JB_Letchinger

shooting a scratch test is the usual thing to do before a shoot. use a dummy load and check it for scratches after you roll it throught the camera! - usually 10 or 15 seconds is plenty...

I am selling an Arri SR1 (German motor) package: DP owned, handled w/care! 2 400' magazines, 2 Arri on board batteries, charger, handgrip, 5 digit speed control, Angeneiux 12-120 lens, Zeiss 8mm T2.4, sunshade, 2 battery adapters, spare fuse, case, arri handheld shoulder pad, Arri SR Extension eyepiece $6500 email jb@jblfilms.com

I am looking to purchase a Arriflex SR1 or SR2. I am a student so I am looking for something pretty reasonable. Please let me know what you have.

 

Thanks

[/quote

Great condition Panasonic DVX 100a - cleaned/serviced regularly and recently.

3 batts, 2 chargers, remote zoom control, 3 tapes, clear filter with pouch, remote camera control, Pelican case (form fitted by A&J/Abel Cine)

Good package for someone just starting out, or looking for Behind the Scenes, web videos, etc.

Low hours, contact jb@jblfilms.com

$1000 or best offer

SELL: Arri SR1 (German motor) package: DP owned, handled w/care! Angeneiux 12-120 lens, Zeiss 8mm T2.4, 2 400' magazines, 2 Arri on board batteries, charger, handgrip, Zeiss 8mm T2.4, sunshade, 2 battery adapters, spare fuse, case,

Arri SR Extension eyepiece, Media Logic 5-digit speed control. A & J case.

$3900 opening or best reasonable offer - will separate extension viewfinder or 8mm lens - some 4x4 filters also available for additional price. No reserve.

Great deal on a nice Arri SR here

Good job Steve,

You may have saved lives that day. That kind of thing doesn't happen all the time, very rarely actually and you should feel very good about it for a long time!

I have a million stories, but not one where everyone could have died but didn't because I stepped up!!

JB

Tim,

your photo is WAY better than mine!

:)

JB

Good afternoon,

I'm a new video producer who is planning to concentrate mostly on promotional/web videos. We've just purchased our first HD camera and are looking at purchasing an initial 3 point light kitto be used for lighting small indoor scenes (interview, b roll, etc.). I have been looking at a few alternatives and have been impressed with some of the basica fluerescent lighting kits available at cowboystudios.com. Our budget is only at around $1500. Does anyone have any advise on what we should be getting for our first light kit. Thanks in advance. BB.

For someone starting a small production company, I think its fine to buy your own gear. However, you may want to wait until you've seen a bit more and done a bit more... Also, figure out who your shooters/sound guys are going to be - - see what gear they have --- see how much it will save you to not rent their gear... sometimes only 50 bucks here or there.. Also, you may really like Arri Kits, Kinos, or something else only after realizing their capabilities.. going Kino only (or knock-off cheapo flo) may not give you the results you're locking for (patterns, shadows, controllability).. Define your style, find your crew, research your gear, THEN buy if it makes sense. That way you won't dump money on stuff you'll outgrow in 6 months.

speed dial for the sr2. I want to have a fixed frame rate of 50 or 75 as I'm worried about flicker from HMI's. As the speed dial is a potentiometer with no fixed notches I'm a little worried that it will not be accurate enough, unlike the crystal controlled speeds on the SR3.

This dial will not work with HMI's - you need a crystal speed control... Media Logic or Cinematogrpaphy Electrnoics The Variable control was designed for exterior, sunlight or tungsten and not exact speeds...

I am selling one with my SR package on ebay.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=220468159175

I will separate the package if it does not sell

I think Chris gave you your answer. Nylon thread and patch it -- - maybe some scrap silk from a rental house, or tough gridcloth.

Or, try billing the production company for a new one... sh%$#t happens

So true JB!

 

....and let's not overlook a Pole-Cat or Wall Spreaders! ;)

Absolutely - pole cats, autopoles - all are solid enough for that kind of weight! easy to use too -- !

I have a old style Zeiss 8mm B mount wide angle I'd be interested in selling for 500!!

I used it all the time as a wide alternative to the 12-120 without the distortion of the 5.9.

you get it adapted to CP mount on your own and you're set.

JB

Thanks for the tips.

57mm doesn't really qualify for 'telephoto" status, James. Your going to want something longer! That lens was designed for hand held news and doc photography -- back in the 70s sometime, I bet. it was the 9.5 end that got used the most...

Get yourself something designed for super 16 and cut your worries down to the uncontrollables that will occur anyway!

(trust the viewfinder - btw)

there is a Zeiss 11-110 Original S16 that will give you great sharpness and shouldn't break the bank ---

enjoy the ride.

JB

I've had good results with cutting a 2x4, (6 feet or so) placing some mole pars or something similar on either end, then having a grip move this around by hand. that way, both lights are moving together - same as a car... you want to get fancy and stick the grip on a doorway dolly and some track? go for it. (be careful) - but the big pan should sell the car turning and "strafing" your set with headlights. get a strong (ish) grip.

good luck

JB

I have upped it to a Junior stand. Can anyone explain a menace arm, and a combo stand?

Brandon, this is something best shown and not "explained." Menace arms fall into a large category of things that you need to have someone with experience doing it, - with you or for you.

I have seen many bent C arms due to Kino Flo overhead rigging - it will work for a couple hours, but there is inherent chance for equipment damage and injury. To answer your main question:

Yes there is a safe way, and a menace arm is probably the best solution (depending on your location size - the pipe or 2x4 will extend back away from the stand with a ratchet strap/counterweight) - and you may or may not have the room for that.... But it is not safe if it is off balance or not properly secured. and I wouldn't want to be the one to tell you go and build it and have you say, hey it fell and I got fired, broke the light, etc.... If you wouldn't feel comfortable doing something yourself, go and learn on-set from some others (you may have to expand your network, take a cut in pay, etc)... Work on enough shows and you'll see just about everything - (or enough to raise your level of experience)... then you can go and improvise and do things you've never seen before and feel OK about it. Mean to help - not to criticize.

sold - thanks Richard

located in Los Angeles, trying to sell before August 28th.

thanks

please email me if interested.

jb @ jblfilms.com (delete spaces)

Go HD with a camera that lets you downconvert on the fly while digitizing if you choose to.

That way you can give your SD clients what they want, and archive HD, while raising your rates (hopefully) or your "value" by providing HD as an option.. even if its HDV.

Please don't buy standard def now (unless you want to give me top dollar for my DVX 100a which sits around). ;)

JB

American Cinematographer is the classic motion picture cinematography magazine. Take the info for what it's worth, something usually gets lost in the translation, but overall, its a great self-educational tool. DV, Videomaker, Videography and others of that sort focus on digital image gathering...

By the way, (shameless plug) I am selling my nearly 100 issue collection of Am. Cin. spanning 20 years for $50 bucks. Any takers? L.A./ Valley

jb @ jblfilms.com (delete spaces)

BACKLIGHT the smoke..

that's when it reads

get the biggest light you can --

or try a 1K leco

- yes Chris has a point 2 sources in this case are probably called for.

1 for your shaft :lol:

1 as the key

the medium you've chosen has created your results.

try backing the light off and flooding it, is you're hope...

also try putting some opal on it and see if that helps...

even silks can have a little hard shadow from the "specular" source - -

get your subject away from the background to lose the shadow...

and start thinking about buying a partial roll of used 216 and hanging it off a C stand or a pipe if you don't want hard shadows and are trying to save $$...

It may never happen or you might suddenly get a magic phone call to go and work with Janusz Kamiński on some dreadful looking comedy with a budget of $70 million...

 

...and then get run over by a bus and killed the next morning. There are no guarantees about anything. :)

The funny thing is, this reminds me of something: the next freebie or low-budget you do, look over at that cinematographer, and think if he or she has imagination, drive and talent. Ignore everything else that comes to mind, (i.e.: I could be doing this, why aren't I shooting, fault-finding, etc.) then work your a#$ off and establish a collaborative, friendly relationship. If I would have had this advice 21 years ago, maybe I'd have been working with Janusz 12 years ago when I moved to L.A.!! - Then maybe shooting my own blockbusters today instead of reading forum posts....! You never know who you're going to meet, but imagination, drive, and talent is a magic combination.

SELL: Arri SR1 (German motor) package: DP owned, handled w/care! Angeneiux 12-120 lens, Zeiss 8mm T2.4, 2 400' magazines, 2 Arri on board batteries, charger, handgrip, Zeiss 8mm T2.4, sunshade, 2 battery adapters, spare fuse, case,

Arri SR Extension eyepiece, Media Logic 5-digit speed control

$6,000 or best reasonable offer - will separate extension viewfinder or 8mm lens - some 4x4 filters also available for additional price

Also American Cinematographer Magazine Collection 1987 - 2008 (not complete)

Want to sell entire collection to best offer. Still inventorying, but 96 issues found so far.

$50 takes all the magazines found to date - .50 each if I find more. This is one major load of information - great for education in cinematography.

email jb@jblfilms.com

JBL Films is selling the following 16 mm camera package:

link with photos

http://www.jblfilms.com/filmgear_forsale.html

Arri SR camera body

with 5 digit media logic speed control,

MAGAZINES

2 400' magazines

BATTERIES

2 on board batteries and 1 block battery

ACCESSORIES

Hand Grip, shoulder pad, extension viewfinder

LENSES

Angenieux 12-120mm zoom T 2.5

Zeiss 8mm distagon T 2.4

$8,500 or best offer

310 339 7712 -- 818 932 9803

Great Condtion Arriflex 16SR 1 with B mount (reg 16 sync camera package),

DP owned, used lightly.

Arri extension viewfinder, 2 batteries, charger, 2 magazines, 5 digit speed control, Angenieux 12-120, Zeiss 8mm prime lens.

A and J Body Case. $8,500 or best offer. motivated to sell.

Will deliver in the L.A. area.

Contact: JB

pix at: http://www.jblfilms.com/filmgear_forsale.html

email jbletchinger@earthlink.net

tel: 818 932 9803 or 310 339 7712

I own a Chrosziel 4x4 swing away mattebox. It was expensive, but works great.

Especially the rotating 3rd stage for the polarizer...

I have some used 4x4 filters for sale,

I own an SR 1 package and am selling it off piecemeal if necessary...

an 85, for sure, and some cool 4.5 inch round ones two.. and some series 9s are important for when you just don't want to use the mattebox... (I'm selling the lightweight support rods you need for the chrosziel and some others, also)...

let me know if I can help/ with gear or advice.. I'm getting rid of a microforce setup with motor, a follow focus and a whole list of stuff... (sorry, I'm keeping the mattebox, it works even on 16:9 video zooms up to 8mm, at least)

(from a DP, not a rental or sales house)

JB