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Peter Char

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About Peter Char

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    Film Loader
  1. Hey Matt, it's pretty standard for Arri IIC. I can't give you an exact DB level number but its pretty loud. Outdoors it's not so bad, I'd consider doing sound work with it (expecting to do some clean up work when necessary in post). Indoors you really hear it, it really resonates in small rooms. Unfortunately the blimps are not worth it, the weight and cost go up very quickly.
  2. If any forum member is interested in this camera package I'll lower the price to $2,000. It has less than a day left on ebay, but get the better deal for a great camera package here.
  3. I have my Arriflex 35mm camera package up for sale. I have arranged it to be a film maker's production kit, so it comes with everything you need to get you going. Here is an excerpt from the ebay ad I have up. This is an ARRI 2C camera (rods, matte box, not included) with a flat-base crystal-sync variable speed motor, 50mm Schneider Xenon Lens, Vintage wooden Tripod & Arri 2c Friction Head and LOW RESERVE. Camera comes with Black and White video tap, for you, for your director and/or your actors too. With this kit you can make money with the satisfaction & quality that digital just can't offer you. This motor can speed at 8 fps, 12 fps, 16 fps, 24 fps, 25 fps and 32 fps. It shoots rock steady 24 fps. It can run in either crystal-sync mode or variable mode. It can also run in reverse mode with the flick of a switch. This camera is light tight, I just recently ran a 400ft test roll successfully. No streaks, No light leaks. Camera body with motor weighs less than 8 pounds. This camera package includes: - full 4-perf gate with a 1.37:1 ground glass and a fixed 180 degree shutter. - tilting viewfinder with closeable diopter. - color video tap with AC adapter. - a new 12v Panasonic battery with 4-pin XLR cable - battery charger for 12v camera battery. - battery holder with shoulder strap and belt - Lee Utterbach 400ft Ball Bearing High Speed Magazine - Three Dust Caps for the lens ports and Lens caps for Schneider Xenon All you need is film and you’re ready to roll!! To help out any prospective filmmakers I'll even throw in a few cans of recanned 35mm which I’ve never opened to get you started. 200ft x Kodak 500t 5219 Indoor stock 190ft x Fuji 250D 8563 Outdoor stock 200ft x Fuji 500T 8547 Indoor stock Check out the auction for more pictures and details here: http://www.ebay.com/...=item25791cf94f I'd be willing to offer a special deal for members of the site, $2,500 for the whole kit. Considering The lens alone is worth over $500+ it really works out to be a sweet deal. Let me know if you're interested, Thanks! Peter C.
  4. The headway I've made here is, 1) It really matters not in the film world what body you use, as this is merely a box to store information, with no attributes that change depending on model. What matters is a mixture of vision/film/lens/post-processing. Wrong, Body does matter. Shutters move differently, quality of registration pins differ. Bolex differs from, Arri S which differs from Aaton LTR which differs from Aaton XTR Prod. There is a huge difference in how smooth and steady it pulls the film through. As well as features the camera offers for ramping, shutter speeds, lens mounts and magazine sizes. 2) The only difference, then, for film cameras is if it's 16mm or 35mm, if the motor is an issue as related to sound, and the weight. With digital we'd take into consideration megapixels or if it's HD etc? Also count in super 16mm, lenses for 16mm will not work on 35mm, and film gets used up twice as fast in 35mm than 16mm which equals $$$. 16mm is cheaper to process and yeilds twice the air time. 400ft 35mm = 3Min 33 seconds 400ft 16mm = 9 Minutes Super 16mm blown up to 35mm or digital will give you a lot of the look you're after. 35mm has grown so much more sensitive and clean since the 70's and 80's. Super 16mm asthetically feels more like classic 35mm. But it varies by how you use it, what you're after and what films you're looking at. Blimps for the arri can be 4,000 or 10,000 depending on the two different types. I second your thoughts on 70s films. That is the pinnacle for me, visually it just doesn't compare to anything else. I've been after the same thing, its basically balancing your budget. And while I was more after purity and sent myself into film debt I would recommend budget balance. With video you can come close, with film you can get what you look for but with a huge toll bank wise and physically/mentally. The motion film gives you is difficult to replicate, the colors are always worked on. So you're going to need post work which is soo much better digital. You have more control at a fraction of the cost. You'll spend so much working on post in film. Definitely edit digitally. Don't even consider hand editing. You'll spend thousands on edit prints, which are basically useless when your done with them. I've done scanning of work prints for a more gritty look. But it gets so contrasty so fast, and you're loosing a lot of quality in one light work prints. Projection prints are a world of difference. Editing projection prints would be expensive and wastefull. I've tried to save money but it's just not there. not worth it in my book. Now I own an Arri 2c. Arri 2c's are going for dirt cheap on ebay now, as I'm sure you know. The biggest expense though is Lenses and Film. You can't get anywhere without those two things. So the camera body is the only thing you can affordably do. I can't deny the quality from the 2c is jawdropping, 35mm film is unlike anything else raw. But I will mirror somethig I read here. It is the Siren's song of young film makers. It's lustful glory will guide you straight into the rocks and not look twice. They are right Arri 2c is loud, but you can ADR the sound(re-record in post), you're after passion so an extra step like this while time consuming and annoying wouldn't stop you. You could never tell watching the movie anyway so who cares. Get a Red save up, borrow, rent, anything you have to do and you wont regret it. With Red you can use pretty much any lens imaginable. BNCR lenses like Super Baltars used in the Godfather, or go PL and get some great 80's era Zeiss or Cooke lenses. Lens give you a LOT of the look your after. They do things to the light which you wouldn't believe. The other part is lighting. Lighting styles change constantly. Look at the films you're looking ot be influenced by. What are the light colors. how are they lit and who shot them. A lot of these cinematographers have written books about their ideals and techniques. Then understand how the camera works. Like I said if you go digital it gives you a lot more money to put infront of the lens rather than behind it. Learn to shoot at the right shutter speeds to avoid weird looking movements, strange blurring or digital staples that will give away your format. This couldn't be more vital no matter what camera you use. Buy some old Mole Richardson Lights (i've done that too, they are awesome.) Then when you're done color correct it or have it color corrected to match the classic styles you've seen. Add film grain in post. You'll get it so close the unitiated and even some film guys will find it tough to decipher whether its film or digital. Remember the key is you're after the look and feel. All roads can lead to Rome if you walk it right. You want the best for your production so give it the most opportunity to succeed. Give it the most funding and thought as possible. Now you can shoot Kubrick style with 140 takes a setup, and get a quality that is identical. I'm now selling my Arri 2c. But I wouldn't sell it to you, because I lost a lot of time, money and hair fighting film. There is a reason people switched to digital, it will be the gift that keep on giving. shoot 4k.
  5. Has anyone had success or reasonable success doing cinematography in Montreal? I'm looking to movie, and while online I've had trouble finding much work there. I imagine theres a whole new assortment of websites they must use to post jobs in Canada. is there? Here's to hoping,
  6. Film is a wildly addictive drug, once you feel and touch the mechanics and magic of film. Its very difficult to even look at anything else. Two years ago I would have agreed entirely with the original post, but really the truth is. It doesn't matter. Film doesn't matter. Digital doesn't matter. Its the story. The vision. The work put into getting the image that really matters. Film was a great thing, but it had its short comings which is why digital was invented. Digital's raising the bar for the low budget segment signficantly. Digital has essentially eliminated the worry about generational quality loss. Film was a step in our photographic evolution that has brough us into this current generation of film making. And when you think about it, we've got it pretty dang good. Once the number of 'classic' movies shot on digital grows, then you'll see the merits and timelessness of digital grow too. It's just a matter of time. Film really is for the Art and 'style' crowd now, and if anyone wants to buy my Arri 2c its in the cinemarket place. Good bye Film, it was great knowing you all these years.
  7. It's loud but there are blimps available for the camera. The two that I've seen around are usually expensive and incredibly heavy. From what I read though they do work at reducing the camera noise to usable levels.
  8. I have an ARRI 2C camera body (lens, tripod, rods, matte box, not included) with a flat-base crystal-sync variable speed motor for sale. The camera is light tight, I just recently ran a 400ft test roll successfully. No streaks, No light leaks. This motor can speed at 8 fps, 12 fps, 16 fps, 24 fps, 25 fps and 32 fps. It shoots rock steady 24 fps. It can run in either crystal-sync mode or variable mode. It can also run in reverse mode with the flick of a switch. This camera package includes: - full 4-perf gate with a 1.37:1 ground glass and a fixed 180 degree shutter. - tilting viewfinder with closeable diopter. - color video tap with AC Adapter. - a new 12v Panasonic battery with 4-pin XLR cable - battery charger for 12v camera battery. - battery holder with shoulder strap and belt - Lee Utterbach 400ft Ball Bearing High Speed Magazine - Three Dust Caps for the lens ports This camera is in perfect working condition and has been lubricated every 5000 feet of film. Recently Tested, 400 Foot test roll came back beautiful, Shot with Schneider Xenon. Camera body with motor weighs less than 8 pounds. $1,500 + Shipping
  9. Peter Char

    Arric 2c

    So it's been a while. But I have found 2 people capable of this conversion. Les Bosher in the UK, is willing to do it. http://www.lesbosher.co.uk/cameracon.htm As well as a Gentleman named Jim Meade out in LA. http://local.yahoo.com/info-21697277-cinemeade-engineering-lakeport (I could only find sites like this listing his info, That is the correct phone number which I used.) FYI:Places like Visual Products and more are willing to do PL conversion but they are not equipped to do the Nikon Conversion though. I called around to a variety of places, the two gentlemen above are the only ones still capable and willing. Its a very un-sought after request. Jim Meade said the last time he did one was at least a few years ago. The reason I found the Nikon Conversion to be desirable over a PL mount, which seems to be far more common, is the Nikon Mount can easily be adapted to fit PL lenses. But the reverse does not work. So the Nikon lens collection I currently own would be usable for 35mm work and I would be able to easily purchase/rent modern PL lenses. Any Arri Standard Mount Lenses can be PL adapted so I don't lose out on those I own either. Personally it would give me a lot of fire power for such a simple camera. Now the costs Involved. Your ganna be looking at $1,500 at least for the front face replacement as well as alignment and testing. (This is not a quote this is just a ball park figure I was told.) The other expense incurred is a camera disassembly fee, which would require the camera to be sent to a different person altogether to make sure all parts are clean and disassembled properly. This would run a couple hundred dollars on top of the conversion. So approx $2,000 all said and done. This is not an inexpensive venture. If I was getting more use out of my Arri I think I would do it for the flexibility and convenience. It opens a world of great glass. Ill shoot a few shorts and commercials and maybe I can balance out the viability v. cost.
  10. Thanks for the 2c love guys. Have you been able to locate a place to get good spare parts? Or are we looking at Ebay or bust. I was looking to get a new door on mine, I have it rigged and currently working but thats my worry. Its rigged. The screw on the door lock assembly came loose, Investigating looks like a previous owner super glued it into place. I did the same,I can open and close it still but much more stable. In anycase this is not a good situation, Would love to have that door locked down. Thanks For the Manual! Peter
  11. I have a shoot coming up soon and I would like to test my Arri 2c to make sure it is functioning properly. If anyone in the NYC tri-state area has an Arri Bayonet mount or Standard Mount lens that I could use to test it would be greatly appreciated. It would just be a one day rental / borrow. If you are only selling let me know too, since I have a project coming up soon I need to have access to a decent lens(es). Open to all sizes, Primes, Zooms, Anamorphic. Doesn't really matter for my film test. Thanks all, Peter Charuza
  12. I have 200ft of Film I was looking to test, if anyone has something in particular they wanted to film I'd like to meet up. I just got this camera and magazine so I want to make sure all the exposures go properly, but I don't have a lens. If anyone has an Arri Bayonet or STD mount lens and would like to run through 1 or 200 feet of film of 35mm, I'll supply the film and develop it. I just need to test to make sure my camera is working tip top. Thanks, Peter C.
  13. Yes it does thanks! I havn't seen that Duclos website. Definitely opens options up. Thank you! Peter C.
  14. Thank you Will for the enlightening information. I had no idea ultra 16 was a transfer only format! It makes sense now that you've said it. Super 16mm is the way I've wanted to go. Film is a niche process enough without having to limit the scope down to ostensibly 1 to a handful of labs who you can possibly talk to. I certainly appreciate you helping me clear up a few of the tech details on the transfer and ultimate use restrictions of U16. All the best, Peter
  15. Well the fact remains the camera's professionally converted to U16 are 1/2 or more than than the price of S16mm cameras. For film makers who want to start somewhere, and have something presentable it maybe a good place to begin. I know David in your previous posts you've stated that you've never owned a camera you've always used rentals. Rentals are great and I'd prefer to use them but it's not always feasible. Say you need to use the camera for 1 - 2 days to shoot a short or TV spot for a friend, the project is not going to be insured. I maybe out of luck in that situation. I'm not sure if there exists an alternative, which is why I posted here. To collect as much information as possible. Is there a way to insure yourself or yourself as a production company? Something like annual coverage, for all projects this person or company undertakes? That way I don't require a particular project's insurance coverage to allow me to rent a camera. If there is no solution I'm more than out of luck. I'm out of the money, reel footage, connections, experience, et al. which I could have earned from that Music Video/TV Spot/Short I had to pass up. If that means I have to buy an $800 camera to have as backup for these sorts of projects where rental is not an option. Why, would I pass that up? Are there other snafu's when using Ultra 16? Is it easy to transfer to 35mm, or like the Digital transfer are there only certain places which are capable? Peter.
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