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Isaac Eastgate

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Posts posted by Isaac Eastgate

    Arri Ultra16 14mm T1.3 - Near Mint

    in Cine Marketplace

    Posted

    Bought new from Arri many years ago as it was the sharpest glass anyone could provide for the s16 format, it was needed as a benchmark for testing and calibrating s16 groundglasses and optics. It has never been used on a shoot, never had a mattebox mounted, never been used with a follow focus or motors etc. etc.

    There are a couple of very small marks to the housing but the optics are mint.

    Will ship complete with original caps in its original box with the original Arri test certificate.

    Provisionally priced at 9000GBP (plus vat if in the UK) but open to ALL offers and will happily take the best one, its hard to guess where the market is at the mo.

    dqVS1zP.jpg

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted

    3 hours ago, Tyler Purcell said:

    Using a camera for specific shots is very different than using the camera for the entire film

    Have never said otherwise. But even 2 weeks here and there on different features that need it as a C-cam is big news especially if its cross hiring due to low supply. 

    I don't really get what the counterpoint is here other than that market prices are "stupid hype". But wheres the hype, when was the last time film was this popular? Not since they stopped making film cameras forever? Its just a demand issue and the demand is completely real, and additional supply is never coming.

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted

    1 hour ago, Kemalettin Sert said:

    Isaac you really think you would get 600 days of rental in 2 years? Really? even if you give that camera for free it wont be out for 600 days trust me.

    600 x 1000 is 600,000 dollars, so no. Even 600 x 600 is 360,000.

    I never said anything about home boutique rental. The people buying cameras at these prices are not home boutique rental.

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted

    Can't find OUATIHW reference but the rest are all easy to google

    First man:

    https://ymcinema.com/2018/10/24/first-man-was-shot-on-aaton-penelope-an-2008-model-film-camera/

    BlackkKlansman:

    https://www.kodak.com/en/motion/blog-post/blackkklansman

    Ad astra:

    https://ascmag.com/articles/ad-astra

    And i missed one, Dont Look Up was also shot on the penelope:

    https://ymcinema.com/2022/01/26/dont-look-up-aaton-penelope-and-kowa-cine-promiser-macros-for-the-extreme-closeups/

    So looks like penelope is almost more popular now than when it was first released. I'm sure it would get more use if there were more to go around.

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted · Edited by Isaac

    Correction: Ad Astra, BlackkKlansman, First Man and Once Upon a Time in Hollywood all shot Penelope in the last 4 years.

    Seems like its popularity is rising.

    7 minutes ago, Tyler Purcell said:

    Which is impossible these days. Any major show is going to want 2 bodies, not just one. They'll also mostly want to rent because the rental house provides them a guarantee that a owner/operator doesn't. So unless you're a top DP and are doing a few features on 35mm a year, the idea of renting it and getting your money back in 2022 is not possible. Most of the people who own Penelope's got them when they were cheap comparatively. 

     

    Yes this is what i mean, the prices are real and theyre a good investment for the people who are actually buying them, mostly rental houses and consignment.

    Multiple bodies is true but i think for these kind of cameras the fallback is crosshire anyway.

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted · Edited by Isaac

    The rental investment makes sense of course, the camera isnt depreciating and you can get 600-1000/day for it, so over 2 years a full return on the investment plus you can sell the camera again for how much you paid for it (or destroy it for insurance money, all the same).

    Then factor in that even if it wasnt, its a great loss leader, if someone wants to shoot 16 then even if you zero rate the camera you’re getting a full job of accessories, lenses, grip and maybe even lighting going out that you wouldnt have otherwise. And yes, people are shooting a ton of 16, thats why 7219 has been almost completely sold out for over a year now. Every fact about the situation shows that its a great investment.

    The penelope is not only newer than the moviecam but far newer than the arricam that replaced it too, right? Isnt it the most modern 35mm camera in existence by about a decade?

    1 hour ago, Julie Ormond said:

    Edith

    I do not recommend you anymore Penelope, even if this was a GREAT camera back 15 years ago, as Aaton has been sold out, no one over there is still able to repair, and there are no more spares at all.

     

    I mean this statement is bordering on insane, the camera didn’t even exist 15 years ago, its 14 years old at the most.

    I think if anyone here wants any non-delusional information about this stuff it might be best to talk to Danny at Cinefacilities. Fully Aaton trained, has spare parts for the penelope, has serviced a few of them. He would be able to give a clear understanding of what it takes to run one.

    Old Fast Glass in the US i think have 2 penelopes ready to hire. Last major feature film that shot on these was First Man with Ryan Gosling as far as i know, not sure if they struggled to work with a 14 year old camera…

    We need to be real about the industry and bring some common sense to the forum: the prices wouldn’t be this high if people weren’t willing to pay it. The 416 or penelope can go for 80 or 100k because people will rip your arms off if you list it for 60. Huge waiting lists across the world with the money ready to go at a moments notice.

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted

    1 hour ago, Kemalettin Sert said:

    Good thing is prices going down and people started to understand it was all stupid hype.
    I feel bad for the people paid 100-120k for 416s..
    Penelopes were around 100-140k range 6-8 months ago.

    Never saw either of those price ranges for either camera. Maybe 100 for a really nice 416 with indieassist tap (worth 12k) and lots of mags? No sign of prices coming down yet, although some brokers do add 20% to their asking price on the off chance someone has no time to negotiate, whereas the actual sale price will be around the market rate. A body only used 416 selling for 80, after a mint 5 mag HD tap with batts sold for 100, definitely doesnt mean prices are falling.

    They remain good investments for their rental value even if we're at peak, things will only come crashing down if kodak files for bankruptcy again.

    WTB: Aaton Penelope 2 and 3 perf 35mm camera

    in Cine Marketplace

    Posted

    Hi Edith, also worth mentioning that as far as i understand it, with demand at an all-time-high, the market is virtually run by brokers like fjs. If a significantly better deal did pop up here, they would buy it and take the difference for themselves. With supply low and demand high, that seems to be how it works at the moment.

    WTB: 3-perf movement for MovieCam Compact MK2

    in Cine Marketplace

    Posted

    1 hour ago, Tyler Purcell said:

    It's what you'd think, until you do an A/B comparison and realize the only benefit on 2 perf is financial really.

    This is why guys like James Cameron choose to shoot his movies on 4 perf S35mm "cropped" rather than 2 perf, which was available at the time.  

    This is so confusing. Its like you're writing as if you're making the opposite point that you're actually making.

    Yes finance is the entire name of the game. Saving 10k on film and lab costs on an indie feature is at the minimum that much more to spend on lighting or crew, but moreso its make or break for budgeting celluloid when digital would otherwise be the only option. And this compromise isnt just happening on 1mil features its happening on 10 and 20 mil features. Or, in a beautiful world where none of this matters, its still 3 takes of your scene instead of 2, 6 takes instead of 4.

    James Cameron is literally one of the highest budgeted directors of all time with an army of loaders on any set he goes near. Using him as an example proves the point that reframing from a bigger neg just because you can is only an option for the top 1% of major studio directors.

    I've been on sets where i can look around and literally count the number or people who aren't there (or are there but arent getting paid) because we spent their rate on an extra perf.

    Its not pretty, and with digital on the table these days the idea of justifying to your producer spending tens of thousands of dollars on spare headroom is just not realistic.

    WTB: 3-perf movement for MovieCam Compact MK2

    in Cine Marketplace

    Posted · Edited by Isaac

    The problem with this is that these things are psychological rather than mathematical.

    I'm not saying whose wrong, just that its not a useful way of thinking about it.

    The 2-perf format, especially at native 1:2.6, with an 18mm lens, really gives you an 18mm FOV horizontally and a 30-40mm FOV vertically compared to other 35mm formats. If you shoot it anywhere near wide, you're balancing your minimum vertical coverage with your maximum horizontal coverage and shooting both wide and normal at the same time. For most shoots thats fine, you light from the top with booms and put your dolly track and bounce on the bottom....

    Some compositions (group shots etc.) are going to feel like 2 4-perf frames side by side with a 2x crop factor, some (maybe subject centred and foreground elements at the sides) are going to feel close to a 1x crop factor... without the height. Your lenses behave totally differently depending on what you're framing.. Its a surprisingly versatile format, and while its still possible to shoot an entire feature on a 28 or a 32, its easier to get surprised by what you thought a lens would do vs what it actually does.

    Cropping to 2.4 or 2.35 isn't hugely relevant because delivery is more aspect-ratio-agnostic than ever. La-la-land was released at 2.55, hateful 8 at something like 2.8. Nobody felt like it was too much. I tested 2-perf anamorphic at 5.2:1, it looks fine.

    These days very few people are doing radical extractions and economy is more important than ever. For features finishing at over a 2:1 aspect ratio, saving a third to a half on your entire film-shooting outlay is incredible. And not just stock, labs and transport, but your loader's time, reloading time, max take length, steadicam rebalancing time, everything is more efficient when you move less stock. Less set to dress, smaller heads closer to your actors, closer mics, ok ok.

    Remember that the wrestler and black swan finishing at 2.35 from a s16 negative look incredible and that 2-perf is 4x the imaging area at the same crop. In real terms there is no loss of quality over 4-perf because on any screen you'll be seeing the negative at the same final magnification. The full width 35mm gate is now a hell of a lot of resolution no matter the perf, so that these days we aren't really talking about limits of resolution any more on anything other than s16, we're talking about grain/noise floor and maybe grade flexibility. First Man was shot entirely on vintage and detuned lenses, nobody is short on pure quality on account of any choice of perforation. Talking about the image quality of movies from half a century ago really forgets how modern our current stocks are and how many generations those old films went through before you pulled a frame of google images. 

    Aaton penelopes quadrupled in price over the last 4 years, so we're in the middle of a 2-perf rush, just without the cameras to go around.

    • Upvote 5

    Bad eBay Experience

    in Cine Marketplace

    Posted · Edited by Isaac

    Agreed with other users that when selling equipment of this kind, the reasonable thing to do is to accept a return for refund when a buyer is unhappy. Its high-end vintage cinema gear being sold remotely, we all rely on a lot of trust when we buy and sell this stuff.

    Ideally they should admit when theyve just changed their mind and eat the shipping, but looking at your auction you've put the condition as "open box" but then images and description talk about chips to the paintwork. Those are contradictory and so the buyer is going to use that to their advantage if you refuse a return in the first place.

    Also can't help but notice the sale price. I would be bummed out too, thats a lot of money for a 200' mag and you might not get so lucky next time.

    https://www.ebay.com/itm/403664030759?nma=true&si=f30Y8bv5KL8WJd1qht%2Fv2u9B2UY%3D&orig_cvip=true&nordt=true&rt=nc&_trksid=p2047675.l2557

    • Upvote 1
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