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Showing results for tags '35MM'.
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For sale is my Arri 435es Free shipping anywhere in the world you'd like. I took a Job in England and can't take the camera with me. Very complete package in outstanding condition. Camera was recently completely overhauled with new electronics and circuits. It was just recently serviced by factory trained technicians and has not been used since. Included with the package are two 24v batteries which I just had completely re celled. It includes: (2) 24v Batteries Arri BP-8 Baseplate w rods Arri Dovetail IVS Color Video Tap NTSC Ground Glass & Glow Mask Extension Eyepiece Eyepiece Heater Cup Remote Control Unit 1 Finder Block 24v Power Cable RCU Cable - Long RCU Cable - Short Carrying Handle Short Eyepiece Eyepiece Heater Cable Lens Port Cap RS Block 24v RS Block 12v Silent Lens/IVSRS Mag Port Cover (1) 435 1000' Magazine (4) 435 400' Magazines Price $4000 USD
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Hi there, Looking to see if anyone out there is selling a 3-Perf 35mm package, not too particular about it being MOS or Sync but am just curious if anyone has anything they're looking to sell. Thanks! J
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Kinor 35H (9KCH-M2) - Russian Professional 35mm Movie Camera Set Most of you probably know the story of the Kinor. This unit is in perfect working order. It has been well maintained and upgraded. The upgrades electric rewiring to work with standard XLR plugs, rewiring of the interior electronics, adding a video tap, adding a BNCR mount. The camera has been and is regularly serviced by a qualified technician. The buyer will receive a fully working, colimated kit that will be serviced by the technician prior to the sale. The camera has worked on quite a few gigs recently, but as we own another 35mm kit, the time has come to sell as we can't justify two kits. So this isn't your typical Russian "I don't know if it works kit", but a much loved and well maintained unit. PM me with any questions. Here is a link to the ebay auction: http://www.ebay.com/itm/Kinor-35H-35mm-Movie-Camera-/182497662948?hash=item2a7db557e4:g:pygAAOSw2gxY0QPB During the '84 Los Angeles Olympics the Soviets were boycotting the games, but they sent camera crews. Moviecam Super America cameras were being used there by American crews. It was the first time those cameras had ever been seen by the public. Right in the middle of the games one of them vanished. They were $200,000 cameras. The missing camera was never found. A couple of years later the Soviets introduced the Kinor 35H, which certainly seemed to be inspired by the Moviecam. Though they never admitted to the theft, most people suspect that the Soviet crew stole the Super America and reverse-engineered it. This particular unit was bought from Cannon Films and the word is that it was used on various movies produced by them in the Menahem Golan and Yoram Globus era, including Delta Force 2: The Colombian Connection, Ninja Trilogy and Cyborg amongst others. The camera comes fully kitted and modified to modern standards. It has two lens mounts - BNCR & OCT-19, is manufactured of sync sound (-32db), comes with a B&W CCD video assist has updated power inputs for XLR use and updated reg pins for use with Kodak Negative. It is fully working, tested, and in excellent condition. The camera has been well maintained and serviced throughout the years. It comes with everything that you may need for setting up for hand held and studio work. The set includes an Anton Bauer charger and one XLR battery. Everything in the photos is included. The camera comes in 5 original metal cases. The camera is a great model to adapt to two perf for shooting Techniscope 2.35 with spherical lenses. SPECIFICATIONS LENS MOUNT: BNCR & OCT-19 SHUTTER: Rotating Mirror - 180 degrees FRAME RATES: 8-32 fps in .1 fps increments w/speed control; crystal 24 & 25fps MOVEMENT: Single pulldown claw and single registration pin FORMAT: 35mm; 1.66, 1.33 ground glasses; modified 1.78 SOUND LEVEL: 24-32db depending on speed WEIGHT: Hand-held: 28lbs w/500ft. magazine and prime lens MAGAZINES: 2 x 500' (150m) and 2 x 1000' (300m) w/built-in torque takeup motor system MAGAZINE MOUNTING: Rear of camera; lowered/raised positions, depending on mode Camera comes with a magazine wedge MAG DRIVE: All electronic via multipin interface FINDER: Short for handheld - fully orientable; projection from camera side is adjustable Long for tripod mount fully orientable; projection from camera side is adjustable FOLLOW FOCUS: Single knob on camera for handheld Double knob on base plate rods for tripod mount BASE PLATE + RODS: Fully sliding dovetail; quick release SIDE RODS: On camera mounting; swing away MATTEBOX: The matte box is the only piece on the camera that could be considered dated. However it does serve it’s purpose and comes with sunshades for lenses from 28 to 100. It is a swing-away model with filter trays accommodating 4x4” and 4x5.65" filters HAND HELD: Handle with remote control cable POWER: 14-21 volts dc Anton Bauer charger with battery CASE: 5 original metal cases
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Simple Questions, to begin with, Do you shoot in FILM or VIDEO? IF FILM or VIDEO, why? Do you believe that FILM costs more to use that VIDEO? Do you seek out Motion Pictures, (i.e., The Hateful Eight) shot on film? And if so, Do you seek out film-recorded Motion Pictures, such at The Hateful Eight, to see the PROJECTED on film? I am beginning a new production company and would like industry feedback. I will also post, throughout this discussion, facts such as... According to MPAA, in 2014, there were 14,526 ANALOG or Film projected screens in the World, 62,784 Digital NON 3D screens and 64.905 Digital 3D screens in the World. In the US alone, it 1,747 Analog, 25.372 Digital NON 3D and 16,146 Digital 3D screens. (http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf) I am of the opinion, contrary that it may be that film is NOT dead, certainly not as a medium for Recording Motion Pictures. But I must agree that its most likely no longer a widely used medium for Projecting Motion Pictures. FYI, I shoot on 35MM and 120 FILM photography, as well as AD on 16MM & 35MM, and I would like to continue to use Film as my recording Medium. I don't believe its dead, just as OIL paints didn't 'die' when ACRYLIC paints arrived. Different mediums for different artists. I look forward to hearing for you. jGb
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Does anyone know what has happened to orwona.com? All of the b&w cinematography films on the website are 'currently unavailable' and 'please check back again at a later stage.' It's been like this since the beginning of the year. It's been a very nice resource being able to order stocks from their website and I hope this isn't the beginning of the end?
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$1,000 Or Best Offer. This item is currently located with a friend in North Hollywood, CA. I'm based in Brooklyn, NY. For sale is this very rare Arri 3C Crystal Pistolgrip Motor. It's in very good condition for it's age. 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 4-pin port is for connecting a speed controller for getting crystal sync at other speeds. Runs forwards or reverse (via switch). Powers from 12V 4-pin XLR connector. No power cable included. The motor has captive screws for attaching to your 2C or 3C. Needed phenolic gear is also included. Photos: https://flic.kr/s/aHskUsmaU7 Thanks, Rich -
$500, Or Best Offer. A set of two very rare 400' Fromm Shoulder Mags. For Arri 35mm 2C or 3C. Previously owned by Ron Dexter (see pics). I didn't buy them from Ron, but from an Operator in Los Angeles in 2009 as part of a 3C kit which has just sold. Tested/checked out by a technician when I bought them but have not been used. Comes with two spare drive belts and one shoulder bracket that attaches under the mag. NO CASE included. Will not sell one, only selling as a set of two. These are currently in Secaucus, NJ. May be able to meet a buyer with them in Brooklyn or Manhattan to exchange for cash if you don't want to go to Jersey.
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I'm a student who is about to shoot a 5min 35mm short. The final look we are going for is one with very minimal grain and no noise. This 5207 test video shot by Kodak is a good example of what we are looking for. https://www.youtube.com/watch?v=qCxr7YeD0C4 The key thing here is minimal grain and noise. I've been looking into various post houses and the equipment they have and came up with this list: Fotokem - Spirit Metro Post - Director Gamma Ray Digital - ScanStation Cinelab - Xena Nolo Digital - Arriscan FilmVideoSolutions - Spirit I'm not too sure where to go from here. Whats the typical workflow in order to achieve a noise free and (almost) grain free result? Will data scanning instead of telecine help? Is there any post house that is recommended for this sort of thing? And do any of these post houses offer grain management/reduction that can help us achieve the look of that kodak test video? The scans I've seen from Fotokem seem quite nice in terms of grain and noise but I haven't seen too many examples from others. https://vimeo.com/174719862 I plan on overexposing by at least a stop to tighten grain but is there any 3rd party software that can help with grain and noise management/reduction after scanning? Any help is appreciated!
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Changing it all, so nothing change - Arri Alexa SXT. I know the title may sound a little dramatic, but I’m convinced that this was the philosophy behind the big change ARRI is going to make. Of course there were improvements to make, but there was also the big satisfaction of the film community with the previous models, so the challenge was to make happen important upgrades without changing the essence of the camera itself.
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Changing it all, so nothing change - Arri Alexa SXT. I know the title may sound a little dramatic, but I’m convinced that this was the philosophy behind the big change ARRI is going to make. Of course there were improvements to make, but there was also the big satisfaction of the film community with the previous models, so the challenge was to make happen important upgrades without changing the essence of the camera itself...
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IT IS HERE AT LAST Silence is Marty Scorsese's passion project he's been wanting to make for 27 years ever since he read in 1989 the book Silence written by Shūsaku Endō. It is set in the seventeenth century, it follows two young Portuguese Jesuit priests (Garfield, Driver) who face violence and persecution when they travel to Japan to locate their mentor (Neeson) and propagate Christianity. They shot for 8 months in Taiwan with a crew of 750 people for a budget of 48 million dollars. It opens on December 23rd as a limited release and in January wide. It is shot by Scorsese's new go-to cinematographer, ie the great Rodrigo Prieto who shot The Wolf Of Wall Street, and the pilot of Vinyl (HBO) with him. They shot on film for the day scenes and on the Alexa for night scenes, just as they did on Wolf. There's an article to come in the January issue of AC (which will be an issue featuring articles exclusively (except for Passengers shot by Prieto on the Alexa 65) of films shot on film). -
Hi. Looking for K35 single lenses and K35 zooms. Let me know if you have any for sale. Thanks so much!
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Have to admit I'm interested in how this is coming along, even though I'm not a Star Wars fan. Greig Fraser is supposed to shoot this with the 1.25x Ultra Panavision 70 anamorphics rebuilt for The Hateful Eight. He's also shooting on film, and the Alexa 65. So are the lenses being used on 65mm, or on the Alexa 65? Will the ratio be 2.75:1? Is he shooting anything on 35 (like Episode 8 is)? Anybody heard more about it?
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Hi all! I noticed that there are few thread discussing Moviecams. I was wondering what are your experience with the Moviecam systems and as they are for sale all over the place these days, would you recommend the system? How would you say they compare to the Arricams and Arriflexes? Thanks! Shahid Malik
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Hey, Ive got about 4000' of old fuji that I am planning on shooting a short on. Ive had it for about 6 years in my fridge. its half Eterna 250T 8553 and half Eterna 250D 8546. I just got the snip test back from fotokem and it looks like my layers are between .25 (red and green) and .70 (blue) off from what they should be. Im wondering if, for instance, I could add a yellow filter to my lens when I shoot to make the overall shift of my blue channel get back more in line with the other channels? Does it work that simply, or am I missing something. My thinking goes that if I add 1 stop of yellow to the overall image, then that would put my blue channel at roughly .20 over where it needs to be, and then if I over expose by a stop then that will help the overall quality of the image (though it will still be grainier than normal and a little funky in the colors. Is this reasoning sound? -
I've recently started shooting on 35mm and I have been extremely frustrated by the exorbitant quotes and turnaround times I am getting from post houses around the L.A area for scanning my films. Coming off RED Dragon..once I saw my first scanned 35mm test roll (also had a print made which I viewed on one of my moviolas) I knew I was never going back to digital. Film was everything I always wanted. I am toying with the idea of finding 5-10 independent filmmakers, in the L.A area who are shooting on 16mm and 35mm to come together and invest in a high quality, fast, high resolution scanner (Lasergraphics comes to mind) for us to use 24/7 at no additional costs (except for initial investment). The lasergraphics is a fast scanner (up to 30fps @5k) so we could crunch a lot of footage - fast! When the scanner is not being used by the investors, we could scan for other independent filmmakers, effectively paying ourselves back. There are obviously things to iron out like: -Where is the scanner stored? -Do we operate with a queue system(when investor 1 is done, investor 2 scans..etc) -Who operates the scanner? -Is there a quota limit per week? (If investor 1 has 20,000' of film but investors 2,3,4,5 have 1000' we make logical arrangements so everyone can have their footage scanned. After the one time investment, investors get unlimited access to the scanner for life. Investors sign a fair agreement so investors are protected against overuse, etc. That's it - I had this idea because of the frustration I've been going through lately. If anybody is interested or wants to pitch in other ideas, post here or PM me directly. I have a scanner option but need to discuss with potential investors.
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Hello everyone, So, since last week i can call myself a proud owner of a Moviecam Compact mkII :) Yeehh. I always had an affinity for Film but was never able to use Film for obvious reasons: $$$$ Today i took the time to do a serious research. - where can i buy film? - where can i develop it? - who offers the best scan service? Well, most of you already heard the news: Fujifilm stoped producing Filmstock in January 2013. No new Filmstock is avaiable anymore. Let's talk Kodak. Today i had a nice conversation on the phone with a representative from Kodak. Subject of course was me fear that Kodak alsowill stop production of Filmstock. No, they won't. The Lady told me, Kodak will continue the production of 8mm, super8mm, 16mm and 35mm Filmstock for the next 10 years "GUARANTEED"!! That is good news. But what does it cost to buy Film? Well i can tell you roughly as i have european prices here. A 400' Foot Roll of Kodak Vision 3 , 500T cost me around 285 US$ BUT the minimum order is 600$ so i will buy 3 Rolls ( 3x 4.46 minutes of film) Then i called Arri headquarter for developing and scanning my 3 Filmrolls. Straight forward, Scanning my 3 films in 2K is out of Question. But they gave my some sweet deal, tough. per 400' they ask 175 US$ for the development and preparing to scan. So we're talking about 525.00 US$ for 3 rolls of 400' Film. Thats not to bad, isn't it? Well, i still need a scan, so they offered me a "student price" for a full HD scan (1920 x 1080) Per Film Minute (not labor minute) they ask aroun 11.20$ which would be 168.00 US$ for my 3 Rolls of 35mm Film. Let's be realistic. Cut 1/3, because you will waste film. Especially if you are a beginner like i am. I have Calculated that 3 Rolls of 35mm Film (400 foot) will give me 10 Minutes of "Movie" and it will cost me roughly 1500.00 US$ (purchase film, developing and scanning) That ain't to bad?! Honestly i expected twice the price. of course this is a very rough calculation. Let's say +/- 100$ Lets assume we're going to shoot a Music Video. At least here in Switzerland you pay for an Arri Alexy 1400.00 US$ rental per day! Same Company is asking 400 US$ rental for a Moviecam Superamerica. Your shooting takes 2 days.... I wish i could bring that argument everytime when i read the comments in forums when they talk about price and claim that shoting on Video is cheaper. And btw, im sure David can confirm that, a 2k or 4k video post production will cost most likely 3times what a film post production costs. (depends on the production company of course) My conclusion: Film is not necessarily more expensive that Video. Maybe equal. At the end you have to ask yourself: Do i want Film or do i want Video. i'd rather Film because of the rich dynamic which can not be done with Video. Respectfully Randy -
Hi All, We were the official Fuji Distributors from Motion Picture Film in Argentina until Fuji stopped manufacturing Film Stock last year. We still have a batch of 35mm 400ft stock we would like to sell. All of the stock has been recently tested (March 2014) by our local lab and they informed us it is good conditions to be used. Our current stock is: - Eterna 500 (8573) 400ft: 600 rolls - Eterna 250T (8562) 400ft: 180 rolls - Eterna Vivid 160T (8543) 400ft: 120 rolls - Eterna 250D (8563) 400ft: 69 rolls Please contact me at nrubinstein at ultravision.com.ar so we can offer a quote based on the quantities needed. As we need to export the goods, we will need to know the shipping address so we can quote the freight costs. Thank you all Nicolas Rubinstein. -
Colorlab and Kodak are having a film workshop on October 26th and 27th in Rockville, MD. Randy Tack, cinematographer and lead imaging instructor for Eastman Kodak, will be leading the workshop. Topics covered include 16mm and 35mm cinematography and the motion picture film workflow. Participants will be shooting and screening dailies both on film and digitally. Please pass on the information to anyone you think may be interested. It's FREE, but spots are limited and filling up fast! For more information or to register, go to: http://www.colorlab.com/workshop.html
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Hello, I'm selling my Letus35 Extreme Cine Bundle. This 35mm Adapter works with numerous cameras, including the HVX200, HPX170 and EX1. Everything is perfect working condition and shows very minor wear and tear. Package content: 1x Letus35 Extreme DoF Adapter 1x PL Mount 1x Nikon Mount 1x Canon EF/EOS Mount 2x HVX200 Thread Ring (82mm) 1x Sony EX1 Thread Ring (77mm) 1x HPX170/HMC150 72mm Thread Ring 1x Rod Support System with 8" Sliding Dovetail 1x Set of 18" 15mm Rods 1x Set of 6" 15mm Extension Rods with Red Couplers 1x Set of Spare Screws 1x Set of Allen Keys 1x Foam Padded Case with Code Locks Price: $575 obo. Item located in Los Angeles, CA but ready to ship anywhere at buyer's expense.
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Looking to purchase the new RED Scarlet-W (10K Brain-only). Have not worked with RED much before. Looking to up my gear. Seen some footage from this new DSMC2 line and looks great! Deciding between this and the C300 Mark II. Has anyone worked with this yet?
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18k = IMAX 15-perf (or 36K?) 12-13k = 70MM 5-perf 6K = 35MM 4-perf 3K = 35MM 2-perf 1.8K = S16MM 1.5K = 16MM 720p = S8MM 480 = 8MM I had to share this with someone. I found so many people including myself looking for these numbers I had to compile this list. I cannot find anything close to this on the internet all in one place. Digitally, IMAX is referred to as being three times better/larger than 35mm (18k / 6K). On Film, IMAX is three times larger then 70mm and 70mm is twice as large as 35mm therefore it should be six times as large. This is of course the best possible scenario of each format. These are all comparables, they cannot be absolutely perfect. I'm comparing category to category. So much in the real world changes these numbers, for example cropping 16mm to a release format reduces the frame size and corresponding resolution or finding a camera and lens that can shoot S8mm or 8mm and come close to 720 or 480 quality.
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I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!
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Up for auction Now. http://www.ebay.com/itm/-/272107471058? Package Includes: 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 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 Package Details: This camera package is from the inventory of ARRI Film & TV Services Munich which has been its sole owner. The entire package is in impeccable condition and has been maintained by professionals in Germany for its entire lifetime. The camera performs at factory specifications and is free of any mechanical defects. There are very few ARRICAMs left in such good condition.
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