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For Sale : Fuji 35 & 16mm 400ft. stock new & sealed. Stored in a temperature controlled environment. Purchased new in 2011 & 2012.
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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
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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!
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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.
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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 -
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.
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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.
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Photos: eBay - Fair Use Selection from Daniel D. Teoli Jr. eBay Archive
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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!
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Is it possible to convert the Aaton Penelope to shoot in 4 perf?
Edith blazek posted a topic in 35mm
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? -
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.
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Arri 435 Xtreme 35mm Camera 4 Perf omar@raw-entertainment.com
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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 -
$4,500 https://www.ebay.com/itm/154973235877
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$3900 http://ebay.us/Mp4vux?cmpnId=5338273189
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$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
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$5,000 http://ebay.us/ZxqKnZ?cmpnId=5338273189
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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
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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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Arriflex 435 ES - 4-perf, IVS video assist PAL, FEM (functionality expansion module), TimeCode module, Arriglow module - Base plate BP-8 + dovetail plate + 19mm rods long, short 3x 400ft magazine + case 1x 400ft magazine (35-III model) 3x 200ft magazine + case finder extension FE-3 finder extension FE-5 ground glass + arriglow: - super35 2,35 - super35 1,85 - super35 silent gate 1,33 - normal35 2,35 - normal35 1,85 - normal35 1,33 P+S Technik uRC - remote control for speed ramps Video-top 100% + SCA-2 (for steadicam low-mount) EasyLOOK video-assist system - digital system for recording and playback - generates Quicktime files on HDD - wireless option Transvideo TITAN transmitter + receiver set for analog SD wireless video Transvideo Rainbow II 6,5” monitor - bright PAL monitor - anamorphic desqueze support PHOTOS: https://photos.app.goo.gl/xaJqzid9JwCFyyxY8 Camera is located in Bratislava, Slovak Republic, EU Shipping within European Union will cost €550 Shipping outside EU is not possible at the moment. In case of personal pickup, I can supply old Kodak film stock (10 rolls) for free. Payment via PayPal, incl. buyer´s protection.
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Hi all, Can't remember from where, but I've heard of the ability to shoot on print stock just as one would on regular motion picture stock, with the idea of having a very punchy and contrasty look. Does anyone have experience with this? Looking at the Kodak catalog, it seems print stock primarily comes in 2,000' rolls, which would make the process of downspooling a bit tedious...
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Hi, everyone! Gonna be shooting a film with a look rooted in Jazz photography from the likes of William Claxton, Dennis Stock and others known for the marvelous images they created around that beautiful genre. Obviously, the film's aesthetic's going to borrow a hell of a lot from these great photographers... However, what I'm most interested in is the B&W film stocks that were around the time in which the most iconic artists were photographed: the 1950s. So, on the one hand, what I'm wondering is if there's anyone in the room with an idea about the the rolls of B&W film available at that time and their characteristics. But on the other hand, I'd like to know if anyone knows where can I find information on the way these photograpers worked, which is to say the lenses and equipment they used, the way they developed their film and created they final shot in the darkroom, etc. Also welcome is information on the film stocks used to shoot movies or documentaries around the 50s. My guess is even at that time Double-X was the real deal, but... You know. A guess is a guess.
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ARRI 535B - 3perf + 4perf – Complete Kit This set runs perfectly and has been checked and serviced by Georg Bogner (Munich). At the moment the 3-perf-movement is installed. But the set also includes a 4-perf-movement as well. FEATURES OF THE ARRI 535 • Silent Sound Sync camera (under 24 db). • In-camera ARRI Glow for 9 formats (there is no need to physically change the glow mask. It can be done easily in-camera using the CCU-1). • Electronic shutter. The camera uses an electronic shutter and can be programmed to ramp up or down. • Speed ramping from 3fps to 50fps with individual steps of 0.001 frame. The exposure will stay constant as it is being compensated for by the electronic shutter. • Shutter ramping from 11 to 180 degrees. Ramping can be programmed or changed during the shot. • Beam splitter: Options are 10/90, 90/10 or 50/50. The 535 is the only ARRI camera that offers a 50/50 beam splitter. • SMPTE Timecode and ARRI time code system (timecode module is included in this auction). • Swingover Viewfinder System and In-Camera Contrast Filter Kit includes: ARRI ARRI 535 B with IVS (PAL), Tophandle etc. SN 5164 ARRI 3perf movement (mounted) SN 3P97 ARRI 4perf movement (additional) ARRI 2 120m Magazine M-11 with Case SN 4857 + 5161 ARRI 2 300m Magazine M-10 with Case SN 8812 + 9168 ARRI 2 Steadycam-Magazines 122m LM 1 SN 6202 + 6084 And further accessories: ARRI SCU-1 ARRI VCU-1 ARRI groundglass 1.78, ARRI GLOW ARRI groundglass 2.35, ARRI GLOW ARRI Viewfinder Extension FE-3 SN 1064 ARRI Timecode TC Cabel XLR Fischer ARRI Raincape ARRI CCU-1 Computer Control Unit ARRI CCU-Cable 30m ARRI Eyepiece Leveller EL-3 ARRI CCU cable short more cable for SCU and Antiflicker ARRI RCU-1 Remote Control Unite ARRI RCU Cable ARRI RCU Manual ARRI PL Port Cap ARRI 535 Flight Case Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5125762 -
Just for educational purposes, here is some footage from a short I shot last year. We were stealing this, so we couldnt light anything. It's all available light. https://vimeo.com/174719862 We shot 5219 with a 2 stop push. I rated it at 1250, which gave me about a t/2 in some places, but often my meter said "E.U.", so I really wasnt sure how it would turn out. We I went in for the transfer i was very very impressed by how it held up, even with it only being 2-perf. I'm so used to thinking that you need to shoot digitally if you want to shoot available light at night, but this turned out exactly how I had hoped. We shot on super speeds at a t/1.4-2 split. The transfer was on a Spirit 2k at Fotokem in LA. We set basic looks as we went, and that's what this is, just a basic grade, right out of the scanner. If you want to download the 2.5gb 422HQ you can find it here: https://www.dropbox.com/s/n5qo2cm9au9wo7k/L9974909_CR_A15_A17.mov?dl=0 Here is the finished short: https://vimeo.com/130967218 -
Hi I just purchased an arri 35mm IIC, I’m new to using it I’m use to using 16mm. It has bncr mount. I need help understanding camera as in gates, what lens is good to use, or how to operate. Also what accessories do I need for it in order to shoot short films and longer features. Also does anyone know where to convert to pl mount.
