John Jaquish

Sold.

Just noticed too that one half of one of the electrical contact pins on the variable speed motor is broken off. That said, the cable plug remains tight on the motor, though I'm not sure if some voltage drop may occur. Nevertheless, I just tested the camera and got it to ~32 fps with a 16v source with this motor. Additional pictures in the link.

One other thing: one of the tabs on the PL mount is a bit loose -- may need a replacement screw or otherwise use the other tab.

I hate to let this camera go, though have been shooting S16 and I'd rather someone use this. This camera was used pretty extensively on a feature I shot about 8 years ago, and has been kept in a case in a climate controlled environment since. It ran great on the project, and I just ran some film through it and it's running at 24fps (see video). This might not mean much, but when I was looking at IICs to purchase at the time, this was the latest serial number I came across (14245). Package includes: IIC body with 1.375 ground glass 3x 400ft mags (see note below) 1x 200ft mag Flat base (see note below, needs service) 4 motors (see note below) Periscope finder Tripod stand Support plate for rods (for use with motor attached to body) 2-pin power cable (other end is 5-pin XLR for some reason, but I'm including a 5-pin to 4-pin XLR adapter) The only problem I'm positive of is with the flat base -- the last time I tried using the flat base, the camera did not run at 24fps (but had been working for a bit prior to this). I'm guessing this just needs a clean & lube with the gears/belt inside -- may be able to perform yourself with the right tools/lube. Other possible issue is with one of the 400ft mags -- I seem to remember having some issues with it, and it might need a service or possible repair (this mag is marked as "Service?") Re: the motors: the only motor I have used is the 24fps wild motor (ie not crystal synced), which is the one currently attached to the camera. Three other motors are included, and I'm not positive what they all are. One is of course a variable speed motor; one I'm guessing is a 25fps motor (with the red paint on bottom), and one may be a 24fps crystal sync motor, though I never had a cable to test it (3-pin Lemo?). Everything comes in two anvil cases (with possible supplemental box if I can't safely fit the accessories in). Please note: these are old cases and the foam is starting to deteriorate -- highly recommend replacing foam or using new cases. Like I said, this camera is currently running, and had been working fine 8 years ago, and I don't see why it couldn't be used as is with the above caveats, but I recommend getting a check-up/service on the whole camera prior to any commercial work, and the package is sold as it. Looking for $2200 (PayPal) plus shipping. Pictures and a video of it running here: https://drive.google.com/drive/folders/1LFDbuJjkZGT76zf0--88yMJbxxijGsZg?usp=share_link

Anyone have one of these? That is, one without 1.33/1.78 markings, just straight 1.66. Prepping for a shoot in mid-August with an SR3 and rental house only has a 1.33/1.78 GG. Would be willing to rent if someone has one they don't want to let go of completely. I do actually have a spare 1.33/1.78 one (ie separate from the rental house's) that I could swap with too possibly. Thanks!

Thanks, appreciate it!

Wasn't sure whether to post this here or in the Lenses forum, but went with this one since my question is about 16mm format lenses. Looking at using the Ultra 16 lenses for a project and was curious if anyone has any recommendations on a zoom lens that might match well editing with the Ultra 16 lenses. I'm guessing due to their age, the Canon Super 16 zooms might not be the best, though those are the only zooms I've ever used for 16mm (and likely the most available). Wondering if we'd maybe have to use a 35mm-format lens. If there are a lot of options, I can let you know what focal lengths/range we might be interested in, just wondering how many options there might be to start or general recommendations.

Will do. Thanks Robert.

It's been a while since I shot film. The last project was a feature in 2014. I'm prepping now for another feature (16 color neg) and just wondering what labs folks are using on the east coast of the US (indie-focused if that's relevant/doesn't go without saying). For what it's worth, shooting in Pittsburgh. Also, I'm guessing prices have kept pace with film stock? The couple of quotes we've gotten for this have been ~2.5x what we paid for the 2014 project (which is not necessarily surprising if prices are facing same pressures as film stock). Any recommendations appreciated.

Ending soon.

Selling on ebay: http://www.ebay.com/itm/332293795561 Lens is in very good condition. Comes with: - Visual Products PL adapter (itself $400 new) installed (can be removed easily; is an Arri S mount underneath) - Lens Hood - Original front lens cap and new PL rear lens cap Please let me know if you have any questions.

Hey all, A feature I shot on ORWO black-and-white 35mm is screening (on DCP) at 7:30pm on Monday, June 19th at Anthology Film Archives. I wanted to let anyone know who may be interested in the film stock. We're doing a short Q&A afterword. Information can be found here: www.themutineerfilm.com Either way, I'd love to meet some folks while I'm out there!

Thanks for your ideas, Bruce. I noticed you had posted something similar in the General Discussion section, but I figured it might get more discussion here. Yeah, I'm being pretty conservative for now with any sharpening, only using it on a few shots. I'd love to be able to test some of this with a DCP.

Thanks Tyler. Yeah, I certainly am not finding any lack of sharpness in our footage; I'm not sure why I was thinking that adding sharpening may be a routine operation in grading (was probably reading a lot of stuff on grading digital projects and wanted to make sure I wasn't skipping something). There's maybe four shots in the film where we used a particular wide lens that appears less sharp than the other shots, that I may play around with sharpening on. On the other hand, we also have a few shots that are particularly grainy. I was playing around with the "remove grain" filter in After Effects, and just didn't like the softer result (admittedly, this was my first time using the filter, so I'm no expert, but I spent a few hours experimenting with it). Ultimately, I'll choose the grain over the soft image. Maybe if this were in color, I'd be more inclined to take out some of the grain, but not with black and white.

Great. Thanks, David!

I'm currently grading a project shot on BW 35mm. "DI" may be a misnomer here as it's in HD Prores, but anyway... I had a question about the general use of sharpening and its effect on grain. From my understanding, adding sharpening in post on projects captured digitally is somewhat common (?), but I'm wondering if that's the same for projects shot on film. That is, should sharpening be more of a corrective measure for shots that need it, or is it a routine step in the grading process (and is that different between digital and film projects)? Additionally, how is that tied to degraining? Do most films shot on film go through a degraining process? In that case, I realize sharpening would be applied after the degrain. I've been playing around with the unsharp mask in After Effects and finding that it's accentuating the grain, which is probably no surprise. Though, I'd prefer not to go through any sort of degraining for this project. In a nutshell: Is digital sharpening a routine step for projects shot on film, or is that only if degraining has been applied (corollary: how common is degraining)?

Thanks, Tyler!

Thanks, Bill!

Thanks, will do!

Thanks very much. We're starting to send it out to some festivals now in the hopes of finding a distributor. Otherwise, we'll be distributing it ourselves.

Still available; completely open to offers. http://www.ebay.com/itm/331846587392

Hey all, I wanted to share the new trailer for the film I've been working on - "The Mutineer" (feature), about a group of criminals, fleeing a gun possession charge, who take over a farm in rural Appalachia and try to secede from the U.S.: Shot on ORWO 35mm. Comments are certainly welcome.

Ending soon... Also includes Varizoom battery charger.

http://www.ebay.com/itm/331828495460 I've had this rig for years, and it's still flying cameras. It's rated for cameras 15-25 lbs, though I've definitely pushed it up to 30 lbs or more (e.g. RED One with a RED 25mm lens plus extras, etc.). You can also get a weight plate for lighter cameras (not included here). It's not the prettiest thing, but it works, especially if you're looking for a beginner rig that can fly heavier cameras/set-ups. The big suitcase-looking thing is in fact the original case, though you could fit this into a couple of Pelican cases if you want to get serious. SD rig with 2-pin LEMO power. Comes with the following: Post Arm Vest Dovetail Plate 7" SD Monitor 3-Stud 14.4v Varizoom Batteries (x2) Docking plate to attach to stand (stand not included; I use a C-stand) Case shown in pictures A variety of cables, including: BNC (x2), 2-pin LEMO splitter, 2-pin LEMO to P-/D-Tap, 2-pin LEMO to P-Tap splitter, 2-pin LEMO to DC, 2-pin LEMO to 6-pin LEMO (for RED One power) and 2-pin LEMO to 3-pin XLR power

http://www.ebay.com/itm/331828473205 This lens is in excellent pristine condition, free of scratches, haze, fungus or dust. From my understanding, this is a late serial number. Arri Standard Mount. Comes with original Lens Hood (not pictured) and front cap. Also comes with a Tiffen 2x2 ND0.6 filter, which is inserted into the lens internally (and a Tiffen filter bag for that, though not its original). Custom rear cap included.