Marc Roessler

Sorry, already sold.

9,5 mm 12 mm 16 mm 25 mm 50 mm So, the usual S16 set, as it seems

Available again, for now.

Reserved.

Chrosziel Follow Focus for 15mm rods. Dual sided, with extra set of white marking discs. Comes with extension lever, metal transport case, two sets of lens gears. Works fine, minimal play, less than 1mm at the outer end of the extension lever (at end of black ball) when holding the lens gears fixed. More images on request. 650 Eur

Selling because I'm giving up my film making hobby: Aaton XTR Prod, S16 camera, with PL-Mount, b/w video assist, lit ground glass (frame lines, with adjustable brightness), two 400 ft mags with loop protectors, two batteries with charger, user manual, special allen key for shutter angle adjustment, original wooden Aaton hand grip including connector cable, heated eye piece including connector cable, flight case, two screw in matte box front rods. Can be synced to time code (tested, works) and can expose Aaton-Code to the film. Built in exposure meter that displays exposure in the viewfinder, I've used this quite successfully. Digital battery and mag remaining readout, digitally settable FPS speed, connector for intervalometer hookup. Shutter 180, 172.8, 150, 144 degrees, camera can run 3 to 73 fps, or single frame exposure when controlled with an external intervalometer (not included). I'm also including a set of origial Aaton grease that I ordered some years ago from Aaton, for servicing the camera. Set also includes two leather barneys for 400 and 800 ft magazines. Attached to the camera (removable) there's a NP1 battery adapter, for using the cheap and uniquitous Sony batteries. The NP1 Batteries included with the set are weak but still good for exposing a few meters of film as a test, I'm inlcuding them as an add on, but you will need to get new ones for film projects. I've used this camera for my short film projects, which have been successfully screened at multiple iternational short film festivals (can send links to the films on request). Really a nice camera - relucant to sell it, but it's only sitting around here, as focus of my life has shifted to other things. Issues noteworthy: the two front rods are slightly angled to one side (but still parallel to each other). It's been like this when I bought it myself, with the short rods it all still aligns nicely with the lens, but I guess with longer lenses (large zooms), longer screw in rods would run away from the lens center at some point. Suggest to use a bottom mounted rod adapter for this case, or a clamp on matte box (as I did). No shipping, only local pickup in northern Bavaria/southern Germany. You can of course test the camera here and expose some test films, if you like. 17.000 EUR More images on request.

Set of five S16 Zeiss Superspeeds, Mk2, immaculate condition: no scratches, no spots etc. Including metal case. Selling because I am giving up my film making hobby. 14.500 Eur No shipping, only local pickup in northern Bavaria/southern Germany. More images available on request.

With PL-Mount and Chrosziel Fluid-Zoom drive. With clamp on matte box (for 4x4 filters). Lens is in very good shape, this was my favorite lens to use. Selling because I am giving up my film making hobby. Fluid Zoom drive holder (clamp) is broken and therefore loose, needs to be replaced, removed or fixed for proper operation. More images available on request. Personal pick up very much preferred (northern Bavaria/southern Germany). Will also ship, but pick up is very much encouraged for safe payment and reducing risk oif damage during shipping. 4400 EUR

Hi guys, while browsing through the catalogs of European (German, to be precise) light equipment suppliers I noticed that professional 230V halogen lamps are increasingly hard to find... it almost seems like 240V lamps are the new standard? Does anyone know why? Mains voltage (single phase/phase to neutral) in Europe is still 230V +/-10%, so why are vendors increasingly introducing 240V bulbs? (Or is the manufacturers?) 240V lamps in a 230V (+/-23V) grid are very inconvenient... It's easy to dim down a 230V lamp if voltage is too high. Boosting voltage to 240V is not so simple in comparison... Even assuming mains may be (if we're lucky) at 240V (well within the tolerance range): when pulling a few amps (as is typical at a film set), voltage typically will go down quite a bit due to line losses, moving away from 240 Volts (and making the lamps warmer)... Am I missing anything here? Cheers, Marc

Polyester (aka Estar) base also is problematic with regard to light piping. Not so much of a problem for print film in the lab, but it is a somewhat of a problem for 100' daylight rolls and even when loading 16mm two-chamber mags like Arri or Aaton. The light bounces around within the base and is carried far into the roll, much further than with triacetate stock.

Simon, are you sure about the 1.33 for 35mm? (Or was this only with regard to 16mm formats? I wasn't quite sure from what you wrote.) Torkell Saetervadet's (excellent) book "The Advanced Projection Manual" (I have the 2006 release) says that after 1.33 silent and 1.19 movietone the aperture was brought to 1.37 by AMPAS. The reason given was that theaters got bigger, with that the down-angle tilt increased, and thus also the sideways cropping due to keystoning increased. To wind up with (on average) 1.33 again on the screen, the actual aperture was defined as 1.37. So if one wants to see it without any cropping, one would use a 1.37 aperture? All the best, Marc

My experience is, when you're in the changing bag (or a dark room) you need all the tactility you can get, because it's all you got when working in the dark. I'd not be comfortable loading with gloves, since there is a higher risk of missing when something goes wrong in the film path. Keep your changing bag and mags fastidiously clean, and only work with clean (and thoroughly dry!) hands. A few small wet (not dripping wet) towels in plastic bags do a good job for cleaning your hands when on location. Roll for 2 seconds after a mag change before doing the first take and you should be fine. All the best, Marc

It's ARRI's most sold (film) camera, so used ones were/are quite easy to get. The cameras were quite popular as crash cameras. Note it doesn't have a viewfinder and a different lens mount. I think the mechanism is a bit different from the 35-IIc, so in case you get one for parts check with James which parts are actually usable.

Yes indeed! I was trying to address Ville. Sorry about the mixup.

Hi Rob, chiming in a bit late, not sure if you already shot your film. About the Cine Mobil 1200, it's a german made HMI from the (as far as I know) 80s. I've seen them on numerous Indie film sets in Germany in the 90s and 00s as they are usually available for rent cheap. The ballast tends to run a bit hot after a few hours, some of them started smelling a bit like melting varnish. The ballast is a big mass of iron, so they take some time to cool down again. The case has ventilation holes on all four sides, so blowing a small fan into it can improve things if you run into that problem. If the ballast is humming/buzzing, sometimes it is just the main relay buzzing. The relay is mounted just beneath the top cover. Sometimes giving it a small hit by setting the ballast down to the floor hard (not that hard!) while operating can cure things. It's not an ARRI robustness wise, but it works. Kind regards, Marc