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My Gear


  1. So to my dismay, no one has 4 perf movements for the arricam lt. So besides the 2019 film Luce, what are some projects that use 2x anamorphic lenses on 3 perf 35mm film?
  2. Hello all, I'm looking for someone who could still make a film magazine barney. Lee at Cup Camera made a beautiful ARRIMAG 120 one for me about three years ago but I'm not sure he's still in business. Anyone know how to contact him or any other possible sources. Thanks a bunch! Steven Holloway Laurel, Maryland FilmFiction 301-362-1660
  3. Rocky Mountain Express - 70mm Imax Film Trailer | eBay Imax trailers seem to be in the $200-$400 range per trailer. Was reading about Perry's 70mm scanner he is building. I wondered what a trailer would cost in 70mm to run on it for development tests. I have a few 35mm trailers I bought, and they are not very expensive, generally speaking. Unless it is something rare. 35mm trailers can go as cheap as $1 + SH. Generally, they are $5 - $15. China breaks up IMAX trailers and sells each frame singly for $15 to $20 each!
  4. Contact me with any questions and/or to receive pictures. Aaton 35-3 Camera Package = $10,000 Includes: - Aaton 35-3 Camera Body - 4/Perf Movement - Adjustable Mirror Shutter - ACAD + TVTRANS + TV Safe Ground Glass - PL Mount - PV Mount - Top Handle - Pitch & Mirror Shutter Adjusting Tools - NTSC Video Sync Assist - Aaton Code - OriginCplus Controller - Aaton Eyepiece - Aaton Eyepiece Extension - (4) 400-ft. Magazine - Handgrip w/Mini-Rod Bracket - Set of Threaded Front Mini-Rods (15mm) - Wooden Handgrip - Arriflex Bridge Plate (15mm) - Arriflex Sliding Base Plate - Set of Long Iris Rods (15mm) - (3) 12v Ni-Cad On-Board Battery - NEED TO BE RECELLED - PAG Micromaster Fast Charger w/AC Cable - Battery Charger Cable - (4) Camera Power Cables - BNC Video Power Cables - Raincover - Flight Cases Arriflex 535B Camera Package = $10,000 Includes: - 535B Camera Body - 4/Perf Movement - NTSC Color Video Assist - Camera Handle Grip System - Arriflex F-2 Swing-Over Finder - Wide Angle Eyepiece - Wide Angle Eyecup - Arriflex FE-3 Finder Extension - Arriflex EL-3 Eyepiece Leveler - (2) 400-ft M-11 Magazine - (3) 1000-ft M-10 Magazine - (5) Magazine Loop Protector - Arriflex BP-3 Bridge Plate (15mm) - Sliding Base Plate - Set of Long Iris Rods - (2) IVS Power Cable - (2) Camera Power Cable - Flight Cases
  5. Theaters used serials to keep people coming back to find out what happened after the cliffhanger. <><><><> 1986 ad BoxOffice magazine. DDTJRAC Advertising Archive
  6. I'm asking $600 USD for both mags with the case. I just had these two mags checked/serviced by Andree Martin of AM Camera last month, so you know they're good to go. Invoice from AM Camera is included with the images of the mags. I also just had Innerspace install new foam, since the old foam had gotten sticky/melty. I bought these from one of the big Otto Nemenz auctions around mid-2012. Available for local pick up in Brooklyn, NYC (preferred in-person sale). I can also ship at buyer's cost. I won't sell just one mag, or just the case. Besides working on the Arri 35-3 (AKA the "Arri 3"), these are also compatible with the Arriflex 2C and 3C. You can even use these on the 235 and 435, but if you want to go faster than what they were designed for (120 fps), you'd want to use a 435-style mag on your 435, like if you want to go up to 150 fps. Feel free to DM me with any questions.
  7. For Sale : Fuji 35 & 16mm 400ft. stock new & sealed. Stored in a temperature controlled environment. Purchased new in 2011 & 2012.
  8. hey all. wanted to share this film cost calculator that I've been working on for a while. www.filmcostcalculator.com Eventually I'd like to add more equations that can list out alternative results to compare various perf options. Also working on a 1000' roll calculator. Hope it helps! Feel free to comment with any notes and ideas.
  9. 1- Canon 17-120mm Cine-Servo Lens PL & EF Mts. $17,500 2- Sigma 18-35mm T2 HS Zoom Lens Sony E $3,200 Each 2- Sigma 50-100mm T2 HS Cine Lens Sony E $3,000 Each 1- Sigma 50mm FF HS Cine Prime T1.5 Sony E $2,700 2- Tokina Cinema Vista 16-28mm T3 Wide Angle Zoom Lens PL $ 3,500 Each 1- Fujinon ZK 14-35mm T2.9 Cabrio Lens PL. $20,000 1- Fujinon XK 20-120mm T3.5 Cabrio Lens PL $10,500 1- Fujinon ZK 85-300mm T2.9 Cabrio Lens PL $22,000 3- Canon CN-E 35mm T1.5 Cinema Prime Lens EF Mt. $2,800
  10. Hi, is anyone willing to share their knowledge on using the Arricam system of cameras? I’ll be shooting with the Arricam LT and I don’t have any experience with it (or film cameras, in general). Regarding battery solutions, the Anton Bauer Cine VCLX batteries seem to be the closest thing to the de facto standard battery for this 24V camera. And while I’m open to using a block battery, I’m curious if there are any other preferred battery solutions, especially concerning hand-held use. While I’ve heard of battery belts, I’ve never used one myself and I don’t know how comfortable I am strapping large batteries around my waist. Maybe it is a good solution though, considering the alternatives. How much wattage does the camera consume while filming at different speeds? It’s been difficult to find this information. The manual states the Power Bridgeplate is the standard plate used with this system. Will other ARRI plates, such as the BP-8 bridge plate, fit as well? The standard video assist system (IVS) operates on the aged NTSC/PAL system (and I have little hope of getting my hands on the HD-IVS). It seems the best signal output is S-Video. This isn’t an ideal connection for production use, but can anyone recommend a monitor that has an S-Video input? Or, should I just stick with the BNC Composite signal? Or, is it worth it to use a convertor box to covert the signal to SDI? Any modern-day, practical advice regarding these cameras would be very helpful. Thanks!
  11. Hello, so to me, 35mm motion picture film just doesn’t have an aesthetic quality over modern digital cameras as I struggle to tell the difference half the time, unlike with say super 16 which I find does register with me as being filmic, even with grain removed. Like, I have to tell myself as I watch a modern 35mm film that it was shot on film, some examples for me are don’t look up and the northman, and even with films that attempt to emulate older time periods like licorice pizza and once upon a time in Hollywood, I just don’t see the image find it looking like eras they’re emulating, they look modern to me, which is not to say they’re bad, they look great, I just struggle to feel those films as being shot on film despite the fact they were. and whatever textural quality there is to 35mm film, I find is easy to replicate with film emulation, and I even heard of some 35mm productions like hbos winning time using film emulation as the film was too clean on its own so they added grain that would look more like 16mm film and at that point I ask, why not shoot it on 16? But then again, maybe I'm wrong and there is an inherent quality to 35mm film, let me know your thoughts.
  12. Hey so I just watched la la land with the knowledge that it was shot on 35mm film with panavision c and e series lenses and that it was inspired by older movies, it was an amazing experience but what I want to discuss is the epilogue or so called alternate ending as the movie shows what could've been between Mia and Sebastian's relationship (spoilers if you've haven't seen it) I want to discuss is the shift towards a softer, more classical aesthetic that to me looks a lot closer to the movies that this film was inspired by (again, I'm not talking about the shot where 16mm film was used), as throughout most of the film I thought the image (I need to stress in terms of the standpoint strictly relating to camera and lens package and not in the million other factors that this film feels classical in) looked modern and not like the films Damien and Linus say they were inspired by but in the video I linked I feel like it has a more classic, romantic feel to the image, not unlike the films of the era they were inspired by, did anyone else notice this or was it just me and if anyone else did notice, do you know how it was done? Like was it a change in stock processing? Lenses? Was it here they used the c series while most of the movie used the e series? Let me know
  13. hey all. wanted to share this film cost calculator that I've been working on for a while. www.filmcostcalculator.com Eventually I'd like to add more equations that can list out alternative results to compare various perf options. Also working on a 1000' roll calculator. Hope it helps! Feel free to comment with any notes and ideas.
  14. Photos: eBay - Fair Use Selection from Daniel D. Teoli Jr. eBay Archive
  15. Hello! Sorry if this isn't the right section of the forum for this type of question. I've been doing some reading on the history of motion picture cameras and something got me curious about the mechanics used in them. It seems some early film cameras used the geneva wheel mechanism for advancing the film for exposure. And a lot of projectors have used the same mechanism for decades more. But apparently it didn't took long for camera designers to move away from the geneva wheel to use pull down claws of various forms. I imagine there is some reason for that. First I assumed it could be that pull down claws are more precise or durable, but it seems that projectors kept being designed with geneva wheels through out the XX century. And I got the impression that projectors need the same precision and probably even more durability than cameras, as they might run for a lot more hours overall. Considering the the geneva drive appears to be a lot easier to design, manufacture, assemble and repair, does anyone has an idea on why that happened? The only reason I can imagine is noise, maybe the claw mechanisms are overall more silent. That would explain why the geneva drive on cameras was more common in the early days before sound for film was developed. Also, if anyone has any recomendation of any book or text regarding the history of development of the mechanics of film cameras I'd love to learn more about that!
  16. Hello, so im SOL on getting the arricam lt to shoot 2 perf as Arri themselves don't have any in stock and nobody is selling on the used market. But I remember there's the Aaton Penelope which can be switched from 3 perf to 2 perf easily, which is nice, but the reason I wasn't super interested in it was I thought you couldn't shoot 4 perf with it, but I didn't look to deep into it so that's why I'm here, has anyone made a 4 perf movement for the Aaton Penelope and if so, does anyone have one available?
  17. Arri Alexa Super 35 Alexa 35 Production Set (19mm Studio) $78,000 NEW PRICE PRE-ORDER NOW omar@raw-entertainment.com Includes: K1.0039373 1x ALEXA 35 camera body 10.0043678 1x ALEXA 35 Cine License K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0034180 1x Balance Utility Dovetail BUD-1 K2.0023751 1x B-Mount Battery Adapter K2.0020916 1x Multi Viewfinder MVF-2 K2.0042857 2x Cable VF Right Angle (0.5m/1.5ft) K2.75007.0 1x Camera Power Cable Straight 2m/6.6in KC -50 K2.0024101 1x Power Distribution Module PDM-1 KK.0041533 1x Production Support Set - Top KK.0041534 1x Production Support Set - Side KK.0041535 1x Production Support Set - Bottom Note: This set does not include recording media, media dock/reader, batteries, or lenses, which should be ordered separately.
  18. Arri 435 Xtreme 35mm Camera 4 Perf omar@raw-entertainment.com
  19. Selling some 200'and 100' Cameflex 35mm magazines for a friend. £50 plus postage for the 200's £75 plus postage for the 100's. We have 16 x 200's and 4 x 100's. They mostly look like this and are mechanically very good. So of them show exterior signs of age. They don't come with gash stock as pictured. PM me if you're interested. Cheers Marek
  20. $3900 http://ebay.us/Mp4vux?cmpnId=5338273189
  21. $6,999 https://www.ebay.com/itm/154972844032?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=ywAIOfEVQBa&sssrc=2047675&ssuid=&widget_ver=artemis&media=COPY
  22. Arriflex 435ES $7,500 https://www.ebay.com/itm/Arriflex-435ES-Camera-Package-Very-Good-Condition-/374028088830?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l6249&mkrid=711-127632-2357-0 Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Email: omar@raw-entertainment.com Youtube Channel: youtube.com/c/RAWegypt Instagram: instagram.com/rawegypt?igshid=YmMyMTA2M2Y= Latest Feature Film Trailer Welad Rizk: youtu.be/KbuuzxTxhP4
  23. I have for sale four Arri groundglasses. These are standard glasses, so from memory will fit a IIC or a 35III - but others might be able to put me straight on that. They're also great for many viewfinders, including the Kish UDF. 1. 'TV' (4:3) with mounting bracket. In excellent condition. 2. Another 4:3, no mounting bracket, some pencil marks where it has been marked up in a mystery ratio. Tiny mark bottom right, very clean otherwise. 3. 1:1.85, marked up to 16:9 (?) A chip on one side from bad handling, but it doesn't encroach into the picture area. Good for a viewfinder, or general use. No scratches/marks otherwise. 4. Probably a 4:3 but has been taped to 16:9 at some point. Apart from the tape residue (easily removed) it's in excellent condition too. Each one has a case - happy to sell separately or as a set, pickup or post. The going rate seems to be $150 (AUD) each, and $100 for the one with the mark. They're eyewateringly expensive new. But let's talk - I'm happy to negotiate for a package deal, or if these prices seem out of whack. Postage will be from Melbourne, Australia. Cheers, Jonathan. ( ** I only seem to be able to upload images of 2 of them - message me for more images **)
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