Jump to content

Kenny N Suleimanagich

Basic Member
  • Content Count

  • Joined

  • Last visited

Everything posted by Kenny N Suleimanagich

  1. 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
  2. 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
  3. Keslow camera should have the on-board Anton Bauer mount. Otherwise you can use an Anton Bauer 12/28 belt
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Anton Bauer makes a belt that takes two of their batteries.
  9. 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.
  10. Colorlab/Video Film Solutions are in Rockville, MD.
  11. The Amira scales up its 3.2K image to UHD. So if you're finishing at 2K but want to originate at higher resolution, you're better off using the native 3.2K.
  12. I wonder how many K-14 processors have been saved from the scrap heap, if any.
  13. You can run the Arri IIC, 35-3, or 435 all in reverse. I believe there are motors for the 16S for reverse.
  14. Do you need 4K? I just did a project on one. Here is how we shot: 2K 4:4:4 12-bit C-log 2 S-Gamut It was roughly 2 GB/minute. If you’re in the United States, 23.976 is the standard for digital cinema. Shoot an X-Rite chart at the head of every setup, it will go a long way in post.
  15. Given that they shot the title sequences in several different languages for international release, I would assume that "2001" went through the OCN-IP-IN-RP stage? But then again, I would also not be surprised if the OCN was not damaged over the years by shoddy handling during reprints or restorations.
  16. I saw “2001” in the Cinerama dome in 2007, at a 40th anniversary screening honoring Douglas Trumbull. It looked great, and I was mesmerized to an extent that digital copies I had seen fell short of. Since then, I’ve seen it once again at the Museum of the Moving Image. I did notice the grain a bit more, but I think that’s because i was closer up. I also noticed the pinkish Eastmancolor fade. It’s good to know the new prints have been struck from original elements. The 80s restoration of “Lawrence” looks great – I’ve seen that in 70mm four times – and every time I notice tiny flaws I hadn’t caught before. In the end, there’s only so much that can be fixed without a digital path. I wonder if that will be done for the re-restoration of “Lawrence” – as they had to with the 4K version released in 2012. Though by the looks of the before/after it seems to be more like a beat-up print than OCN.
  17. I would take the FS7. Even with the APS-C crop the rolling shutter is bad. Not to mention the FS7 is a heavy-enough camera to be relatively stable through motion.
  18. It was Super 16 on MkII Super Speeds. Just an example of a good scan with good compression rendering grain a bit better.
  19. I did a 16mm shoot for a fashion brand recently, was very pleased with the black and white results. The references were 1960s-era documentaries with very spotty, single-source lighting. Orwo N74: Expired 7222: Both are 2K Prores 4444 scans from Metropolis in NYC.
  20. The EXR was an error that was printed and published in many places erroneously. Everything was done on Vision 3.
  • Create New...