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Rob Guerrero

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  • Occupation
    Cinematographer
  • Location
    Hollywood, California
  • My Gear
    Arri 2 perf

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  1. Visual Products has both those Arricams and the 235 for sale it would appear but contact them first to see if its in stock. http://www.visualproducts.com/storeProductDetail02.asp?productID=1790&Cat=2&Cat2=14
  2. Thanks Attilia! Just a bit too large a Cine package for me I have many of accessories you listed already.
  3. Looking for a well used ARRI 235 in 4p body only. Nearly all the offers I have seen so far were minty 3-perf or 3/4 perf and very large packages. Just looking for a standard 4p body only package. Please no large packages... just the body only, I have all the 235 accessories. Not looking for * mint condition* well used but well maintained is perfectly fine. IMO a few dings and scratches actually add character to the movie camera! Ready for immediate purchase! Thanks! 🙏 🤠
  4. That is hot movie camera and everyone want it right now! After the movie Black Swan those movie cameras disappeared from the market and that was 10 years ago! You will have to be patient to find a 416 for sale ... they are out there but it will take time. What about the Aaton A-Minima S16 ? Those are much easier to find and my favorite S16 movie camera even better than the 416 it is super small and lightweight. http://www.visualproducts.com/storeProductDetail02.asp?productID=1390&Cat=17&Cat2=30
  5. I agree on this ... the OP is very vague to say the least on what "low budget" is for the movie camera. For some cinematographers low budget is around $10K for others only $1K then of course it depends what is required for the feature film or film project as far as how much cinematography F/X is involved and accessories such as visual aids as video village...ect. The more cinematography F/X and/or accessories the more expensive the movie camera. And if sound is important or not, that is a big factor. We are are all just kind of guessing until the OP clarifies what defines as "low budget" . This is just me but I would consider any solid reliable 35mm analog movie camera in perfect condition sound or MOS under $10K in the world of cinematography as "low budget" but thats just me. If you are Dean Semler, Jack Green, Roger Deakins, Robert Richardson...ect or any other A-list DPs their versions of low budget may be much more than that. Here is one at a fraction of that a ARRI 35-III at only $3500 fully serviced, with Cinematography Electronics. Unless the OP can clarify further what their version of "low budget" is I would recommend this movie camera I am pretty sure even the most seasoned cinematographers here would agree this movie camera is a good 35mm "low budget" movie camera for the OP. 🤠 Arri 35 -III movie camera with Cinematography Electronics motor (low budget 35mm movie camera) https://cinemagear.com/details/arri-3-c10908.html
  6. Margaret I guess what we all trying to say is without the movement parts it would be impossible to convert any movie camera. I wish we all had better news for you but the truth is very few 435 3-perfs were made by Arri. It's unfortunate Arri just did not make many movement parts or conversion kits. It is all about the "movement parts" or "movement conversion kits" availability when it comes to this sort of thing. Legendary cinematography technicians like Andree here in LA and a handful of others around the globe *can* (though not easily) do the movement conversions (the scarce Arri factory kits are much easier to install/deinstall in just a few hours) but only IF all the movement parts OR movement kits are available in front of them right their in their workshop. These conversion kits just no longer exist. Your only choice if you want a 435 3-perf would be to purchase one from scratch. I know you just bought a 435 so this is painful to hear!! But that is the only way these days. There is one last 435 3-perf available on the planet for sale that I know of here in Hollywood at Alan Gordon, the price is steep but has the true 435 3-perf factory movement. On your IIC conversion it is basically the same problem...movement parts. AG does have a Arri 35-3 in 3 -perf it is a much older model as you probably know than the 435 without many of the bells and whistles but about a third of the price of 435 3-perf movie camera. Again I wish we all had better news but we have all seen 2/3 conversion kits literally vanish from the market in the last decade ever since digital movie cameras took over. The other option is rental and there are plenty of choices there to shoot 2/3 perf analog in 35mm thankfully! 435 3-perf factory movement https://www.alangordon.com/sales/used/cameras/35mm/Arriflex-435-3Perf
  7. Looks like that BL4 3-perf has SOLD! But they have a 435 4-perf for about $7K at AG.
  8. Phil I am not too familiar with the Eyemos but I am always hearing great things about them for low budget 35mm filmmaking. Do the Eyemos have pin-registration do you know? Alan Gordon has one for sale with a Nikon mount! 🤠 https://www.alangordon.com/sales/used/cameras/35mm/crystal-eyemo-nikormount
  9. That is not entirely accurate. That may have been true about a couple of decades ago but all early generation (pre-1990) movie cameras prices for 4 perf and even a few 3 perf movie cameras have crashed. Now 2-perf systems of any kind that would be true .... any 2-perf movie camera are scarce these days and sellers are asking a premium for those. But you can easily find Arri BL1-BL4 movie cameras on the used marked (in 4 perf) for under $7-4K these days. And there are plenty of Arri 35-3 (again in 4 perf) for under $4K now so that is non-issue. In fact Alan Gordon has a fine Arri 35-3 in 3-perf right now with warranty for $6,5K and a BL4 in 3-perf for about $8K both a bargain the last time I check both are are a excellent movie cameras. If I wasn't already shooting with a 235 movie camera I would take either one. The 435 would be the exception that one is usually north of $10K even in 4 perf. Ditto what Neal said on the Arri 235 movie camera and everything else. If you have a good ADR team and sound guy (or gal) MOS should not be any problem. Europeans have mastered this the MOS / ADR problems for decades and we can learn much from them. Here in the US, sans music videos, documentaries and commercials... we (Americans) are a bit intimidated to shoot with MOS these days in the 21st century but as I mentioned with a good ADR team and studio this can be overcome. On the Arricam or Moviecam that is just more than maintenance you need at least minimum 2-3 camera crew crew ( Camera Operator, Focus Puller, AC 1,2nd...ect) on the set just to get a handle in a speedy, efficient manner on any kind of of film production ... in other words the Arricam is *generally* not a one man band movie camera unlike a MOS movie camera which can be operated by only one camera operator.
  10. Boris before I upgraded to 235 2-perf Techniscope my workhorse movie camera was the ARRI 2B 2-perf Techniscope movie camera. For the motor what you have is totally fine, it is the very basic 12V motor that originally came with the movie camera but if you can try to upgrade to the Cinematography Electronics (CE) 2C crystal motor, you will be able to not only achieve crystal speed to 1-80fps but other special F/X cinematography features. The 3C crystal handgrip motor Sats mentions above is also fabulous and it will work with the 2C. For the battery anything between 12V-16.8V will work fine with the 2C. I recommend the CINE 60 16.8V battery belt it worked flawlessly on location and for handheld use (see pics below). For indoor studio the CEI 12V power supply was absolutely solid. Both the CINE 6O 16.8 V battery belt version and the CEI 12V power supply are extremely rare nowadays so I do not think you will have much luck finding either of these. Any CINE 60 belt that is 12V or more will work fine though. As for tripod I recommend Cartoni FL7, C20 or C40 for the 2C. The Cartoni FL7 is very rare but near identical to it's later generation model the C20 if you are lucky enough to find a FL7 it will support up to 66lbs, has 7 step drag and counter balance, it pans 360° . The only drawback is the vertical tilt is only +/- 50° on the FL7 model. As for a video monitor you will first need a video tap, a very basic video 2C tap is not too hard to find, Visual Products still makes them last time I checked but be warned they are expensive. Basic 2C video taps do float around on the used marked from time to time and much more economical. The 2C Jurgens video tap is very rare but the best video tap and VF next to the incredibly rare Fellini Door (see pic). The Fellini Door VF was my preference on the 2B 2-perf Techniscope.
  11. That is for certain, 35mm film is still used heavy for both music videos and commercials, I know DPs that shoot only those with film format. That said even with feature films with 12K scans it really is just artistic preference to shoot film or digital these days.
  12. Hi Rich thanks for the update. I *think* that applies mainly to "sellers", with actual items to sell. I am not selling anything, just WTB. There is no limit mentioned on bumping WTB that I can see.
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