Nicholas Kovats

That is way too many K3s out there! Classic Soviet over-production justified by central economics! Nyet!

Multiple Arriflex 35mm camera models and accessories for sale. They are being sold locally here in Toronto by a reputable rental house. You are responsible for your country's specific custom protocols and shipping arrangements. The seller is old school and will honour serious inquiries on a first come first basis. The cameras were last serviced by Arri Canada in 2012. I was able to catalogue the majority of the equipment. All cameras are 4-perf transports, e.g. 1x 235 MOS w/ 3x 200 and 3x 400ft shoulder mags, 3x viewfinders, IVS analog tap. 1x 435 ES w/ 9x 400ft mags and 2x view

Hi Matt, We have multiple Arri 35mm packages available, i.e. https://tinyurl.com/2bde8ead Some pics can be viewed here, i.e https://tinyurl.com/vaauvsuu

Jordan, The conversions/re-manufacturing of the Bolex UltraPan8 also have a WYSIWYG 2.8:1 viewfinder. It simply relays/magnifies the 2.8 gate and has a native upper and lower black border composition-wise. I also have a traditional CinemaScope 2.4:1 framelines in my own ULtraPan8 Bolex. My preference is to shoot 100ft rolls of Double 8mm (5+ min) as to the more common 33/25ft rolls (1.5 min). Kodak no longer sells Double-8mm stock. Up until recently an engineer in the UK was re-manufacturing R16mm and 35mm film stock into 100ft daylight rolls but his expensive perf head is no more.

The 16mm half frame format utilizing Double 8mm referenced above is known as UltraPan8 2.8 R8. The native aspect ratio is 2.8 across the exposed 16mm width of unslit Double 8mm. It can be easily cropped to the traditional Cinemascope 2.4 AR in post. Note that Double 8mm is 16mm film stock with double the perforations per foot. This fundamental fact doubles the runtime as there are 80x UltraPan8 frames per foot compared to 40x 16mm frames. A 100ft daylight spool is approximately 5+ minutes total. We have converted approximately 16x Bolex. This is an example of test 50D footage shot by filmmaker

Use 16mm split reels to create a 100ft core from a 400ft roll or standard 100ft daylight spool and load into the current 200ft ACL mag or 400ft Aaton mag.

From Les's site, i.e. "16mm Cameras Aaton We offer a PL Hardfront & we Can also convert the camera to Canon with our own unique Iris Setting Unit which does not require any external devices i.e. Matchsticks,bits of plastic , etc We also offer a Super 16 Conversion on the LTR"

And then there is the far cheaper ultrawide non-anamorphic solution called UltraPan8. They are re-manufactured Bolex 16mm cameras with 8mm transports. Two variations. They both utilize the full 16mm width of Regular 8mm or Double Super 8 film with an 8mm pulldown . Aspect ratios are 2.8 and 3.1 respectively. The WYSIWYG viewfinders see the full ultrawide gate. The smaller and "cropped" Cinemascope 2.4 aspect ratio can be inscribed in the viewfinder. The fairly common ultrawide Angenieux 5.9mm retrofocus lens is an excellent match for the formats. I also had a PL adapter machined for my

I use to have the dimmer 10x viewfinder which switched out for the higher magnification of the more rare 13x viewfinder. I also wear glasses to correct astigmatism and other attributes but rarely wear them against the viewfinder as the diopter range is sufficient with my naked eye. There may be a few craftsmen left that could fabricate a custom diopter that might also correct for astigmatism. Perhaps a friendly optometrist might be be able to help.

Such sonic commercial dreck. I would rather listen and watch badly synced post dubbed German punk Super 8 circa 1983.

Great work, Ben. I have shot alot of footage with my Bolex UltraPan8 2.8 R8 camera and Angenieux 5.9mm Retrofocus lens. Checkout my winter ice bike film where I pushed V3 200T 2 stops (800 ASA) in the lab. The resulting footage was not color-corrected in post regarding the rink (sodium?) lighting. I shot wide open at T2.0/2.8. I think the Angenieux 5.9mm held up. No stabilization. I was skating with my Bolex and chasing cyclists. I would like to have this footage re-scanned at higher resolution and bit depth to bring out even more detail as the original scan was a 3.5 K image sequence 8-