John Jaquish

http://www.ebay.com/itm/331828476309 This lens is in very good condition. Free of scratches, haze or fungus, though it does some minor internal dust (which apparently has no effect on image quality, as this still produces gorgeous images). Arriflex Standard Mount with front and rear caps included.

These lenses are in excellent pristine condition, free of scratches, haze, fungus or dust. Each comes with a PL adapter (note: this adapter can be easily removed or installed with a hex key (adjustment will need to be made for exact flange focal depth of camera). It is currently on lightly since I only had a PL rear cap). 35mm: http://www.ebay.com/itm/331828447547 Note: I do not have a front cap for this lens -- the lens has been stored with the front covered with lens tissue. Will ship it securely. S/N: 8902506 50mm: http://www.ebay.com/itm/331828440881 S/N: 7431726 75mm: http://www.ebay.com/itm/331828444183 There is a ~1mm scratch on the front element directly in the center. I couldn't get it to resolve in these pictures and it certainly has no effect on the images this lens produces, which have been gorgeous. Otherwise free of scratches, haze, fungus or dust. S/N: 6827745

http://www.ebay.com/itm/331828427604 I'm selling this great Arriflex 35BL-III package. I just shot a small feature film on it; the camera's been working great and all components dependably. It was also just serviced (the shutter belt was replaced with an original ARRI part by Visual Products; I can send you the work order if you'd like). Included along with the camera are the following items: 400' Magazine (x2), with case 1000' Magazine, with case B/W Video Tap (note: this video tap attaches to and replaces the viewfinder; worked perfectly while operating a Steadicam) 12" Extension Viewfinder Handgrip with run switch Baseplate Cinematography Electronics Speed Control unit and cable (note: I do not have an attachment bracket for this, though one can be easily rigged) Miscellaneous: 2 power cables, 12" carbon fiber rods, 18" aluminum rods, new internal memory battery and box of fuses The camera is Normal 35mm with an Academy gate. Included is a 1.85 green glow ground glass. The mirror shutter has normal wear for its age, but is functionally great. I have two more 400' mags that I'd be willing to toss in to this sale just for the extra shipping cost (though, I have no case for them and one is missing a protector).

Gregg -- I would greatly appreciate any IIC documentation you might have as well.

Update: occam's razor...it was the GG.

Thank you much for the kind words, Rudy. Incidentally, still haven't had the chance to test the camera with the GG switched. Will post an update when I do.

Charlie, thank you so much for your detailed response. I was on a shoot yesterday so couldn't get back to you immediately. I'll respond to the points you brought up to the best of my knowledge: We were shooting on ORWO N74+ and UN54 black and white film (similar to Kodak Double-X; it's "standard" black and white film, i.e. not infrared film). I should say I'm not certain it completely lacks an anti-halation backing, but understand that if it does, it's less substantial than color film. We were shooting on black and white film because we wanted the film to be in black and white. We weren't going for any look or effect apart from that. Although I understand and very much appreciate all the info on the 35-III, I find it hard to believe this camera lacks the capacity to shoot standard black-and-white film. I feel as though there's something else going on here, though I of course could be wrong. For example, our main camera was a 35BL-3. Now that I look at the BL-3 again, it also has chrome "ridges" on the pressure plate, and we had absolutely no issues with that footage with the same film stock (also, our 35-III pressure plate looks identical to the picture you attached -- the "valleys" in the grooves are still black, and I was assuming the chrome on the ridges used to be painted as well, though perhaps not). Further, the 35-III does have the two light baffles, and they are intact. Now that you mention the GG not being seated properly, it seems the shots we got from this camera are also slightly off center horizontally (for example, in that still I posted, I probably had framed the actor more centered). I have now replaced the GG with a proper one, and hoping that was the issue. Of course, I'll need to test the camera again, and it would be a good idea as you mentioned to also test it with some color film. Of course, that'll teach me to shoot with an untested camera; though fortunately, we probably only got three or four shots with this camera for the whole film. The issue with the daylight exterior shots is much more subtle than the still I posted above (and like I said, the issue almost disappears for that shot when light's not flaring the lens). (Also, Evan, I performed the sync test and see no movement of the film while the shutter's open). Thank you all for your input and please let me know if you have further ideas based on this updated info.

Thanks, Evan. I'll try the sync test either way and see if I come up with anything. Thanks, Simon. With a new GG, it's still not entirely sealed, though certainly more so than with the previous one. I have noticed the issue seemingly independently of lens focal length (in fact, we have a couple of zoom shots where it's present throughout the zoom range). Would it still be a good idea to try blacking out the pressure plate with a felt marker? I suppose I'll have to run some film tests for these adjustments.

I have not, though seems reasonable. Do you know how I'd test that? One other thing I noticed is that the metal frame for the GG is missing (ie the one glued to the glass, that you would pull to remove the GG). Not sure if that would cause any sort of light leak, but replacing it seems to seal it up a bit better.

Thanks, Simon. The ridges on the pressure plate mentioned above are indeed shiny. The edges of the aperture are not on the shutter side of the aperture, though are somewhat shiny on the pressure plate side, as they have similar "ridges" where it seems the black paint has rubbed off. Would I simply use a black Sharpie on these areas?

Thank you though, Satsuki. I'm also wondering if the lack of an anti-halation backing on the b&w film exacerbates the issue.

Sure thing. This isn't the best still in general, but one that represents the issue (there was light flaring the lens on this frame). We got a flat scan of the film (we shot on b&w film, by the way), and I adjusted the image slightly to exaggerate the issue. Most evident is the horizontal line running across the bottom ~third, and similarly along the top third. Less obvious, there's also a series of smaller horizontal lines running along the whole right edge of the image. Again, these lines mirror the surface of the pressure plate. The "ghost image" pretty much disappears as light no longer is flaring the lens. (For what it's worth, the blotch on the actor's right cheek seems to be some chemical or emulsion artifact unrelated to the issue; it just happened to show up on this particular frame). This is of course a very low-key lighting scenario, though the issue is also vaguely present in high-key lighting (e.g. daylight exteriors).

A little more information: I'm looking at the pressure plate, and the surface of the "ridges" seems to have the black paint worn off, leaving a shiny metal surface at those areas, being the exact "ghost" image I'm getting on the exposed film. Could simply re-painting that surface a matte black fix or at least mollify the issue?

Just finished shooting a film for which we used a 35-III for a few shots. We got an HD transfer on the negative, and the shots we used this camera for, it seems there could be some sort of light leak. What I see on the image is an "imprint" of the pressure plate, which increases in intensity if there's any light source flaring the lens, which makes me believe the "leak" is coming from the lens, but something's causing it to bounce around or reflect inside the camera. Trying to figure out what could possibly be causing this, whether it's somehow user error; or if mechanical, if it could be an easy fix, or something more deadly. Any thoughts would be greatly appreciated.

Hello, In a bit of a bind as we have one week of production left on a feature (www.themutineerfilm.com), though our gaffer and key grip are booked on a union show in town. The dates would be June 8th - 12th, filming near Wheeling, WV (about an hour or so from Pittsburgh, PA). Shooting on black-and-white 35mm. This is a non-union shoot. Very low budget, though this is paid and hope to negotiate fair wages. Ideally, looking for someone as local as possible to mitigate travel costs. Please e-mail info@themutineerfilm.com for more info. Thanks!

No, sorry, forgot to update this. This was sold a while ago. And I already regret selling it...

I.e. 11-Pin Fischer to 11-Pin Fischer. Please PM if you got one! Thanks,

And of course, incidentally, the integer ratio between 8:6 (1:1.33) and 10:6 (1:1.66) would be 9:6 or 3:2 or 1:1.50.

Great point about modernist/classical viewpoints. Another reason (or maybe the reason) I like 1.66 -- the golden rectangle. Incidentally, 2.40 is close to the "silver ratio:" http://en.wikipedia.org/wiki/Silver_ratio

You're right. Even if it could be shown flat, it would be elliptical, not rectangular.

Thank you for the detailed input, Dom. I certainly wouldn't presume to be able to give this thing a full maintenance, but would at least like to be able to keep it lubed before being able to get it overhauled (ideally after I finish a project I'm currently in the midst of). The other concern I had was in fact mixing a new grease with what's already in the camera. What's in there now looks like it's an opaque cream color. Now, Fauer refers to "Arri Grease" later on in reference to IIC lubrication, and I did get some of this as I have a IIC and this is still sold by Arri. It looks somewhat similar to what's in the BL now, but has more of a petroleum oil look to it. The Arri Grease is in fact different than what would be used on the BL, or could that potentially be used? I also plan on contacting Clairmont (where I got the camera) and see what they use.

Hey, I'll enjoy anything if Gordon Willis is framing it. And you certainly can't argue with those The Leopard screenshots in the article.

I would add, personally, I like the 1.66 aspect ratio the best for established cinema aspect ratios. Though, if you could project in a 1.50 AR, I'd want to try it (maybe you can with a DCP? not sure how projector masks translate to digital projection...).

http://en.wikipedia.org/wiki/Visual_field "The normal human visual field extends to approximately 60 degrees nasally (toward the nose, or inward) from the vertical meridian in each eye, to 100 degrees temporally (away from the nose, or outwards) from the vertical meridian, and approximately 60 degrees above and 75 below the horizontal meridian." (100 deg + 100 deg) : (60 deg + 75 deg) 200 deg : 135 deg 1 : 1.481 = ~1:1.50 Assuming that citation and those calculations are accurate, I think the most "natural" aspect ratio, i.e. most natural to human vision, could be 1.50, incidentally the native aspect ratio of 35mm still photography. Which would be somewhere between 1.33 and 1.66 for established cinema aspect ratios. "Scope" or 2.35 has always seemed a bit too wide for me, whereas 1.33 seems a bit narrow. Seeing a 2.35 film in a theater usually requires turning your head to pay attention to one particular part of the screen, whereas with a narrower frame, you should be able to take in the whole picture as a whole without doing so. Of course, these are ultimately personal preferences...

It seems like this is the original one referred to in Fauer's book, though it's no longer in production. Maybe this one by Dupont is closer to what's needed (in the can, not the spray). Yeah, I'm not sure if a high temp/extreme pressure grease would be necessary either. For what it's worth, it seems like Petrolon / Slick 50 was sued by Dupont for using the "Teflon" trademark name. Though, Teflon/PTFE is a component in all these products.