GWilliamPatrickB

Just finished working an HD film (hated it). The Steadi op. put his foot down and said NO. After the ranting and raving he got his way. The director learned to not live in Video Village for a while and looked at the actors performances(what a shock). For the better part of the last 100 years real directors never had a tap to watch, prehaps some of them would be much more competent if they saw and "felt" the performance 1st hand rather than watching it on tv all the time. And sound realized they could pick up all the dialoge with the wireless trans. GWPB

What ever lens I picked I would make sure they were MACROS! I own a 16mm converted by Focus Optics and a 60mm. So all three would be capable of moving in real close. My choices 16mm macro 50 mm macro and 85 mm macro. Depth of field discussions are for another day. GWPB

Casting no aspersions on either company, you should make sure of a couple things when purchasing. Be sure that no chroming has been done I.E. Gates and or Rails. That if you buy, say an Arri BL 4 or SR III, it has an Arri BL4 or SR III motor and not a BL3 or SR II motor. The mirror is pristine and the mags have recent clutch overhauls. The electronics are free, totally, of any corosion. Also the serial # is checked through PERA the rental industry hotline for stolen or "missing" equipment. If a cam. has traded hands more than once the seller may not know its "true" history. When getting lenses I highly recomend they be shipped by the seller to a lens tech such as FOCUS OPTICS for a complete checkout. Especially, a zoom lens grease packing for a good focus of the gear system is unfortunatly not an uncomon practice in zooms or primes. There are more pitfalls to consider than these but these are some of the main ones. Best and Good Luck, GWPB

New Jersey but will be in SC. for a week then Boulder CO. I can get anywhere have passport will travel and my equipment is registered with the corenet society for export and travel.

The Cooke MK III is a great lense if you get one that is in good shape ( it is the currently mfg. zoom lens at cooke) I own one they sell new for about $39,000. I would only HH with primes but if you do try the 1000' with 400' loads it balances better on your shoulder but only if you arent doing too much HH on your shoulder as it is heavier. Also, there are HH braces that make using the BL a snap. I own one and it straps to my waist and has a wonderful padded shoulder piece as it balances the camera about 5" in front on a short cut down balance plate. It puts the eyepiece in just the right place and is VERY comfortable. By the way I own a BL 4s and it rents out as long as I can AC or Operate. I dont need to be a DP to make $. GWPB GWPB

What you are looking at are the real deal MK I's if they had pl mounts then they were converted to pl GWPB

Ask a lens tech there is no discernable diff. between MK II and III except for the barrel design

Mr Gross is correct the t 1.4 is a mk I the t 1.3 is mk II the difference between II and III is not the glass but the barrel markings and color of same. The III's are a little easier to use for an AC slightly wider markings. GWPB

Go with a Atton 35 III it has 1/2000 th vertical steadines the best out there except foe the mitchells used for optical printing the best Arri and Panavision can do is 1/1200 th. It is very light and 400' mags are small also. Comes with PL or Pana mounts so you can use all kinds of different lenses from primos to cooke s4's. GWPB

What most people dont know is that the BL 4 is better hand held with the 1000' mag (balance is better) although a little heavier and a 400' load in the coaxial mag if there is not lots of HH use the 1000' mag. The Super is unweildy in any configuration because of the displacement mags and it feels much heavier because of it to the person operating / shooting. GWPB

The Powerbroker .com has a set last time I looked. GWPB

For the most part the "format" is 35mm in 185 or anamorphic 2.40:1 some super 35 (it has no set standard and consequently you must shoot a framing leader as with 3 perf and check with your lab) At present not too much is done in 65mm for 70 release GWPB

You are not taking away latitude you are bypassing a lab process that can be added back in if you do not like the "look". The best thing to do is test. Start with a bench test neg. then do a printed blk. neg and go to an exp. calibration which will provide the working speed that will allow you to judge the exposure needed to represent the values photographed as normal tones on the final print.when the print is made using the recomended density arrived at during the 1st two parts of these tests.You determine the amount of light that will be required to properly photograph a mid-gray tone when the neg. is printedto the benchmark density. GWPB & thanks to Steve Posner for all he has written on the subject.

Have Arri 35 mm sync sound BL 4s and BL 4s Mags. Camera has been metered at only 19 DB. The recent overhaul was done by Axel Broda himself.I do not need to be the DP or OP I will AC my pkg. Great lenses screaming Zeiss primes (the current Cooke MK III 25-250 zoom) and filter pkg. With Video tap, speed controler and all other attendant gear needed for a self contained pkg. Gear Head is an extra, fluid head comes with pkg. Have passport will travel. GWPB