Uli Meyer

Are you renting the Arricam LT from the Kit Room? If that is the case you shouldn't have to pay for the steady test. If the camera is from somewhere else and you don't know its history, a steady test is a good idea.

Thank you for sharing the footage. Part of the additional image on the left is not clearly visible. What is the reason for this?

Hey Patrick, who did the conversion? Can you put up a link to the footage you mention in your listing? Thank you.

"You should not feel the camera or that the light was made. We don't want to proof anything. The story should be well told without the interruption of camera acrobatics." Wise words.

Just came across these: https://cinemagear.com/lenses.html#super_16_lenses

Hi Henrik, Unfortunately I don't have any more contact to them or Agis. Try Arri Rentals in Uxbridge, maybe they can help. Best, Uli

Don't know about the adapters but if it helps, I just bought the Arriflex 235 LWS from them and it is extremely well made. Looks like they produce quality stuff.

The Arriflex 235 sits comfortably on your shoulder and is easy to keep controlled, that helps too. And the 25mm lens ?

That’s nice to know, thank you Heikki! And a thank you to your kids too!

Thanks Tyler!

The fifth instalment Home Movie is of Julius and his cousin Fritz (with the dummy). It was shot during a trip to Germany last month, after we were finally able to visit family. I bought the Kodak 250D and 50D stock in Germany and had it developed at a lab in Stuttgart. The footage was scanned on a Cintel 2 at the same place. The negative is still in Germany but one day I’d like to get it scanned again on a Scannity to see what the difference might be. The Cintel scan does feel a bit “thin”, not sure how else to describe it. The music is by Peter Fox, a rapper from Berlin. The beat fits well, the lyrics don’t ? Shot on an Arriflex 235 with a Zeiss CP.3 25mm lens.

Before January this year I never had any problems buying or selling gear within the EU and was never charged import duty or carrier fees.

I would be surprised if that is the case but that would be very positive, of course. I started reading through this but gave up. https://www.gov.uk/guidance/classifying-electric-lamps

If the Arris are actually in the UK, you need to take into account that you probably have to pay VAT and import fees in Finland since we are no longer part of the EU. Things will get worse come January. As an example of the madness, I sent a gift to a friend in Germany, a sketch I made with no actual value. Shipping cost a few pounds but he had to pay 35 Euro to receive it. Items with actual value will cost you a lot more. A couple of years ago I was looking into buying some other lights from that site and they sent me a quote that included shipping from Italy. Should the Arris be somewhere in Europe, you may be in luck and be able to avoid those extra costs.

What Simon said plus open up an additional stop and keep the focus tight.

This is an interesting read I can recommend in regards to the subject. https://www.goodreads.com/book/show/6261300-how-not-to-make-a-short-film There is an audiobook available too.

There's a Super 16 Arri SR2 for salew on BB-List: https://www.bblist.co.uk/item.php?item=76133 Not mine, btw.

If you shoot in daylight, yes, an 85 filter plus 2/3 of a stop compensation. You can also shoot without a filter and ask the lab to grade for daylight when scanning.

Holy moley, that looks amazing!

Thanks Robyn! I'll better do a bit more research.

Thanks David, this makes sense. It's a real pain though, especially since only a few months ago this would not have been an issue.

It is difficult to find information about traveling from the UK to EU with professional camera equipment for personal use. Do I need a carnet even though the filming is for a non-commercial, personal project? I am traveling with wife and son and planning on taking a flight case with an Arriflex 235, batteries, a couple of prime lenses and a matte box. Has anyone had any experience with this since Brexit?

Thanks Satsuki. We used tracking markers on the window panes and moved the camera freely on a dolly and jib.

We shot this Mr. Sheen commercial nearly 20 years ago (aargh!) in an apartment in Brussels. Filmed at night, four or five 20k HMIs outside the windows. The London skyline was added in post. Here it was the only way to keep the lighting consistent.

As far as I know, the owner of Ice Film London still owns a Penelope. I offered to buy it a few years ago but was told that he would probably never let it go ?