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Looking for a 2 perf Arricam LT if anyone has one for sale. I have a 416 Plus that I could trade also. All the best, Evan

Hi All, I was just wondering whether anyone would be able to comment on their experiences with both Cinelab London and iDailies. Ideally, I'm looking for those who have used both companies and would be able to provide some kind of comparison. I understand that the differences between the two will mostly boil down to pricing and service, but I wondered whether their telecines and scans differed at all. (They do both, Cinelab in particular, have a number of option with regards to the type of scan they will give you - HD, 2K Spirit, 4K, etc.) I'd be interested to know also whether people are mainly shooting 16mm or 35mm these days. I am planning to shoot a short up in the North York Moors so if anyone has any suggestions for any labs nearer to Yorkshire that would be great, although I am not sure that there are any left! Thank you all for your help! Cheers, Shahid

$900 Or Best Offer. Very rare item, in very good condition. These were only made circa 1982 for the Arri 3C, but are compatible with the 2C as well. 24 or 25 fps crystal switchable. Or, switch to variable mode (non-crystal) for other speeds. I was told the small 4-pin port is for connecting a speed controller for getting crystal sync at other speeds. Powers from 12V 4-pin XLR connector. Can run forwards or reverse - it has a switch for that. It needs a phenolic gear to connect to the drive gear at the bottom of the camera, but that's included with this motor. The motor has captive screws to attach to your 2C or 3C. No power cable included. This item is currently in Los Angeles with a friend. Thanks, Rich

MONO NO AWARE, cinema-arts NPO and film-positive community in Brooklyn is offering affordable accessible workshops this Spring in traditional film making. Workshops are all inclusive, equipment, film stock, processing, scanning, and premiere screening party. APRIL OFFERINGS + SHOOTING AND PROCESSING HI-CON FILM **NEW** + OPTICAL SOUND TRACKS : 16MM FILM MAKING WITH SOUND **NEW** + INTRODUCTION TO 16MM COLOR FILM MAKING WITH BOLEX REX-5 + STOP MOTION PUPPET ANIMATION ON 16MM COLOR FILM + DIRECT 'CAMERA-LESS' FILM MAKING TECHNIQUES + SUPER 8MM B/W REVERSAL FILM MAKING AND HAND PROCESSING We are a resource for rentals (XTR Prod, ACL, Rex-5+) film stock (Official Kodak distributor + short ends in 16mm and 35mm), equipment (Optical Printer, Steenbeck, etc), facilities (Contact printer, editing station) and processing right here in Brooklyn. To learn more visit: http://mononoawarefilm.com/workshops/

Up for grabs is my Kinor 35C modified by Anders Banke This camera system has modern crystal sync speeds, video tap, follow focus and more. This camera is in excellent condition I have 4x400ft magazines 3x1000ft Spare fuses and belts Long viewfinder Short viewfinder I will include 600ft of re-cans and a changing bag for film $5000 message me for pictures my photos are too large for the upload. Tonight I am going to create a FLICKR account just to upload all the pictures of my Cine gear for sell I am also selling my ARRIFLEX BL-4 and ARRIFLEX IIC with Cine 60 Blimp I am open to local pick up I am looking to sell so feel free to MBO

Hello, I was wondering if any Moviecam Compact Mark2 is inherently easy to switch between 4-perf and 3-perf movement. Thanks for your help!

Hello, I am preparing to shoot a project where I what to use both 16mm and 35mm stocks. The plan is to shoot the CS to MS sized shots in16mm (7203) and the wider angle shots in 35mm. I am looking for advice about which 35mm stock to use that will best match the 16mm 7203 in grain, contrast and color. Any suggestions would be much appreciated. Thank you. Steven Holloway steven@shfilms.com

Hi, I have this made in Germany Kodak and I opened up the film door to make sure it was all in working order and now I can't close it. This camera is a little weird, you push a button to release the film door and I assume it is the same to close it, but it won't close. I'm a little stumped and was wondering if you guys knew anything. I'm planning on using this as my B&W camera and my Ricoh for color. Thanks!

I have never been able to find the answer as to why film gates have rounded corners. The question pops up when ever a 16mm gate is widened to super 16. But I generally cannot find the answer. the only possible reason I could think of is if its trivial to have right angles and speeds up the machining processes after milling, not to have to go in and clean up the corners. Any Ideas anyone?

ARRIFLEX BL-4 CAMERA SYSTEM - PL MOUNT STUNNING ARRIGLOW! 35MM + SUPER 35MM twist the PL MOUNT JERGEN VIDEO TAP 3x1000ft magazines 2x400ft magazines long viewfinder extension handgrip XLR wires Excalibur Travel Cases for: Arriflex BL-4 body/video tap/xlr wires/handgrip/extension for long viewfinder 1000ft magazines 400ft magazines $6500.00 Free shipping and handling Local Pick Up NYC

For sale is my beautiful 2-perf (Techniscope) Arri 3C (IIIC) camera package. This camera was never a rental and it looks like it's hardly ever been used, it's in such beautiful condition. I've owned it since 2009 and during that time I found and bought an original Arri factory 2-perf conversion kit, which was installed by the technicians at Clairmont Camera in North Hollywood. I'm guessing everyone here knows why 2-perf is so great. But just in case... basically you get twice the run time from the same amount of film. A 400' roll of 35mm film running at 24 fps lasts about 8 minutes instead of the usual 4 minutes. A 200' short end is suddenly not a pain to work with since it lasts about 4 minutes. So that means you spend half as much money on film stock and processing since that's paid by the foot, too. The aspect ratio is naturally 2.40:1 at the gate so it's well suited to that cinemascope look, but much less expensive than anamorphic on film stock/processing (not to mention lens rental costs). If you wanted to shoot 1.85:1 on this camera, you could have the ground glass pencilled with two vertical lines to create 1.85 within the 2.40, and you'd still have roughly twice as much negative area than if you shot 1.85 on Super 16. I know of a feature film that just wrapped which did exactly that. Some recent and beautifully-shot 2-perf films: "Hunger", "Shame", "The Place Beyond the Pines", "American Hustle", "The Fighter", "Silver Linings Playbook", to name a few. Includes: - Arri 3C Camera body with PL mount port cap, body (magazine) port cap, in custom shipping case - Custom-made by Shurco 2-perf 2.40:1 Arri-3 style ground glass, with clear plastic case - Panavision (PV) Mount (PL mount currently installed, centered on Academy, not Super) with some shims - Cinematography Electronics Crystal Motor Base (could also be used with an Arri 2C, best motor you can get for these cameras) - Arriflex 3C Crystal Handgrip Motor (12V) with screws and gear (could also be used with an Arri 2C, a very rare item) - Italian Flatbase Motor Adapter Plate for above handgrip motor (ECE - ROME), untested - Custom Samcine Hand Held Support Brackets for IIC/IIIC in small hard shipping case - 2x 400' Arri 3 mags in a 2-hole mag case - 4x 200' Arri 3 mags in a 4-hole mag case. Note, two of the mags need some minor servicing. One looks like it's never been used - 2x 400' Fromm Shoulder Mags with spare rubber belt drives and 1x adjustable shoulder bracket (no case) - Jurgen's Orientable Video Door for 3C with Sony Color CCD camera - Arri Hand Held Door for 3C - Arri Orientable Door for 3C - Arri Straight Door for 3C with 2x Anamorphic desqueeze lever - Flat cover for above Straight Door if anamorphic dequeeze module is to be removed - Wide Angle Deniz Eyepiece with rubber eyecup that has shutter that can close - Spare Arri Eyepiece with rubber eyecup -push eye against eyecup to open shutter type, helps prevent light leaks - 1x Jurgen's Extension Eyepiece - 1x Arri Extension Eyepiece - 1x Arri Right Handgrip (no on/off switch) Arri Rosette style attachment - 1x Rosette to Rosette extension arm (adapter bracket needed/not included to use with above handgrip). Bracket pictured in hand held mode is not included) - 1x Unknown Brand Balance Plate Top A35/S35 switchable, like BP-9 (for 15mm rods) - 1x Van Diemen Balance Plate Bottom (Dovetail) ~12" - 2x 12V 4-pin XLR to 4-pin XLR power cables, one with a pigtail - 3x Power Cables for Jurgen's Video Door - 2x Medium Carbon Fiber rods (15mm) - 2x Medium rods (15mm) - 2x Short rods (15mm) - 1x SR2/SR3 type LWS 15mm bracket with 2x screw-in extension rods (for attaching to front of CE Flat Crystal Motor Base - Arri grease The inching knob (shutter/frame advance knob) has three holes drilled in it which was done to attach a hand-crank module from Clairmont Camera for a commercial (shot before the 2-perf conversion). Due to the 2-perf conversion, the Cinematography Electronics Crystal motor base does not count footage correctly. Simply divide the readout by half for an accurate footage count. I've created an album on Flickr with quite a few photos. On the wide photo with everything, you may notice two smudges. I've erased two items which I realized after the fact have no relevance or use with this package. I've also included some frame grabs from a music video I made with this camera after the 2-perf conversion. It was a joy to shoot with, performing flawlessly with not one instance of a hair in the gate. It was almost entirely shot with short ends of 200' or less. If you're not familiar with the 3C, you could think of it as the final refinement of the 2C before the Arri 35-3 came out, mostly designed as a result of engineering Arri did to the 2C for the German WW2 film "Das Boot". It has an orientable door which keeps the horizon level as you reposition the eyepiece up or down (on the 2 doors here that let you swivel the eyepiece up/down). It has a more sturdy hinged door (not interchangeable with the Arri 35-3 door), unlike the metal prongs which hold the 2C door to the body. That design was never intended for the weight of a Jurgen's video door and I've seen a few 2C bodies that are wearing out where these prongs grip, making it risky that the door could fall off. The 3C came from the factory with a PL mount, and it has a very nice crystal handgrip motor which is often sought after since it works just as well on the 2C. Something else I like about the 3C, they have a variable shutter, something that's hard to find on a 2C. The 3C also has a rosette for mounting accessories, right by the inching knob. The 2C doesn't have that. This is a beautiful example of the very rare Arri IIIC. The 3C movement is the same as the 2C movement and motors, mags and of course ground glasses are interchangeable. It took me many years to assemble this package so at least initially, I won't consider splitting off pieces of it. That said, feel free to get in touch if you're interested in something, and I'll keep you in mind. Available for $6,500 Or Best Offer. Available to see in NYC or Los Angeles, if you cover shipping costs to LA. For convenience, preference will be given if there is a buyer in the NYC (1st) or Los Angeles (2nd) area who will pick up in person and pay cash. I live in NYC but have friends/family in LA who can coordinate a sale in LA for me. Please check out the pictures and shoot me a private message if you're interested or if you have any questions. Thanks for looking! Rich https://flic.kr/s/aHskwM83a3

Looking for a complete ARRI 416 Package. Based in Los Angeles. I also have a ARRICAM LT with 3 x 400ft mags and 2 x 1000ft mags I might be willing to either sell or make a trade (depending on items included) Message me if anyone has any leads Thank you Matthew Chuang www.matthewchuang.com

For rent are 2 ARRICAM's A package deal to rent a Lite and Studio in outstanding condition for $100 per day. Also ask about 3k Scanning to DPX at $200 per hour! Feel free to contact for more details. ARRICAM LT 3 Perforation: Arri Metal Flight Cases ARRICAM Lite 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Camera Aperture Cover Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 RS Block 24v RS Block 12v LT Camera Handle LT Center Handle Magazine Port Cover LT to ST Magazine Adapter LT Viewfinder Top Finder Block Short Eyepiece + Rubber Eyecup Extension Eyepiece LT Frame Glow Frame Glow Mask Format 1.85 LT S35 LT IVS Color Video Tap Case Containing (3): 400' LT Shoulder Magazine 400' LT Shoulder Magazine 400' LT Shoulder Magazine ARRICAM ST 3 Perforation: Arri Metal Flight Cases ARRICAM Studio (3 PERF) 35mm Camera Body PL Mount RS Block 24v RS Block 12v Filter Mask 18,7 x 24,9 Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 ST Top/Rear Load Adapter ST Top/Rear Load Adapter Cover Handle ST 3 Part Camera Handle (Long) Magazine Port Cover ST Viewfinder Top (SPHERICAL/ANAMORPHIC) Finder Block Short Eyepiece + Eyecup Extension Eyepiece Long (ST SPHERICAL/ANAMORPHIC) Frame Glow Frame Glow Mask Format 1.85 ST + LT S35 Footage Counter (2) Flexilight ST Rear Load Adapter ST IVS Color Video Tap Case Containing (3): 400' Studio Magazine 400' Studio Magazine 400' Studio Magazine Case Containing (2): 1000' Studio Magazine 1000' Studio Magazine

For sale is a 17ep crystal sync motor for a Konvas. It was serviced about a year ago. Asking 450 USD. Link to ebay

Hey all, Fully aware of how long a shot this might be as I know people hold onto their movements like gold but... Just wondered if anyone might have a lead on a 3-perf movement (or 2 for that matter) for sale as a standalone? Any places or people that might steer me in the right direction are welcomed also but I have exhausted a number of channels already. Many thanks! J

Filmmakers! I am clearing out some gear I used this spring/early summer on project that has wrapped. Up for grabs is an ARRIFLEX IIC with a BNCR mount and a video tap from Precision Camera that easily screws onto any ARRIFLEX style viewfinder. (works with 16mm and 35mm) I am also offering a spare door, a vintage Arriflex shoulder mount, 600ft of film ( recans ) 3 spare gates ( 1:66 / 1:37 / and 1:85 ) on top of the gate installed in the camera. I will be offering TWO motors for the camera both of which are constant speed motors. I will offering up TWO 400ft magazines. I will also include some power cords and a CINE 60 belt. I can provide pictures and can schedule a video conference if your inclined. I also have other spare gates for ARRIFLEX IIC cameras such as 1:37 / 1:85 / 1:66 I am will be listing various film gear as I purge. If your interested please PM #shootfilm p.s I can ship worldwide

Hey everyone, I apologize if this topic has already been exhausted in previous threads. I'm looking for examples of pull processing for an upcoming project. A few came to mind but I want to continue building a reference library as I prep. If you know of any films/examples please let me know! B

Selling a like-new Precision Speed Control 2 that is currently selling for $3000 on CE's website. This one has the LED display and the 3-perf option. Link here: https://cinemaelec.com/products/precision_speed_control_2/ This connects to your film camera and gives you control of your frame rates for over and under cranking, flicker reduction, TV scan line issues etc.. The display also serves as a digital tachometer and footage/meter counter. Works on Panavision, Aaton, Arri, Moviecam and more. Comes with a cable but you may need a different connector for your specific camera. Only uses the one cable, no other power cable is needed. $350 and will ship for free to the lower 48 or you can pick up near North Hollywood. Camera Compatibility Aaton 7 LTR, 54 LTR, LTR-X, XC, XTR, XTR+, XTR Prod, XO+, X Prod, 35MM (Type 1, 2, 3) Arriflex 16SR (1, 2, 3), 16SRHS (1, 2, 3), 35BL (1, 2, 3, 4, 4S), 35-3, 35-2A*, 35-2B*, 35-2C*, 35-3C*, 435, 535, 535B Panavision 16MM, Gold 1,2, Millennium, Panaflex, X, Platinum, Panastar 1,2, PSR Moviecam Compact*** Mitchell Fries** Showscan Showscan Beaumonte Vistavision llm Vistaflex Msm Vistavision Wilcam Vistavision * With Cinematography Electronics 2C CRYSTAL MOTOR BASE ** With Cinematography Electronics FRIES/ARRI MODIFICATION *** With Cinematography Electronics COMPACT PRECISION SPEED PLUS

I'm looking for a NTSC video assist for an arri 3. I believe I have an original arri tap door, I've added a photo of it - maybe someone can fill me in on the different styles of taps and "mounts" for the cameras. -J

Hello, I'm slightly confused about the door on my Arri 3. It has a spot for a video tap but I don't know what CCD cameras will fit it. It sort of looks like a bayonet style. I've found some online but I have no way of knowing if they'll mount. Anyone know where I could get one?

Dear DPs, If you see this young generation of filmmakers (Quentin Tarantino, Christopher Nolan, J.J Abrams), they keep shooting their movies in film like Martin Scorsese, Steven Spielberg, … Does it mean that today, we can't get the feeling, the grain, and the warmth of film in digital ? The response is maybe in the question, right ? But I would like to know if there is a DP who tried to get this feeling of film (35mm (ex: Eastman 100T 5247),70mm (ex: 65 mm Eastman 50T 5250) in digital, especially with the Red Weapon 8K S35 ? And of course with the appropriate lens. Thanks Jean-Marc

Up for sale is my personal set of Zeiss/Opton Super-speed lenses. Ready to shoot. There are Five (5) Zeiss/Opton Super-speed, super 35mm full frame lenses. They are MkI/MkII glass. All PL mounts. All in near outstanding shape. With 80mm fronts, and follow focus. Recently thoroughly serviced in New York, and available for a check out. They are as follows; 25mm - T1.2 - 11, 35mm - T1.2 - 11, 50mm - T1.3 - 11, 85mm - T1.4 - 11, 135mm - T2.0 - 16 Plus 18mm Lomo wide T1.5 - 22 The last one is a Lomo lens, of very high standard glass. It was bought and added to the Zeiss/Opton set, because the glass was comparable. (The only drawback to this set is that the 18mm Lomo has a 110mm front as opposed to the 80mm fronts of the Zeiss/Opton. Thus an additional matte box.) This make it a six lens set. Front & rear caps and carry case included. $29,500.00 US$ woftam@erols.com email for service report, greater details, and more photos.

Hello colleagues, I'm shooting my first film on 35mm in the of next month and I've been in contact with a lab in Stockholm about the developing and scanning. The quote they sent me, however, has left me a little puzzled - and instead of potentially making a fool out of myself with them I'll take my chances with you guys (ha). They want to charge me for 2 scans - 1k AND 2k. The lines in the quote are the following: Scan 1K onelight 35mm 4perf Scan 2k EDL to dpx Is it really necessary to have a total of two scans? Since skipping the 1K could potentially save us a substantial amount of money I'd just want to make sure. This particular lab is the only place left in Scandinavia for developing 35mm, so I doubt they're trying to rip me off. Thankful for any answers! Best, Kaspar

For sale is 1200ft (3x 400ft cans) of 35mm Kodak Vision3 500T 5219. Freezer stored, sealed cans, packaging intact. $400 for all. Terrible iphone photo included.

$750 Or Best Offer. If you own an Arri 3C and want to shoot anamorphic, this is something you'll want. You can shoot spherical, or flip a switch and the optics will desqueeze the anamorphic image so you don't have to frame up your image with everyone looking skinny. A very rare door, unique to the 3C, so certainly nice to have if you ever want to shoot anamorphic on this camera. Thanks, Rich