Michael Baltazar

Still available. The camera is located in los angeles but available for shipping. We can work out a deal on shipping too. I've just had the camera checked out and serviced at Clairmont Camera. It's in tip top condition.

Los Angeles

Arri 3 for sale. Very cheap. $3995. The camera is in pristine condition. Arriflex 35-3 Third Generation Body C.E. Crystal base Arri 19mm Sliding Baseplate with Dovetail & Rods (6) 400 foot magazines Jurgens Video Door with Sony video assist camera C.E. Crystal base Wide-angle eyepiece Variable shutter 15-180° Cables Fitted Shipping Cases

Thanks for the suggestions. I still haven't been able to find a tech willing to look at it. I believe it's a minor electrical problem. Maybe even something as simple as a broken fuse box - so I'm thinking maybe even a repair electrician might be able to fix it. Any ideas on that end?

Looking to by a crystal sync motor for my arri 2c. The tobin crystal sync would be ideal but any would do the job.

I'm looking for a tech to repair a crystal sync motor for an arri 2c. It's a 24fps crystal sync pistol grip motor. Does anyone know where I can go in the LA (or even if I have to send it away) who can take a look at it?

If I push a film stock that's exposed normally 1-2 stops when developing and then take down the image 1-2 stops in a DI what's the result grain wise? How about if I pull the stock 1-2 stops. Would I perceive an increase in grain, decrease, or would it not be noticeable? My problem is I had shot a roll of expired stock that I forgot to overexpose and am worried about the graininess of the results. Speed is 500T which doesn't help. m

Anyone know how many amps a cinema products crystal sync 24fps motor for the arri 2c draws running at 24V?

Thanks for the info David. I've also changed the display to my full name.

This is a very basic question, so sorry in advance. Why is that wide shots appear much much softer than closeups or medium shots. Especially in landscapes. Is the resolution discrepancy a result of the lens being used or are there other factors in resolving objects in a distance? And is the soft look 'real' or just 'perceived', meaning closeups just seem sharper because you're perceiving a single object in a finite space.

I have an old cine 60 battery pack. I'm wondering how I find out the charge rate on the battery pack (it just plugs into the wall and doesn't look like there's much circuitry for smart charging), and how do I keep it from overcharging the NICDs?

What percentage is cropped off the edges? It seems it would still be twice the surface area over S16, and you get 35mm depth of field. Resolution wise, what is the difference between 2-perf and super 35 cropped to 2.35? The 20min. long takes on 1000' rolls is what attracts me.

I'm debating the same issue between going 2-perf/3-perf. Why are you deciding on 3-perf?

I Took apart the throat of an arri magazine. Anyone know what the deal is with the copper gear and all the little greased silver balls that go into it? What's the best way of putting this thing back together - i.e. so those little balls are in the right place and the gear turns smoothly. Where exactly (which grooves) should those balls be in? any help is appreciated.

I'm well aware all the issues in post, thanks Landon. (I do know how to add too, by the way =)). The attraction for me is yes, 50% savings on stock, but also the 16mm running times you get w/ 2-perf. 8+ minutes on a 400' load, almost 20 min on a 1000' load. Creatively it opens up a lot more doors with the ability to shoot longer takes. And you could probably finish a 35mm 2.35 feature with a 16mm budget. I'm still up in the air on the issue i.e. weighing the options between converting to either 2-perf or 3-perf. Here's what I'm debating... If I'm shooting 1.85 for tv - say for music videos, shorts, commercials... I don't think the loss of area is an issue since the newest stocks have such fine grain well enough for TV, even HDTV.. Usually I can't tell the difference between 35 and 16 on a TV res anyway. I *might* be able to live with a 1.85 originating from 2-perf on an independent short or even feature. Its still twice the area of 16 I believe. In this case I could convince myself (or whoever I"m working for) its just as well to shoot 2.35 anyway. The drawback comes if I'm using my camera as a B-cam on a shoot that's 1.85. Not having that 1.85 option here without a loss of quality renders my camera useless in this application. In this case having 3-perf would be a better compromise. I guess I was hoping for a best of both worlds solution... I'll still keep debating about it but thanks for all the info everyone.