Jay Young

Bump, Still for Sale.

Due to life changes, I am selling two of my cameras. Arriflex 35mm IIc: Adjustable shutter model 4x Mags (1x 400', 3x 200') Matte Box w/hard mattes New battery included with 4-pin xlr cable. 3 Original Arri B-mount Schneider lenses included 24-fps Crystal Sync motor Wild motor 4-perf movement About 2000' of film, maybe more. Kept refrigerated from new, all expired. 2 Pelican Cases ASK - Changing bag, insert slate, Tape, User manual and repair manual. Camera had recent CLA, I have run 400' through it - works great. Asking $3800 including shipping to 48 US. International shipping, please inquire. This is a heavy case. Link to Photos: https://www.dropbox.com/sh/uw4ixn52ouzm7sd/AAC8X7mOhAmdnCr1nPV_370xa?dl=0

CP-16. You can still get belts, and clutch pads, and usually they come with a pretty decent 10-150 Angenieux zoom. Sure, you have to thread it, but they come cheap. People still CLA them. The only downside is the electronics. If they go, not much you can do. I use mine all the time as B or C cam.

If that image is correct, whats the real difference between 100 and 1000? Seems to me you would loose more than you might gain.

Ha, J.D. , most of the time, I find myself running around yelling at people because they don't know better. Someone has to teach safety, and more often that not, its me. I was, however, only speaking of the lamp heads.

LED's can be iffy. HMI's are usually fine but we like to cover the ballast with some rain shield. The heads are hot enough not to really worry about but we always cover those with Cello Flex wrap - the metal wire in plastic. For Tungsten Fresnels, we usually just let those go. Monsoon, Hurricane, whatever. If the Gaffer or Bests get a little worried, we will but some cello wrap over those as well, but Tungsten is nigh indestructible and hot. The problem comes if you turn it off. If you are having lightning, and the genny is switched off, then I start covering lamps for sure. But so long as they are on, and its raining, no problem. The only time I lens has ever cracked on me was on a Joker 800 in February when it snowed. Nothing we did saved those lenses.

What did you end up using as your sun source in that very first shot? Looks great!

This was color graded by me, of which I am not the best so if the color is off, its totally my fault! I can put up some 4k frames when I get home. Currently in Atlanta for Cine Gear!

I shot some anamorphic regular standard 16m for a 2.66 aspect ratio. It looked fantastic!

Schneider Cine-Xenon 20/50/75

My 2c I just purchased came with some 5248. I needed to test the camera to see if it was indeed in working order, and it performed flawlessly. I thought I would share. I didn't clip test the film before shooting, but I never expected it to look this good after however many years. In resolve, my printerlights hover around 40, 24, 14 in the offset on average. Of course, I figure I would have to dial in a bunch of red being Tungsten film shot in daylight. Love to hear your thoughts. Next up to test is Fuji 8552. Edit: I'm not really good at color grading. I can provide the 4k scan if anyone should want that as well.

I'm having all kinds of issues with Resolve v15 on windows 10. They are sort of minor, but the main problem is that if you turn on the printer light hotkey, then Ctrl-F for full screen view, then go back to normal UI mode, the printer light hot keys no longer work. You have to go turn them off and then back on. Its very annoying.

Does anyone know of the base density numbers for Fuji 8553? I got clip test done at the lab, but I can't seem to find anything other than the chart with the wavy lines. If that chart is to be followed, is it possible to have a shift up in one color and down in the other two?

I'll Play: Arriflex 35-II BV (Adjustable shutter). Camera test coming back this week! Includes a set of Schneider Xenons. Cinema Products CP-16 w/ Angenieux 10-150. Makes a nice image! Sony A6300 Cameras I would like to own: Mitchell/Fries 35mm - Rackover would be cool too. Bolex Eyemo at an afforadble price? 35mm windup of some kind.

I'm not so sure this is true Tyler. For an ultra modern camera, probably, but I just bought a 2c for under $3000 with lenses, and a friend of mine just sold his 2-perf 2C with PL mount for $1200. That said, A Fries Mitchell would fit into that price range. However, for a sound sync camera, you are probably right. Maybe a CP-16?

I have always wanted to know how that was done!

I can sure get the equipment for you, but I don't know anyone who owns there own gear in the area. Most you'll find is a few skypanel or litemat owners.

If you are shooting digitally, set the camera white balance to like 2800K and the tungsten will appear nice and silvery Grey. It won't be blue, but it works in a pinhh if you don't have the budget to go big tungsten, or to rent HMIs.

Should be here next week, already booked a music video. Excited to get rolling.

Yes, looking at video tap doors currently! I actually talked with the seller and I am getting a wild motor AND a 24 crystal motor!

I just purchased a 2c, in hindsight I probably should have purchased a Fries/Mitchell, but its 35mm and that's really what I was after. I really want to get this ready to setup for stedicam and am looking for advise on which pieces I might need in addition. The package came with: A motor which may or may not be crystal, not the flat base motor for sure a set of Schneider Cine-Xenons, in Arri S/B mount of course 4 mags 3x3 matte box (guess I'll have to find mitchell filters!) batteries Recent CLA How feasible is it to rig up some sort of follow focus without having a PL front? This camera still has the 3-lens turret. I am thinking if I can find a baseplate that allows for some type of rod support system to be used I might be able to fit a small motor on the lens. I might have to just use one lens at a time for clearence, and I would have to find follow focus gears.... Thoughts?

We shot a bunch of lighting/action tests going for a very specific look, and myself and the director both liked the look. It also meant that I had the opportunity to really utilize a larger lighting package. We tried twice to use HMIs, but they gave us nothing but problems. So the whole show, except for one scene was lit by tungsten. Because of the atmosphere like rain and fog we were using, the director wanted a hyper real, almost video game like texture. We tested hard back lit rain the most, and the 45-degree shutter gave exactly what was needed. When we got to the standard over/over dialogue shots, I didn't want to change the lighting techniques or camera setup so we kept everything consistent. There are a few shots I wish I had more time on, but that happens every show.

I shot a pilot all at 45 degrees. You really can't tell, especially in the dialogue scenes.

Hale, Looks great! I'm sold. Gonna try to find one.

70mm prints are cool?