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Kenny N Suleimanagich

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About Kenny N Suleimanagich

  • Birthday November 16

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  • Occupation
  • Location
    New York
  • My Gear
    Arri 416, 435
  • Specialties

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  1. Moviecam SL Mk2 3-perf/4-perf Camera Package For Sale Asking $39,500 Arguably the best sync-sound 35mm camera ever made for hand-held and steadicam work, the SL (with it’s big brother, the Moviecam Compact) are why Arri bought the company Moviecam, to create the Arricam Studio (ST) and Arricam Lite (LT) cameras. The SL Mk2 is both lighter weight and slightly faster than the Arricam LT, and it also features an Arri IVS (video tap), and the exact same brighter Arricam Universal Optics, with anamorphic/spherical switch, that is always requested by A-list DPs and camera crews for the LT. This was one of just two SL Mk2s previously owned by Clairmont Camera in North Hollywood, and was used (alongside digital SI-2K cameras) to film Danny Boyle’s Best Picture Oscar nominee “127 Hours”. This camera kit has been lovingly cared for (less than ~30,000’ of film run through), stored at 45% humidity, and regularly maintained by Andree Martin of A.M. Camera (who formerly ran Clairmont’s Repair Department). Interested parties can refer to “Three Deaths” which I shot on this camera and premiered at Sundance 2020. Currently configured in 3-Perf with the movement swap possible using the included kit. Camera is located in New York and can be shipped globally. All flight cases included. Package includes: Moviecam SL Mk2 3-Perf Camera Body w/ NTSC tap, Speed Control Box, Universal Optics Several different 4/3 Perf ground glasses w/tool Arricam ST Zoom Eyepiece Extension Arricam ST Medium Eyepiece Extension 1000’ Mag adapter 15mm Studio Balance Plate 15mm Studio Handheld Plate Right grip w/ trigger Left grip Power Accessories/blocks, including 24v converters custom-made to run from VCLX or battery belt X4 1000’ SL Mags X4 400’ SL Handheld Mag X4 400’ SL Steadicam Mag photos: https://www.dropbox.com/sh/yx4cfne4uvjjii6/AAC6_BdbkOZuGYHaSRTEsx5Sa?dl=0 Here it is compared to an Arricam: https://www.fdtimes.com/2011/06/13/moviecam-and-arricam-comparison/?fbclid=IwAR14BQqX3znVxtfVK5ke_t83B4c2hxHkBHyWbhiXtGEu6NQXGmL2UJxO21Q An itemized list can be found here: https://docs.google.com/spreadsheets/d/1NHO9hjRVBXElzEdd_RwR1dvvo912BMQExNNNUEum3uo/edit?usp=sharing
  2. Hey Ive got a 2-P Arricam LT in New York. Can ship anywhere. Its a full package, feature ready. From Clairmont stock, factory 2-P movement. Arricamlt.nyc@gmail.com
  3. The camera was originally a rental unit at The Camera House, and we purchased the body from a private owner about 2 years ago. Check out some pictures below as well as the list of items included. Local Los Angeles pickup preferred! The body case is not in great condition, so if you pick up locally we are also including a brand new OD green Pelican 1660 case with foam for the body + AKS. I'll also throw in a few short ends! Please email Kennysule@gmail.com Here's a project we recently shot with the cam: https://vimeo.com/152009138 (1) 435ES Body (Super 35 configured) (1) 1.78/1.33 Ground Glass (1) Extension Eyepiece (4) 400' Mag (1) 1000' Mag (1) RCU-1 Controller (1) Long RCU Cable (1) Short RCU Cable (1) Eyepiece Heater Cable (1) Power Cable (2) 19mm 18" Rods (1) Arri BP-8 Bridge Plate (1) Arri Dovetail (1) Body Flight Case (2) 2ea 400' Mag Flight Case (1) 1ea 1000' Mag Flight Case
  4. Keslow camera should have the on-board Anton Bauer mount. Otherwise you can use an Anton Bauer 12/28 belt
  5. Yes Tyler - probably only a handful for rental. Arri CSC has two (total), Clairmont has some and then Panavision has the GII. The Penelope is no longer available to rent from Abel. There were only 40-50ish made... and then probably a few dozen in private hands... so it's sort of a non-starter. One recent production in NYC shot 2-Perf for 1.85 center extract because producers forbade S16.
  6. I think you might be. Super 16 cameras are a dime a dozen. 2-perf cameras are quite rare - no more than ~100 in the world. Most of the time, producers forbid Super 16 as the shooting format.
  7. Dom, American Horror Story was mostly 35mm, and I believe this most recent season was digital. Not to say they didn’t use any S16 – I just cross-checked the AC story on the show and it says 35mm. “Crashing” is the first (American) cable TV drama to shoot 35mm since AHS switched.
  8. You should check out the May 2014 issue of American Cinematographer. Lukasz Zal talks about shooting with the Alexa for a black and white finish on “Ida". That movie looked great.
  9. Anton Bauer makes a belt that takes two of their batteries.
  10. Shooting exteriors with 500T can be a challenge, but not impossible. I recently shot a project this way and was pleased with the result. If you rate the film 320, you'll overexpose enough to get density on the negative that will bring down the grain a bit. Unlike many digital systems, film does better with too much exposure than too little. Use an 85 filter, along with ND, to get a nice stop to work with. Rating 320 with an 85 and ND 9 will put you at around F8 in bright, direct sunlight. Meter everything, and take notes of exposures to get a consistent look. You should decide early on where you want your key stop to be, and where you want your subjects face (midtones) to sit. It might be helpful to use a DSLR for preview exposure.
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