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No matter how you slice it...film collecting is messy business. Sure, if rich you can match your cans, barcode, have lots of horizontal or vertical film shelves and temperature-controlled film vaults...but it still boils down to film cans or reels on shelving...or the floor. And when you run out of shelving, you use the floor for shelving. I found this photo on the internet, along with the rest of these photos. This guy titled it reorganizing film, so maybe he has the shelving, and the floor storage is just temporary. 35mm is for the big boys. I just deal with 8mm and 16mm. Temporary or not, floor storage is very common for film collectors if you are short on space or shelving. It is common to see film jammed on shelves any way they can fit. Here is a smaller collector and is neater about it in his man cave... In the old days they made film shelving to store film vertically. But they are very rare to come across nowadays and they cost $$ when you do find them. For me it has been a lifetime of being short on space. Space cost $ and I've always worked on a shoestring budget, consequently I have always been short on space. Even growing up I had no space as a kid. My parents didn't have a lot of $ and I grew up in a 1 bath 4 room house in L.A. My bedroom was a foldout bed in the living room. An old gal down the street saw some of my film archive and said I was a hoarder. Some of my films being organized from M-R... I told her I'm not a hoarder, I'd just short on space. I've got a few million feet of film and if I had more space and shelving the same thing, she called hoarding, would not be so jammed up. So, if I am a hoarder, it is being a 'hoarder by design' and not by desire. I rather have tons of space and shelving...but I don't. A real hoarder fills up any space they get no matter how large. That is the acid test. Anyway, she inspired me to expand my shelving for cine' film with 3 or 4 more 6-foot-tall chrome wire shelving units. I don't have that much room for them, but I can put them on casters and double stack them. When I need something from the rear shelf unit, I pull out the shelf unit in front of it. I am not really a film collector; I'm a film archivist. I don't necessarily want the films; I just want decent digital scans of the films. My goals changed in 2023 from maintaining a physical archive to becoming a digital archive. But it is a benefit to education as well as the archival record when you can handle, inspect and smell the films versus just dealing with scans. And in the big picture, it is hard to get rid of everything even if you want to go all digital. It takes lots of time to dispose of things properly unless you just trash it all in a dumpster. 16mm IBT Dye Transfer Technicolor Lab Head DDTJRAC <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Angenieux HR 11.5-138mm T2.3 Zoom Lens = $8,000 - Super-16mm Includes: - Century 2x Extender - Lens Support / Motor Combo Bracket - Lens Bridge Support Bracket (15mm) - Set of Medium Iris Rods (15mm) - Pelican Case Angenieux HR 17-102mm T2.9 Zoom Lens = $8,000 Includes: - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Angenieux HP 25-250mm T3.7 Zoom Lens = $8,000 Includes: - 122.5mm to 138mm Step-Up Ring - 138mm Sunshade - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Canon FD 600mm T4.5 Telephoto Lens = $3,000 Includes: - Hood Extension - Tiffen 2x3 Pola Filter - Tiffen 2x3 85 Filter - Tiffen 2x3 85N3, 85N6, 85N9 Filters - Tiffen 2x3 ND3, ND6, ND9 Filters - Tiffen 2x3 ND3, ND6, ND9 HE Grad Filters - Flight Case Canon FD 800mm T5.6 Telephoto Lens = $3,000 Includes: - PL & PV Mounts - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Hood Extension - Tiffen 40.5mm 85 Filter - Tiffen 40.5mm 85N3, 85N6 Filters - Tiffen 48mm 85 Filter - Tiffen 48mm 85N3, 85N6, 85N9 Filters - Flight Case Fujinon 18-85mm T2 Premier Zoom Lens = $20,000 Includes: - Oppenheimer Carry Handle - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Nikkor ED 200mm T2 Telephoto Lens = $3,000 Nikkor ED 300mm T2 Telephoto Lens = $9,000 Includes: - Century Precision 1.4x Extender - Century Precision 2x Extender - Hood Extension - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Tiffen 40.5mm Optical Flat (Clear) Filter - Tiffen 40.5mm Polarizer Filter - Tiffen 40.5mm 85 Filter - Tiffen 40.5mm 85N3, 85N6, 85N9, 85N1.2 Filters - Tiffen 40.5mm ND3, ND6, ND9, ND1.2 Filters - Tiffen 40.5mm Black Promist 1/8, 1/4, 1/2, 1 Filters - Tiffen 40.5mm White Promist 1/8, 1/4, 1/2, 1 Filters - Tiffen 40.5mm Coral 1/8, 1/4, 1/2, 1, 2, 3 Filters - Tiffen 40.5mm LLD Filter - Tiffen 40.5mm 812 Filter - Tiffen 40.5mm Ultra Con 1/8, 1/4, 1/2, 1, 2, 3 Filters - Tiffen 40.5mm Enhancer Filter - Tiffen 40.5mm Supafrost 0, 0+, 00, 00+ Filters - Tiffen 40.5mm Green #11 Filter - Tiffen 40.5mm Red #25 Filter - Tiffen 40.5mm Yellow #8 Filter - Tiffen 40.5mm Mitchell A, B, C Filters - Flight Case

Birns & Sawyer Catalog 1980s D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive I estimated it as 1980s, but am no expert. I mainly went by the fact it had no email contacts or internet info. It may have a date somewhere within, but a quick looksee didn't reveal it to me. What date do you put on it? ...on a sidenote. Always date your material. Write dates, names and locations on the rear of photos. Put the same info on digital files. Archivists spend a lot of time trying to date and make sense of things. <><><><> Film chapters on a 16mm reel. DDTJRAC Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Arri 435ES 4 Perf 35mm Camera Package $20,000 USD Link : https://broadcastsolutions.com/product/arri-435es-4-perf-35mm-camera-package/ – 435 Camera Body (4 Perf) with IVS (PAL) – Top Handle [No Bridge Plate/Rails] – 3 x 400ft Magazines – FE-3 Extension Eyepiece – Capping Shutter Set for 435 (ICS-1/SFHC-1) – not installed but with instruction manual for installation – 1 x Shoulder Pad for 435 – 2 x Allen Key Drivers (1.5mm & 2mm) – 1 x KC-20s 3 Pin XLR Battery Lead – 1 x ARRI S35 Director’s Viewfinder – 435 ARRI Glow Masks – Ground Glass – Printed Quick Start Manual

Arri 235 4 Perf 35mm Camera Package $28,000 USD Link : https://broadcastsolutions.com/product/arri-235-4-perf-35mm-camera-package/ – 235 Camera Body (4 Perf) with IVS (PAL) (JUST INSPECTED) – Top Handle [No Bridge Plate/Rails] – 3 x 400ft Shoulder Magazines – 2 x 200ft Shoulder Magazines – 3 x 400ft Steadicam Magazines – Steadicam/Low Mode Top Bracket Fitting – 1 x Shutter Tool – 1 x ARRI RCU-1 Setup with Cabling – 1 x ARRI Style Director’s Viewfinder – ARRI Ground Glass Note: The Operator Side Run & Phase Buttons Are Not Functioning But AC side Is Fully Functional. The RCU-1 That Is Included With The Kit Is There To Mitigate The Side Panel Not Functioning As The RCU Can Do The Same Functions Once Plugged Into The Camera.

DDTJRAC eBay Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

For Sale : Arri 235 4 Perf 35mm Camera Package LINK : https://broadcastsolutions.com/product/arri-235-4-perf-35mm-camera-package/ – 235 Camera Body (4 Perf) with IVS (PAL) (JUST INSPECTED) – Top Handle [No Bridge Plate/Rails] – 3 x 400ft Shoulder Magazines – 2 x 200ft Shoulder Magazines – 3 x 400ft Steadicam Magazines – Steadicam/Low Mode Top Bracket Fitting – 1 x Shutter Tool – 1 x ARRI RCU-1 Setup with Cabling – 1 x ARRI Style Director’s Viewfinder – ARRI Ground Glass Note: The Operator Side Run & Phase Buttons Are Not Functioning But AC side Is Fully Functional. The RCU-1 That Is Included With The Kit Is There To Mitigate The Side Panel Not Functioning As The RCU Can Do The Same Functions Once Plugged Into The Camera.

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?

When we talk about Super16's resolving power being lesser than Super35, what precisely are we referring to? The negative's resolution? Its dynamic range? Its color gamut? And if we are in fact referring to those three factors, then WHY exactly is Super16 so different than Super35mm in these ways? Super16 is 12.52mm x 7.41mm, whilst 4-perf Super35 is 24.89mm x 18.67mm. If it's a question of the grain being perceivably larger when shooting on a smaller format medium then why wouldn't simply shooting a slower speed film on Super 16 more closely resemble Super 35 on a faster speed of film? Because I will tell you, it certainly does not from what I have seen. Is part of the answer due to the fact that one would have to shoot in a wider focal length to get the same field of view on a smaller format medium? What are ways that one could manipulate a Super 35 negative in the exposure stage, development stage, or both, to get the resulting negative to hold properties which closer resemble a Super16 image? The obvious answer would be to push the negative, but another interesting idea I have heard would be to have the negative either pre or post-flashed. This would reduce the resolution and dynamic range by the corresponding stop of exposure you decide the have the film flashed at. All and all, I have a lot of questions on this matter, and I would love to hear some feedback from a filmmaker with more experience working with celluloid than I.

I'll keep this brief because I believe I have asked a similar question to this one before a few months ago and I simply cannot find the chat. Kodak 2383/3383 is a negative film. When a fully developed VISION3 negative is printed onto projection film, the two negative stocks in combination yield a positive projection print once the 2383 is fully developed. If someone were to shoot a film on lets say Kodak 5294 Ektachrome 100D 35mm, how would they then go about printing that developed positive onto print film? Would they have to essentially double-print the film in order to yield an eventual positive projection print? Are films that are shot on Ektachrome so rarely projected that this scenario is simply not all that common of an issue? Thank you in advance for the insight!

$25k or £19k This is a brand new Arricam ST 4perf & 3perf camera package. Including x1 camera body and x4 Magazines. The package comes with the Universal Viewfinder for spherical or anamorphic use. Arricam ST 4perf Package BRAND NEW COMPONENTS K1.54001.0 ARRICAM ST 4 Perf K2.54190.0 Studio Universal Viewfinder ST IVS ST frame-glow module K2.54127.0 ST Magazine adapter Dual port adapter Blank ground glass to have markings made up by technician, can supply details. SERVICED USED PARTS K4.52734.0 Lite Universal Eyepiece x2 ST 400ft mags x2 ST 1000ft mags Arricam ST 3perf conversion Kit in case Any questions, feel free to ask. Please note - the payment will be via invoice on collection or prior to delivery.

Powers Cameragraph 35mm Silent Movie Projector eBay D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive eBay - Fair Use Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Detailed pictures - https://drive.google.com/drive/folders/1-7g5IosMeU9cZi431DsN2S2jf-p77qbf This is a brand new Arricam ST 3perf & 4perf camera package. Including x2 camera body. The package comes with the Arricam LT viewfinder allowing the camera to function as an Arricam LT. The much lauded ‘Indie Assist LT’ can be used on this package for an HD video signal output. The other option to achieve an HD signal output is to have the original Arri IVS upgraded with the new HD sensor installed by AZ Spectrum. The package also comes with the Universal Viewfinder for spherical or anamorphic use. Back Load adapter (included in the sale) allows the camera body to accept 1000ft & 400ft ST magazines (included in the sale) mounted on the rear allowing the camera to be used with LT video assists mentioned above. Arricam ST 3perf Package BRAND NEW COMPONENTS x1 K1.54001.3 ARRICAM ST 3 Perf x1 K2.54011.0 Power Bridge Plate ARRICAM + 19mm bars x2 K2.54097.0 LT Shoulder magazine LT SH x1 K2.54127.0 ST Magazine adapter x1 K2.54047.0 Back load adapter ARRICAM ST ( to mount 1000ft or 400ft ST mags on the back) x1 1.78 (16:9) ground glass SERVICED USED PARTS x2 K2.54015.0 Studio Mag 120m/400ft x2 K2.54027.0 Studio Mag 300m/1000ft x1 K2.54049.0 Lite Viewfinder (compatible with Indie Assist LT or the ARRI LT IVS) x1 K2.54046.0 Lite Eyepiece x1 K2.54050.0 Lite Extension x1 Arri LT IVS x1 Arricam Universal Low Mode plate (no bars) Arricam ST 4perf Package BRAND NEW COMPONENTS- K1.54001.0 ARRICAM ST 4 Perf K2.54190.0 Studio Universal Viewfinder (excl. Eyepiece) ST IVS ST frame-glow module K2.54097.0 LT Shoulder magazine LT SH x2 K2.54127.0 ST Magazine adapter Blank ground glass to have markings made up by technician, can supply details. SERVICED USED PARTS K4.52734.0 Lite Universal Eyepiece Any questions, feel free to ask. Please note - UK buyers, the payment will be via invoice on collection or prior to delivery. The sale price is + VAT. International buyers via invoice prior to delivery, No VAT. Price is $77k US

I shoot with expired film quite a lot. As a matter of fact, I would say that it's my go to. My favorite stock I've ever shot with is hands down Kodak EXR 5245 50D. I have lately realized, however, that there are a few realities about shooting on expired that I need to come to terms with quickly. It’s unreliable, it’s in short supply, it’s going extinct, and no professional production wants their investment shot on expired film. I need to move on, but frankly, I have always had a visual distaste for VISION3. I want to further pursue something I've only ever experimented with but never fully committed to in the past: emulating the photochemical characteristics of older Eastman fine grain film stocks by experimenting with exposure, density, and processing using modern Kodak film. For reference, I most often shoot on 2-Perf Techniscope with the original line of Basuch & Lomb Baltar lenses dated at the 1940s. The two Eastmancolor stocks I am most interested in trying to emulate are ECN 5248 25T (1952-1959) and ECN 5250 50T (1959-1962). About a year ago I did a short experiment on 35mm with Baltar lenses where I shot a few short reels of footage on VISION3 500T using ND filters in direct sunlight outside and had them exposed and processed in different ways. I then had them scanned in 12-bit HDR and brought them into DaVinci to level out all the footage and see how my end products differed. The four types of footage I got were underexposed one stop and developed at box speed, underexposed two stops and developed at box speed, exposed at box speed and underdeveloped one stop, and exposed at box speed and underdeveloped two stops. After leveling out all my footage in Resolve, I was extremely disappointed in the results. Once normalized with HDR tools in DaVinci, all the underdeveloped footage looked nearly identical to a standard exposure and development. And the underexposed footage just had crushed blacks with very little discernable differences other than that. I considered it a failed endeavor and steered clear of these kinds of experiments again after that. Top visual inspirations: 5248: Rear Window (1954) The Ten Commandments (1956) Vertigo (1958) Ben-Hur (1959) Rio Bravo (1959) 5250: Spartacus (1960) The Magnificent Seven (1960) West Side Story (1961) Lawrence of Arabia (1962) It’s a Mad Mad Mad Mad World (1963) Assuming that the 4k and 1080p blu-rays of the previous film were scanned from the negatives themselves and not the print, I will take it that what I've seen is a quality representation of the stocks in question. My eyes often roll when people talk about footage looking "vintage" "old" or "film-like". Mostly because this could refer to over a dozen different visual aspects in one's footage, and what invokes the feeling of "filmlike" to one person may differ from another. For the sake of this experiment let’s ignore aspects such as lens choice, format size, granularity, lighting contrast, production design, and (for the most part) color scheme. Let’s instead talk about the photochemical qualities of the negative itself. I mostly associate the Eastmancolor look from the mid 50s to the early 60s with neutral to muted highlights, rich and deep blacks, with the density and dynamic range that was available with those stocks at the time. I'm young and an amateur in this field, so I don't understand film on a more in-depth level like so many others hear. But firstly, I'm curious to know what the distinction between film density and dynamic range is, cause I can't quite make heads or tails of it. I am hoping someone with lots of (or any) experience with celluloid, the photochemical process, and the visual evolution of film over the decades can chime and and possibly steer my ventures in the right direction. THE 2383 QUESTION: Small update. During my writing of this post a friend of mine found an interesting video and vimeo and shared it with me. He suggested it as a possibility for me to shoot with 2383 in camera with lots of sunlight and that if developed using ECN-2 and given a simple color correction, the end result may be something close to what I am after. It is difficult for me to discern whether what I like so much about this clip is due to the 2383 stock or if it is just the hard tungsten lighting. I don’t currently have the time or funds to properly run a test myself but I’m putting some consideration into shooting some footage with 2383 in camera rated at 6 ASA in the cloudless sunlight and having it cross-processed using ECN-2. I can get a good 12-bit HDR scan and see if what I’m left with retains the photochemical qualities I have in mind. This clip does remind me very much of the 5250 stock—more so than most other emulations of vintage film do. But as I said, it could just be the hard tungsten lighting. I'm not certain.

Hi, I have a question regarding a specific look that I’ve never quite been able to pin down. I’ve surmised it to be a result of scanning a printed positive. The look I’m referring to can be seen in the bonus materials of both The Master (2012) and Inherent Vice (2014). It’s mostly noticeable in night interiors, dense, crunchy blacks, and ghostly, halated highlights. The other films that I’ve noticed this quality in have been older, and it would make sense if a negative was not available for restoration, and instead a print was scanned. A DP buddy of mine had told me in the past that you can’t really scan a print because “there’s no information,” but I’m wondering if that’s what’s contributing to the quality of this look I’m referring to. I recently read an interview with DP Marcell Rev where he states that they tried scanning positive prints as a test for the Euphoria season 2 look. Wondering if I can get some input here on what I think I’m seeing. Has anyone scanned a print before, and does it have a specific quality? Providing some links for reference: (Doris sitting on stairs) (house party stuff at 1:00) https://www.lecinemaclub.com/now-showing/entretanto/ (house party stuff) Best,

I'm generally not into 35mm...too bulky and too $$. But recently someone had a small lot of 35mm home movies shot in Ireland from 1915 - late 1920's for sale. I could not afford most of them, but I did pick up one short from the collection; about a tourist group to the Blarney stone in 1928. The other films were similar in size and some of them were about early steam trains in Ireland. Tour groups still go to the Blarney stone to kiss the stone for the 'gift of gab.' The print looks to be a safety film dupe of the original nitrate...but just guessing. You can use the scan of the film for your website / experimentation / education / advertising / etc. Just no stock footage sales. I'll be glad to pay shipping both ways and would like a 4K scan. ProRes is OK. Here are some details on it... more people.... I kissed the old Blarney stone a few times. I used to go to Europe a lot back in the 1990's. I would go off-season in the winter. I could RT air for $229 - $299 for most European cities. Hotels were cheap in the off season too. This was before the internet was a big deal and all the kids were not overloading planes trying to buy experiences. Travel was cheap back then and you were not packed like sushi! GD...those were the days! I was headed to Hong Kong from Taiwan and 85% of the plane was empty. You could raise the arms of the seats and lie down on whole empty rows. Monsoon Thailand 1982 Photo: D.D.Teoli Jr. Don't travel much now. Health is so-so and too $. So, I travel with the film archive nowadays. I got plenty of travel back in the day, so not hurting. If interested write me direct at: w1000w@aol.com Here is seller's description... VERY RARE HISTORIC FOOTAGE ACTUAL 35MM FILM FOOTAGE, DEPICTING THE RAILROAD DEPOT / STATION IN BLARNEY, IRELAND, AND THE KISSING OF THE BLARNEY STONE, THERE ARE SOME GREAT SCENES, FILM IS MARKED IRELAND 1928 KISSING THE BLARNEY THE FOOTAGE IS SILENT. THE IMAGES ARE QUITE SHARP AND VERY WELL TAKEN, AS GOOD AN AMATEUR AS BEST AVAILABLE FOR THOSE DAYS, IT COMES IN A COUPLE OF STRIPS OF DIFFERENT LENGTHS, IT HAS A FEW SPLICES, ALL IN GOOD OVERALL CONDITION! SOME OF THE FILM HAS A YELLOWISH / ORANGE HUE BUT THE IMAGES ARE IN VERY GOOD CONDITION OVERALL. THE FILM DOES HOLD THE POSSIBILITY OF GETTING SOME NICE STILL PHOTOS FROM SOME OF THE IMAGES. THERE ARE MANY WONDERFUL SCENES, MANY OF THEM SHARP AND WELL TAKEN, SOME CLOSE-UP SHOTS AS WELL! MOST OF THE FILM IS SOLID AND IN VERY GOOD CONDITION OVERALL, BUT DUE TO AGE CAREFUL HANDLING IS STILL A MUST FOR THE ENTIRE FILM IN ORDER TO VIEW IT AND PRESERVE THE IMAGES! BASED ON THE SIZE OF THE ROLL, I ESTIMATE THE TOTAL RUNNING TIME OF THE CLIPS TO BE ABOUT 3-4 MINUTES OR SO RUNNING AT 18 FPS, EVEN THOUGH DID NOT COUNT THE ACTUAL NUMBER OF FRAMES.

For Sale : Fuji 35 & 16mm 400ft. stock new & sealed. Stored in a temperature controlled environment. Purchased new in 2011 & 2012.

Hi there, I recently bought an Arriflex 2C and it came with an extra handgrip motor. Model CRA-6A from Cinema Products which can either work at 24 or 25 fps. It didn't come with a battery nor a power cable and I'm trying to build one myself. It states that it's a 16-24 V & 2 Amp motor but i can't identify what kind is this input power port. It looks like a downsized version of a 3 pin XLR but I could be wrong. Any ideas on what could it be? I don't know if it's readable in the picture but each pin is marked with a letter: A, B and C. I have guessed that "A" stands for the hot pin, "B" for the cold and "C" for ground. But again I could be wrong and I don't want to apply power without being 100% sure since I could fry the motor. Any help is highly welcomed! I'll update if I find additional info on this. Fran Moreno

Arri 35-3 Body 4-perf PL Mount $8750 (Indiana, USA) (4) Standard 400 ft magazines (2) Shoulder 400 ft magazines C.E. Crystal High Speed base Handgrip with trigger Internal battery (brand new uninstalled) Flight cases Body and mags have been completely CLA'd. This kit is single owner and in great condition. More accessories available (Jergen's door, SD tap, etc) if interested. View full kit here: https://www.dropbox.com/scl/fo/tnhnw7l7ivm92fok68gbq/h?rlkey=v3do7ou8u0x8eplwoqeykp4q6&dl=0

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

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!

Theaters used serials to keep people coming back to find out what happened after the cliffhanger. <><><><> 1986 ad BoxOffice magazine. DDTJRAC Advertising Archive

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.

$4,500 https://www.ebay.com/itm/154973235877

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.