Sam Hand

Mack - Our 2-perf experience has been very positive; we invested in three 2-perf rigs. The S16 option (stock/scan) did not save much opposed to 2-perf 35 in our cost analysis. If you can find a full perf to perf camera in the case of our Mitchell S35R and Arri 2B, you get some extra horizontal re-framing options. Trailer samples from our last feature in HD, save the un-avoidable youtube/facebook upload compression:

Tiffen 4.5" 85/ND Combo N3-N9 Filter Set For Sale very clean. 225.00 OBO, plus 15$ to ship.

Arriflex 2C/B Highspeed Motor and Controller in superb condition. Very rare high speed (slow motion) heavy duty motor. No issues. Asking 375$ 25$ shipping to USA Thanks for looking!

We have two Techniscope 2perf cameras for our production. If you have the gates widened to full perf to perf, as we did, adding a couple more 22mm to 24mm plus, you achieve more framing options. As for gate hairs one must use compressed air always between loading and blow the mag throats out as well. Its not a big problem and frankly if you get one you can remove in post often very simply. Its a great format at stock 22mm, or modded, Its larger than S16 and can look fabulous on a good scan to DI. And is still a cost savings and longer mag time than three perf, appx 8.75-9min per 400' The cameras still come up.

Really nice colors here! It held up like a champ! We are also shooting two perf techniscope, vision 500T, but older glass, F2 prime wide open, shooting backlit Sillouteted body side profiles in a blackout studio, only three blue gel 100w spot par cans and a boat load of fog/mist behind the bodies. Metering on the talents faces (par cans lights side) we get a hot 2.8. So we went wide open at F2. Metering from the camera facing the silhouettes blocking the direct light its under. Wether to push this reel a stop or two is the question. A very timley post:)

A little late to this thread but we started using a Arri 2B 35mm 2 perf Techniscope for our production, in addition we purchased a Arri 2C 2 perf 35mm. So far no issues with gate hairs. It's a great format and far an away more pleasing (to us) to view, edit, grade opposed to the DSLR format we left behind. In our cost analysis it was more economical to purchase 2 perf cameras and shoot film. Although it appears the digital cine camera manufactures would like you to think it much costlier.

WTB: Arri 35mm 2 Perf Techniscope gate & glass, please contact me if you have one to part with or have a line on one. Cheers

http://www.cinematography.com/cine-uploads/monthly_01_2011/post-44581-0-84256700-1294441373.jpg Showing the glass component that is foggy (not actual pic) with bars/wire in front.

Just picked up an Arri 2c myself. Now trying to orient myself with it.

I recently acquired an Arri 2c that is cosmetically really clean and unabused, I have a question regarding the the 1:85 glass frame you see with the door removed (eyepiece), it is very hazy and dirty when you look through the eyepiece (when attached) and looking in with door removed it looks foggy, now you can see the lines and text (1:85) center + sharply but it seems on the other side it's foggy and there are flecks dust etc. It makes focusing with the standard set of Arri primes difficult, like looking through a diffusion filter or Vaseline on a lens! I have cleaned the prime lenses and eyepiece back and front but cannot find a way to access this piece and I have a great degree of trepidation messing with the internal areas without some clear guidance. I can see the one side of it with the door removed and its reflection from the first diagonal mirror you see with the eyepiece/door removed, Also can anyone reccomend a 12v DC power source. This is MOS camera setup not crystal. I will post pix later today. Thanks for any help:)