Kenny N Suleimanagich

BUMP

Price revised to $35,000

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

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

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

Keslow camera should have the on-board Anton Bauer mount. Otherwise you can use an Anton Bauer 12/28 belt

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.

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.

Thanks!

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.

Call Video Film Solutions.

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.

Share the reddit thread - I’m curious to see that feedback.

Anton Bauer makes a belt that takes two of their batteries.

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.

I'm sure a really good Doc would be better..

You’re in luck.

Colorlab/Video Film Solutions are in Rockville, MD.

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.

Isn't it standard 4-pin XLR?

I wonder how many K-14 processors have been saved from the scrap heap, if any.

You can run the Arri IIC, 35-3, or 435 all in reverse. I believe there are motors for the 16S for reverse.

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.

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.

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.

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.

It was Super 16 on MkII Super Speeds. Just an example of a good scan with good compression rendering grain a bit better.