak]

I think if I wanted to own a piece of cinematic camera history, it would be something like the Citizen Kane camera or Gone With the Wind or maybe even Star Wars! :)

[Paul Bruening]

I think if I wanted to own a piece of cinematic camera history, it would be something like the Citizen Kane camera or Gone With the Wind or maybe even Star Wars! :)

 

I've got the motorized gear head that was used to do the moco FX shots on the original Star Wars. According to Ken Stone, it was one of two that did all the shots that look like big ships flying past the camera. One of the local fellows in town has bragged to people in bars that he's going to steal it. Needless to say, he's not a Trekkie.

[Tim Carroll]

I think if I wanted to own a piece of cinematic camera history, it would be something like the Citizen Kane camera or Gone With the Wind or maybe even Star Wars! :)

 

That's where we're different. I would rather have (if I didn't already own a IIC) something from a production that was DP'd by someone I know and have conversed with for years, and a production that I was able to follow from beginning to end by reading David's production diary. That means something to me because I feel at some level I know the people involved and I followed their journey on this project.

 

Maybe you're more networked than I, but I know no one who was involved on Citizen Kane, Gone With The Wind, or Star Wars (well actually I do know and have worked with Frank Oz, when I was with the Muppets).

 

Best,

-Tim

[David Mullen ASC]

It's a good camera and we got some cool shots with it.

[James Steven Beverly]

My step printer was used on Star Trek TOS and one of my KEM flatbeds was used on The Producers (musical) or so I was told. I suppose people would probably be surprised at what their equipment was used on if they knew. it's kinda cool to know you are somehow connected to a great, rich history and tradition and are carrying that awe inspiring legacy on through your own modest contribution, putting to good use the same tools the greats used. It kinda does give you that "Standing on the shoulders of giants" feeling. :D

[K Borowski]

It's a good camera and we got some cool shots with it.

 

My step printer was used on Star Trek TOS and one of my KEM flatbeds was used on The Producers (musical) or so I was told. I suppose people would probably be surprised at what their equipment was used on if they knew. it's kinda cool to know you are somehow connected to a great, rich history and tradition and are carrying that awe inspiring legacy on through your own modest contribution, putting to good use the same tools the greats used. It kinda does give you that "Standing on the shoulders of giants" feeling. :D

 

While, from a collector's standpoint, I can understand why owning a piece of equipment used in a certain favorite production would make a conversation piece even more interesting, I would not want to buy this camera.

 

A camera is a tool, and having some sort of sentimental bond to it would ultimately interfere with my ability to use said tool.

 

Cameras have been dropped off of buildings, crashed in cars, run over on train tracks, and fallen into giant vats of synthetic chocolate.

 

Granted, this shouldn't be the rule, rather the exception. But this can happen to a camera whenever it comes out of its case.

 

So I wouldnt' want to work with a "famous" camera unless I had to (say an F/0.7 lens) because it would, to some extent, interfere with my ability to use it in adverse situations.

[Hal Smith]

So I wouldnt' want to work with a "famous" camera unless I had to (say an F/0.7 lens) because it would, to some extent, interfere with my ability to use it in adverse situations.

 

I wouldn't rate an Axel Broda maintained PV/PL mount IIC as a hanger queen. Particularly since it was used as recently as "The Astronaut Farmer" by either David or his 2nd unit DP with good results.

 

(Def: Hanger Queen: An aircraft that's always sitting in the corner of the hanger, never in the air, because there's always something wrong with it.)

[Tim O'Connor]

It's a good camera and we got some cool shots with it.

 

 

 

Hi David, hope that you're doing well.

 

Why would the IIC be the camera to own if you were to own one camera? Speaking of which, I see them

for sale from time to time at decent prices. I would love to have one. If I ever did pick one up, and could start off

with one lens only for a while, what lens would you recommend? Is there a particular zoom for that camera that would be the

best lens to look for to use as a v. prime for a time?

 

 

As far as sentiment about cameras, I have a pretty good collection of cameras that I have picked up because they mean

something to me. Most of them I have got really inexpensively because I have bought them in nonworking but good cosmetic

shape. Most are film cameras but I came across a JVC three tube camera a couple weeks ago of the type that I used 20 years

ago. I have no desire to use a tube camera now but it's a blast to have. It's bright orange and it reminds me of fun times and

I enjoy having it, plus it's a good 80s prop. For that kind of fun, it was worth 25 bucks to me.

 

 

If I could have one thing that appeared in a movie (going way off thread here I guess) it would be the '32 Ford

from "American Graffitti".

[David Mullen ASC]

The Arri-2C is a good MOS camera, but it's not meant for sound shooting. I don't know if Theo is selling it with the crystal sync motor or not, or just a constant speed motor.

 

I'd probably look for a small set of primes for it.

[Tim O'Connor]

The Arri-2C is a good MOS camera, but it's not meant for sound shooting. I don't know if Theo is selling it with the crystal sync motor or not, or just a constant speed motor.

 

I'd probably look for a small set of primes for it.

 

 

Thank you, I greatly appreciate the advice. If I do come across a really good deal; I'm going to start putting a lot of

short ends to good use!

[James Steven Beverly]

If I could have one thing that appeared in a movie (going way off thread here I guess) it would be the '32 Ford

from "American Graffitti".

 

:lol: My brother built one, an almost exact replica while working for Don Davis Race Cars. http://www.dondavisracecars.com/ It came out great. He ended up selling it to open a place in Ruidoso New Mexico called Hot Rod Dreams. My OTHER brother built a 32 convertible which He still owns. I, however never had one. Best I can boast is a bad ass little disco vette I put togethe a couple of years ago, not really the same thing though, :D

Edited September 5, 2009 by James Steven Beverly

[Tim O'Connor]

:lol: My brother built one, an almost exact replica while working for Don Davis Race Cars. http://www.dondavisracecars.com/ It came out great. He ended up selling it to open a place in Ruidoso New Mexico called Hot Rod Dreams. My OTHER brother built a 32 convertible which He still owns. I, however never had one. Best I can boast is a bad ass little disco vette I put togethe a couple of years ago, not really the same thing though, :D

 

 

Cool link, thanks. All great cars. Any of them make it into one of your productions?

[Jerry Murrel]

Hi David, hope that you're doing well.

 

Why would the IIC be the camera to own if you were to own one camera? Speaking of which, I see them

for sale from time to time at decent prices. I would love to have one. If I ever did pick one up, and could start off

with one lens only for a while, what lens would you recommend? Is there a particular zoom for that camera that would be the

best lens to look for to use as a v. prime for a time?

 

 

As far as sentiment about cameras, I have a pretty good collection of cameras that I have picked up because they mean

something to me. Most of them I have got really inexpensively because I have bought them in nonworking but good cosmetic

shape. Most are film cameras but I came across a JVC three tube camera a couple weeks ago of the type that I used 20 years

ago. I have no desire to use a tube camera now but it's a blast to have. It's bright orange and it reminds me of fun times and

I enjoy having it, plus it's a good 80s prop. For that kind of fun, it was worth 25 bucks to me.

 

 

If I could have one thing that appeared in a movie (going way off thread here I guess) it would be the '32 Ford

from "American Graffitti".

[James Steven Beverly]

Cool link, thanks. All great cars. Any of them make it into one of your productions?

Not yet, but I do have a script based on my brother's experienced in bracket drag racing that would be perfect for featuring them. BTW, that shop is in the same complex as my studio :D In fact, I'm gonna have Russell, the guy running it now, help me fabricate a hostess tray camera mount and an adapter for mating my Kinor 35H base-plate with my Aranda 35C Rotovision. His exact quote was "We build $100,000 dollar race cars, I think we can build an adapter for you." It is a very cool place. B)

Edited September 6, 2009 by James Steven Beverly

[Tim O'Connor]

Not yet, but I do have a script based on my brother's experienced in bracket drag racing that would be perfect for featuring them. BTW, that shop is in the same complex as my studio :D In fact, I'm gonna have Russell, the guy running it now, help me fabricate a hostess tray camera mount and an adapter for mating my Kinor 35H base-plate with my Aranda 35C Rotovision. His exact quote was "We build $100,000 dollar race cars, I think we can build an adapter for you." It is a very cool place. B)

 

 

Your script sounds great. We have New England Dragway in Eoping, N.H. and I've shot up there many

times. Bracket racing levels the field for a lot of people without endless $ but with great skills and passion.

We need more good drag racing movies!

[James Steven Beverly]

Yeah, it is kinda a cool idea, even if I do say so myself. Probably take a little more money than I can get ahold of at this point. One thing, we do have a track that is not operating right now, I could probably get for a song. Gotta get Blood Moon Rising financed first though. B)

[James Steven Beverly]

HA. I mention this idea to Russell today, he though the idea was pretty cool. I'm fairly certain their cooperation would be a given. The really great thing is these cars are incredibly well built and absolutely beautiful. They would add a lot of production value to this kind of project. B)

[Tim O'Connor]

Yeah, it is kinda a cool idea, even if I do say so myself. Probably take a little more money than I can get ahold of at this point. One thing, we do have a track that is not operating right now, I could probably get for a song. Gotta get Blood Moon Rising financed first though. B)

 

 

 

Talked for an hour tonight with a guy in Dunkin' Donuts parking lot driving a steel body (not a kit) '32 5 window Ford Coupe. He said

that that guy who made "American Graffitti" got it exactly right; that things were exactly like that. I've heard that from lots of people.

 

It's funny. "American Graffitti was actually a fairly low budgeted studio picture that got made because Francis Coppola agreed to work

as line producer and make sure that it came in on budget. It did come in on time and on budget although it was a grueling shoot. For

a while it was the most profitable movie made in terms of production dollars spent vs. box office dollars.

 

We talked about how the movie still holds up and also how much we both detest "The Fast and the Furious" which could have been great

if it left out all the stupid hijacking stuff and told a story about the racers. There is an audience for a good car movie I'm sure.

[Hal Smith]

We talked about how the movie still holds up and also how much we both detest "The Fast and the Furious" which could have been great

if it left out all the stupid hijacking stuff and told a story about the racers. There is an audience for a good car movie I'm sure.

 

Movies just don't come close to putting an audience into a racer's world. I raced sports cars pretty successfully for twelve years and the only film I've ever seen that came close to what it's like to be in a race is the first shot of one of the races in "Grand Prix". That's the shot where they started the GT40 camera car at the rear of the grid at a real Formula One race, I believe Spa. There's cars flying all over the place, chunks of rubber in the air, smoke, just plain general chaos. That my friends is what it's like, I still have a movie I can replay in my mind of the year I start seventh overall in the big iron race at the June Sprints in Elkhart Lake, WS. Unfortunately I blew my Lotus Elan's engine in that race but until it went I was in the G*d-damndest cat fight you ever saw with two Corvettes, a 289 Cobra, and an XKE. And as usual leaving all the Porsches behind which was always the most fun of all, racing $100,000 production racecars with a Lotus I bought as a total for $1800 and fixed. The Porsches had wheels on them that cost more than my car did.

 

We need a modern racing movie where the cars are the stars, not the Hollywood pretty boys.

[Tim O'Connor]

Movies just don't come close to putting an audience into a racer's world. I raced sports cars pretty successfully for twelve years and the only film I've ever seen that came close to what it's like to be in a race is the first shot of one of the races in "Grand Prix". That's the shot where they started the GT40 camera car at the rear of the grid at a real Formula One race, I believe Spa. There's cars flying all over the place, chunks of rubber in the air, smoke, just plain general chaos. That my friends is what it's like, I still have a movie I can replay in my mind of the year I start seventh overall in the big iron race at the June Sprints in Elkhart Lake, WS. Unfortunately I blew my Lotus Elan's engine in that race but until it went I was in the G*d-damndest cat fight you ever saw with two Corvettes, a 289 Cobra, and an XKE. And as usual leaving all the Porsches behind which was always the most fun of all, racing $100,000 production racecars with a Lotus I bought as a total for $1800 and fixed. The Porsches had wheels on them that cost more than my car did.

 

We need a modern racing movie where the cars are the stars, not the Hollywood pretty boys.

 

 

I love it. Independent filmmaking is like racing against the factory team. Racing and filmmaking are often about what can you do to succeed

when you have almost no budget compared to others in the race.

[James Steven Beverly]

That's why I like bracket racing, it evens the odds to a certain extent, as long as you can run your number and cut a light, you can win. I've raced pretty much everything, dirt track, auto-cross and drag but drag racing is the one that stuck. :)

[Paul Bruening]

Movies just don't come close to putting an audience into a racer's world. I raced sports cars pretty successfully for twelve years and the only film I've ever seen that came close to what it's like to be in a race is the first shot of one of the races in "Grand Prix". That's the shot where they started the GT40 camera car at the rear of the grid at a real Formula One race, I believe Spa. There's cars flying all over the place, chunks of rubber in the air, smoke, just plain general chaos. That my friends is what it's like, I still have a movie I can replay in my mind of the year I start seventh overall in the big iron race at the June Sprints in Elkhart Lake, WS. Unfortunately I blew my Lotus Elan's engine in that race but until it went I was in the G*d-damndest cat fight you ever saw with two Corvettes, a 289 Cobra, and an XKE. And as usual leaving all the Porsches behind which was always the most fun of all, racing $100,000 production racecars with a Lotus I bought as a total for $1800 and fixed. The Porsches had wheels on them that cost more than my car did.

 

We need a modern racing movie where the cars are the stars, not the Hollywood pretty boys.

 

I agree, Hal. Gran Prix still takes my breath away. Even those old school robo-pans stay in my mind.

[Brian Rose]

So I wouldnt' want to work with a "famous" camera unless I had to (say an F/0.7 lens) because it would, to some extent, interfere with my ability to use it in adverse situations.

 

Agreed with one exception: I'd give my left nut for a functional process 2 Technicolor camera. Since it used a single strip of B/W, it could still be used today, and I'm sure a nice workflow could be worked out for producing the color digitally. I believe UCLA even used one to shoot a bit of footage for the last, lost reel of "Toll of the Sea."

 

As for one of those beautiful blue Three strip bad boys? How's my first born sound to you? :)

 

BR