Devon Green

Priced Reduced to $2999. Call 310. 595. 7153

Super16mm Package Contains Arriflex SR Super16 Converted (has Bayonet Mount and French Motor) 2 Super16mm Magazines Bonus: Magazines Retrofitted with rubber mag gears for quieter operation 2 Onboard Batteries Battery Charger Right Hand Grip Angenieux 10-150mm lens 2.3 (covers from 30mm up) Bayonet Mount. Anvil Flight Case Converted by Cinematechnic. Conversion alone cost $4220. http://cinematechnic.com/super_16mm/super_16_conversion_16SR.html I shot my whole feature with this camera Sell for quick sale price of $4800 More pictures at http://s847.photobucket.com/albums/ab31/RabidHyena/ArriFlex%20SR%20Super16mm/ Available to ship or for pick up in West Los Angeles, CA. Send your name and phone number. Serious inquiries only.

Misc Movie Camera Accessories for Trade Items I’m Looking : 4X4 Neutral Density (ND) Filters and an 4X4 85 filter, small 16mm camera. Please contact me with what you are interested in and what you can offer. Include a phone number. ---------------- Equipment Inventory: Panavision 138mm front lens cap Panavision back lens cap for 35mm lens rubber eyecups for 35mm cameras X4 New Tiffen Black and White Viewing Filter with pouch 15.6mm Panavision Support Rods (all tapered unless otherwise specified) Even Pairs 9” Steel 15.6mm Panavision Support Rods 9” anodized carbon 15.6mm Panavision Support Rods 7” anodized carbon 15.6mm Panavision Support Rods Almost Even Pairs 11 1/2 “ with 12” 15.6mm Panavision Support Rods 12 ½” with 13” 15.6mm Panavision Support Rods 14” , each 14”, one tapered, one not 15.6mm Panavision Support Rods Single Rods 16” steel 15.6mm Panavision Support Rod 14” nontapered steel 15.6mm Panavision Support Rod 5” steel 15.6mm Panavision Support Rod 6 ½” steel 15.6mm Panavision Support Rod 11” steel 15.6mm Panavision Support Rod Rings, Adapters, and Lens Shades Angeneiux 107012A Filter Retainer 10X25 coupled with 4/12” Tiffen Lens Shade Tiffen 110S S 4 ½” Adapter ring coupled with Tiffen 4 ½” lens shade 86m Tiffen 4 ½” adapter ring coupled with Tiffen 10X25 Lens Shade Scheibe 6X6 Filter Holder Canon Scopic 72mm Lens Shade 10X12 to 10X15 adapter with 10X15 filter holder 10X15 10X25 10X40 adapter attached to DIA 119 6X20 ring LS 86m Tiffen Lens Shade Tiffen 10X25 lens shade Tiffen 10X25 adapter for 4 ½” Tiffen SR-4 ½” Polarizer Ring Tiffen 110 S S-4 ½ Adapter Ring Tiffen 138mm retaining ring X2 Tiffen 86M 4 ½” Adapter Ring Panavision 138mm retaining ring X3 Lens shade – opening is 138mm Tiffen 110 S S 4/12” Adapter Ring and Lens Shade Grip (2) baby bail blocks Bogen Avenger F800 Baby Wall Plate (New) Baby Spud (3) C Clamp with Baby 5/8" Stud Adapter Misc Items 6X6 Tiffen 85mm Polarizer Filter (two specks in the middle) Par 64 1200 Watt Lamp

Can film be damaged from a handheld metal detecting wand? I am using 7218 500T film. Thanks

Thanks Scot. How do you prevent it from scratching the eyepiece?

I have heard of budget video taps being created from surveillance cameras. Does anyone know how this is accomplished? How do I hook it up to see what is going through the lens? Is there a suggested security camera model? I am interested in creating one for an Arri SR and a Krasnogorsk. Any advice appreciated.

I know this may be considered a silly question by many of the pros out there, but here it is: Is there a certain type of wheel chair that works best as a dolly? I am looking to buy a used wheelchair for under $200. I am sure they come in various qualities. So I wonder if there is something I should look for other than roughly guessing that one seems smooth enough. I expect there are different wheel sizes, designs, etc which all contributed to how smooth the ride is. Any thoughts on this?

I am thinking of shooting Super16 for a feature in the summer. I wanted to know if Kodak offers free samples (say two rolls) so I can test out the look. If it's something they do routinely, great. If it is a matter of approaching them the right way, please let me know how.

Dear Dominick, Finally some understanding! As for the "go away price" it was funny they acted like it was just normal to give me a high end feature rate for a low budget indie, a statement which doesn't really come close to the absurdity of the cost difference between my vision and theirs (20 to 1 versus 3 to 1). I called back and got the impression they wanted to keep their cards close , so that they can claim whatever time they waste with the process is normal. Maybe they thought I was some newbie who hadn't done telecine before. That brings me to a pressing question. If I know that I can supervise the transfer and it should take no more than 4:1 and they insist it is going to be, say 10 to 1, is there anything I can do to make sure I don't get ripped off by the lab? I don't want to agree to let a lab transfer the feature if they are purposely going to draw out the time it takes. I've supervised before and it shouldn't be any more than 5 to 1 at the most.

I don't know how I can make this any clearer. I don't need info on pricing, only ratios. There will be two telecines. 1) I will have a one light done on Standard Def. I will edit the film with that footage (all of the footage). That means I will have an EDL for the 100 min film plus some other footage to be safe. 2) I simply want to telecine the footage correlating to my rough edit (and then a little more to be safe). The total footage transferred for the second telecine should only be about two hours.

I am not doing a one light, nor am I doing an unsupervised transfer. If anyone can address my questions, that would be great.

I don't fully understand all the details in this post ("ungraded", etc), but it does not seem to answer the central questions which are 1.) What ratio should be average for the time it takes to transfer selects? & 2.) Am I missing something about the factors time it takes to do selects? I was told 50 hours. I don't think I should need 50 hours to transfer the less than 2 hours of footage I would need from my SD edit (I think they understood that my SD edit was going to use Keycode, etc).

I don't fully understand all the details in this post, but it does not seem to answer the central questions which are 1) What ratio should be average for the time it takes to transfer selects and 2) What more would I need to do (if anything) to use the lab time more efficiently (I think they understood that my SD edit was going to use Keycode, etc).

Telecine Time Ratio for ?Selects?? I am trying to budget for post production telecine, probably 16mm to HD, but I am getting some rather confusing information from film labs. I am doing a low budget feature. My original idea was to transfer to SD, do a very rough edit on my regular Final Cut Pro Mac, then use the EDL to go back and do a scene-by-scene transfer of only the footage I want to work with in HD. I have done scene-to-scene transfers before, but never with ?selects?. Being very efficient, I was always able to make it a 3 to 1 ratio, so I was calling to find out what the ratio would be for working with selects. I was told that doing ?selects? will be more costly then a scene-to-scene of all 15 hours of footage at once (100 min film). I am shooting at a 9:1 ratio which means that if I am as efficient as before, would be looking at 45 hours of lab time if transferring all the footage. Even if the selects take me twice as long as my regular scene to scene (6 to 1 lab time), that only equates to 10 hours lab time, so how in the world are they saying it is going to be cheaper to transfer all the footage scene-to-scene? If this were the case, I don?t understand why anyone would even do selects (other than a small benefit of less tape used) I understand that there are different factors that affect this process, but what have you found to be the average lab time ratio for select (supervised) transfers? If there are any legitimate factors they may be putting into this equation (or is this absurd?), please let me know how I can eliminate this from the process.

Does anyone have a source for home video sales data? I would like to use it as part of a business plan for investors to see references to similar films to the one I am producing (indie action film). I am interested in both foreign and domestic sales data. If not the actual revenues (such as licensing rates for varies territories) at least the number of units shipped to various territories would help. There must be some publication or source that is more comprehensive than a few bits here and there in Variety/HWR. Any help much appreciated. Thanks!