Cory Zapatka

Selling a large assortment of 4x4 filters. All in great condition. Tiffen unless otherwise noted. Priced individually; best offer for the entire set.

Full list: 81A, 81B, 812, Tobacco #1, Tobacco #2, Soft FX, ProMist 1, ProMist 2, Black ProMist 1/4 x2, Black ProMist 1/2, ProMist 1/2 ,Black ProMist 2 ,ProMist 3, Black ProMist 1, Fog, Schneider Classic Soft 1/2, Unknown 105mm circular UV

Selling Sony FS5 package with RAW upgrade, Sony 24-135mm zoom, Zacuto rig, onboard mic, batteries and charger. Asking $6500 obo. Everything in like-new condition, valued at around $9k.

Thanks for looking!

Reduced price. Selling a mint-condition Arri SR- asking $3,500. Recently serviced. Comes with original Zeiss 10-100m 2.8, two 400ft mags, one original battery (with charger), new Belcor battery belt, core adapters and Porta Brace strap. Original case included.

Refrigerated film stock also available: 15 rolls of 7222 negative film for sale for $25 per roll and one (1) 400ft roll of OWO b/w negative also available for $100.

You won't find an SR in better condition than this one.

Here's a short that was shot with it about two months ago in Vermont:

Thanks!

Hi Cory,

Thanks for getting back to me.

 

I'm curently on the look out for an SR II package ( for a friend ) and thought your kit would have been

within his budget ( being an original SR ), but sadly isn't.

 

Being in such good condition, your camera will probably be more interesting to a collector.

 

 

Good luck with the sale.

 

Best wishes,

John S

Thanks John! Best of luck on the hunt.

A couple more images taken today. Also, I was mistaken about the lens-- it's a 2.8.

http://imgur.com/rIujQgq

http://imgur.com/eeI827Q

http://imgur.com/Drx45LQ

Thanks!

Camera price ?

 

Cheers,

John S

Hey John-- asking price is $4,000, OBO. This camera was purchased about a year ago for $4500 from an estate sale, and I've put some work into it and added a few extras (battery belt, strap, core adapters). I'm going to add some more photos that will clearly show the condition she's in.

Selling a mint-condition Arri SR. Recently serviced. Comes with original Zeiss 10-100m 3.5, two 400ft mags, one original battery (with charger), new belcor battery belt, core adapters and porta brace strap. Original case included. I also have about 15 rolls of 7222 negative film for sale for $25 per roll. It has been properly refrigerated since purchased. One 400ft roll of OWO b/w negative also available for $100.

You won't find an SR in better condition than this one. I purchased it from a collector two years ago and it barely had any film run through it until I bought her. Camera is located in Manhattan.

Here's a short that was shot with it about two months ago in Vermont:

Two photos attached.

Thanks!

Ah, well there is the problem. As you first suggested, it seems like the guide pin has snapped off. Most likely from over tightening or trying to force the c-mount off (I think this may have happened when I left the lens on during the summer and the expansion made it extremely hard to take off). Either way, I think I'm going to have to either solder/weld a new guide pin that will fix the dimensions of the grooves on the lens barrel, or drill through the mount and install a pin that way. I think this would hold better.

Thanks for your help, Jean-Louis!

In the image you can see the small, grey area where the pin once existed.

Thanks for the reply, Jean-Louis. Do you think this is a self-serviceable issue or something that is even worth looking in to getting fixed?

I could buy a new one for $150 or so, but I have a personal connection to this glass as it was my dad's old lens from his travels.

Hey All-- So I've acquired a Black Magic Pocket Cam, which has allowed me to dust off all of my old C-Mount lenses and put them to good use. My Kern 75mm f/2.8, however, seems to be acting strange. The C mount can now become unscrewed, which I don't remember it being able to do before-- see photo attached.

I don't think that this part of the lens should be able to detach completely from the camera mount. It basically comes right off of the focusing threads. Any insights about this would be greatly appreciated-- I know I haven't explained the situation in the best way, but hopefully the photo will help.

cory i think you're gonna need i time machine to get one cleaner than that.

She is a beauty-- thanks Steve! I can't wait to use her next month.

Thanks all! After looking up the wiring in the old SR manual, I was able to make a custom 2-prong cable to XLR to go directly into my tascam. It creates an unpleasant signal when I fire up the camera, but it's exactly the signal I need in order to distinguish when I'm rolling film or not. We'll see if it works in the field-- if not, I'll be synching by hand.

I was under the impression that this would allow me to keep my digital recorder running all the time. If I had the input from the Pilotone, then I would be able to register when the camera began each time, thus making synching easier in post. It's basically for run and gun situations where it would be great to continuously roll audio, but only selectively roll film.

I guess I thought it would be make it easier to synch up rather than having to slate in the field.

Heading into the field shortly to shoot some sync sound camera tests-- I'm interested in trying to use as much of my "new" camera as possible, including the Pilotone and the start mark system.

Has anybody had success recording this Pilotone, especially going to a digital recorder?

If it's possible, I'd love to be pointed in the right direction for cables, 5-pin DIN to 3-pin male XLR.

Thanks!

...Oh, I almost forgot to ask you, Cory. Just like I asked Will above, about the SR1 not being a PL mount, that isn't a big deal for you? I just looked it up and there are bayonet to PL adapters, so I guess it's not a problem after all?...

George-- It's not ideal, but I'm mainly a documentary filmmaker, so having one solid bayonet zoom isn't the biggest problem for me. Ideally, I would like to have a PL mount in order to use my primes for other cameras, but in terms of the run-and-gun style that I use, one zoom is preferred, and a 10-100mm is perfect for me-- and the auto diaphragm is a pretty old but nice feature.

 

 

In terms of effort per foot it actually compared well with the Lomo tank. but it often put a slight scratch on the film. Needed a better human loader. The story I got from the guy that originally used it. It was used to process telerecording film. The first live TV shows here were shot on old electronic cameras, transfered to 16mm, processed and flown off to the other cities.

How wide is the reel itself? And does it fit in normal 35mm still photo tanks? I'd be interested in trying to get my hands on one of those, since I'd rather only cut my 400' rolls into two 200' segments instead of 4 100' segments.

Yes, that was fresh 50D Vision 3. The lens was a Zeiss 10-100 T2.4 I think... the little brother to the 2.0. Hard to tell what lens is on your SR2 there, looks like a newer (black) version of the 2.4.

 

By the way, your SR2 looks flawless, you got a good one.

The entire kit was purchased from an estate sale with original cases, manuals, etc. I honestly don't think any film was actually run through the film, as the magazines don't even have any of the characteristic scratches from daylight spools, etc. When I took the core adapters off of the mags, they even still had fresh oil on the bearings in the middle... the lens is the lens that came with all SRs back in the 70s, a 10-100, although it is a little slower at f/3.0

Its an SR1, not an SRII, but still pretty. Purrs like a cat.

I also had a 200' stainless open spiral....

I somehow skipped over this late last night, but woah, that seems like more trouble than its worth!

To be honest, I haven't tired that yet. Still looking at mirrorless camera options and wondering how that would work, or if any options exist. I do feel awful using a dslr and abusing all of the actuations it would take to digitize even just a few rolls of film.

Any ideas?

George-- Good to hear you are getting into film. It's a very beautiful and gratifying medium. Best of luck with the SR3 when the time comes!

Well, all I can say is that the CP might be the bane of my existence.

....and for black and white you could also buy ORWO stocks from http://www.orwona.com ....

This caught my attention-- have you shot with ORWO before? I've never heard of them, but am interested in a different B&W stock since Fuji discontinued theirs. I've been happy with Kodak's 7222, but now I'm too curious.

Hey Cory,

Can you give us a quick description of your hand processing and DIY telecine. There are probably enough people in NY to have a co-operative B&W continuous processor.

 

Cheers,

Gregg.

Hey Gregg,

I use a 100 foot tank that was made by Lomography back in the 50s similar to this one:

I actually purchased it from the CineMarketplace about 2 years ago, and hand-processed my entire thesis film last year on it (http://www.coryzapatka.com/projects/R/). I processed over a mile of film for this puppy.

I shot the film on 7222, Double X negative and used D-76 concentrate from Kodak. I was able to get pretty remarkable negatives. During my telecine session, the technician told me he hadn't seen such beautiful negatives in a long time (and that labs tend to over-process to extract more silver from the film and yield a higher return when they recycle the silver).

I'm currently working on converting a Lafayette Analyzer into a telecine station, and although it won't be able to transfer real-time, I will be able to do it in the comfort of my home. I am able to sync up the projector at 2fps with my DSLR, projected to about 4 inches onto a stretched vellum screen, which gives a very nice milky appearance. I'm not striving for perfection, but rather experimenting with various textures that can give different feeling to the image that will accompany the hand-processed look that I've already created.

SRs that have been modified to S16 usually get the upmost care and treatment in their conversion. Anything converted by Visual Products or Whitehouse will give it their all, recentering the lens mount and changing to PL, updating the ground glass, adapting the shutter to fully cover the S16 area, etc.

If you've never shot on film before, I would highly suggest even starting out with a bolex or other non-sync 16mm camera just to get the feel of film, how it reacts to light, etc. You can find a bunch of 16mm cameras online that are dirt cheap, and may not run at exactly 24fps, or will not be quiet enough for sync sound, but it will give you a great feel of film, and how to shoot with it, before you buy an SR or other 16mm camera.

I felt crazy buying a film camera last week, but I couldn't be happier with my purchase, a 4:3 SR1

You can kind of look at 4:3 like 4-perf 35mm. If your final destination is 16:9, it's can be a waste but it gives you great re-framing ability in post. 4:3 is still a valid artistic choice. I bet in a couple years it will be all the rage again...just like in 1925!

 

A well maintained SR is so steady & sharp (with a good lens) that cropping to 16:9 isn't an issue with modern telecine/scanners. I notice a big difference from my Scoopics (I still love them though!)

 

Here's something I did at Easter testing a 4:3 SR1 brought back to life by Arri and Mike Thorton at MPS Film here in Dallas. Scanned the whole frame to check for any issues.

 

Will-- great footage and even more special that you were able to capture this on film. Were you shooting on 50D?