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Showing results for tags '35mm cameras'.
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Background Hello all! I am a young film maker seeking some advice. I’ve been shooting still photo film for around 4 years now, and have been shooting Super8 for about 3. I have a Nikon R10 Super and have loved using it. My background has been primarily in photo, but in the past 6 months, I’ve really stepped into video and have learned quite a bit, but there is loads more for me to learn, I’m sure of that. My cousin and I have written and shot, 75% of a short (sub 5 minute) film on Super8, but some issues with the main character have delayed that. That said, we are in pre-pre-production of a much larger project, that we will hopefully be able to get made 🙂 I would like to shoot it on film both for my love of film, the process and the authenticity, and for the subject of the film, which is going to be more raw and gritty. The main character was farmed out as a teenager during the Great Depression. That being said, Super8 is the largest format I’ve shot, and I haven’t worked on anything this large ever. The Arriflex 16SR2 caught my eye about a year ago, and I’ve been infatuated with it ever since. More recently, however, I’ve been looking into 35mm cameras, and would like to consider one for this project. I’ve done a lot of different research on these, but a lot of the posts are old, and things have changed. No longer are these cameras going for “next to nothing” and neither are the rental houses renting them for nothing. While I might rent something like an Arricam LT for something one off (the LT is most certainly not in the budget), I can’t justify spending $1000’s renting, when for a bit more I can own something that I can use on a multitude of future projects. That said, I want to hear from you guys, DP’s and AC’s who have worked extensively with these cameras, and hear your thoughts on them. I’ve laid out below my thought process on narrowing down cameras, as well as some requirements. Due to wanting to have something I can use versatilely in the future, but also very much on this project, I need something with sync sound. I will be doing interviews for a portion of the film, and also want to be able to capture dialogue in scenes, etc. As for lenses, I may rent something, but I will likely have access to, or purchase some DZOFilm Vespids and maybe a Pictor zoom. I’ve rented them in the past, and while I’m sure, compared to higher end lenses they don’t compare, I was happy with the results. Camera Options Things to consider: Ease of loading, viewfinder, video tap, weight, sync sound Requirements: PL mount, Super16 or Super35 I’d be lying if I said price wasn’t my biggest constraint. I am 20 and married and work a full time job. I get that this is ambitious for such constraints, but this is a project I’m passionate about, will help me grow in my work, and is a subject thats close to me. I plan on trying to do some sort of fundraising for it, but that being said, again, this is pre-pre-pre(?)-production. While I realize that 35mm is an exponential increase in film stock, I’m leaning more towards that as opposed to locking into 16mm for the same upfront cost for the body. Due to price constraints, but also just my style, most shots will be handheld, with some tripod shots. I may see about getting something like an EasyRig if the weight is too much. 16mm - all sync sound Arriflex 16SR2 - Best price point, PL and Super16 depending on package, third party video taps Arriflex 16SR3 - Interchangeable Super16 and 16mm, PL, third party video tap Arriflex 416 - Best ergonomics, stupid expensive, simple loading, built in SDI out. 35mm Arri 35 BL-4 or 4s ~35 lbs without film, very heavy, sync sound Arriflex 235 MOS, half the weight of the 435, Built in SDI out Arriflex 435 MOS, ~15 lbs, Built in SDI out Arriflex 535 A or B Sync Sound, A is quite heavy, B is about ~25 lbs over ~35. Arricam LT Sync sound, very light, most modern, very expensive. Questions! Video taps??? While I am going to be the only camera operator and probably the one pulling focus, doing everything etc, I would like the option to have a decent video tap for future projects, but also so my cousin (co-director/co-writer/something like that) can see what’s being recorded, as well as options for positioning the camera places where it would quite uncomfortable to get my eye to the eyepiece. For someone that has used these cameras, I’m sure the video taps are somewhat unique for all of them, but is there anything to note about certain ones? Ideally HD video. Other than weight, what are my differences between the 235 and the 435? Other than weight, what are my differences between a 535B and Arricam LT Is sync sound really an issue with the 235 and 435? If I’m booming all my audio will that still mater. - A quick search says yes. Conclusion So I’m basically down to 235 (90% of my work is going to be handheld, and I don’t mind a heavier rig, but if I can help it, I will) unless the 435 offers me greater features *that* I will use, if I could somehow get away with MOS or sub 16mm for the sync sound portions… which while I like the idea of both of these cameras, they probably just don’t make sense without Sync sound. … so the 535B. Or Super16. I’ve found a 535B for cheaper than a 16SR3 and on par with the 16SR2, which is why I’m leaning there, but it is around 10lbs heavier and the 16SR2 was my “first love” to say, although maybe I should hold that title till I’ve actually shot on one. And yes, I’m sure I will get recommended to go and rent one of these for a weekend before buying… I will (probably). I’m just trying to narrow down 10 options down to two, before I go spend excessive money on renting. For anyone who read through this, and offers some advice, thank you. Just typing all of this out has helped myself narrow these down to the 535B or one of the 16SR’s, but I still want to hear the thoughts of people who have actually used them, and make sure I’m not missing something. I’m very passionate about film, and not that many people around me are able to discuss it with me, let alone motion picture film cameras. So thanks, rant over 🙂 - Moses
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Hi, I have for sale rare wide-angle eyepiece for film Arri 35mm cameras like 535/435 made by P+S Technik, optics is by Voigtlander. Eyepiece magnifies ground glass image by 10x (original Arri's eyepiece by 8x), so image in viewfinder is bigger. Item is brand NEW, opened and tested, never used. Compatible with: Arriflex 435 Arriflex 535 Arri Alexa Studio OVF-1 (with AEA-1) Arricam LT & ST (There is also used Arri's closing shutter endpiece, as a gift) PHOTOS PRICE: €950 incl. shipping
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- 35mm cameras
- arriflex 435
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THIS IS A HUGE BUNDLE FOR A MOVIECAM SL MARK 2 PACKAGE, MINT CONDITIONS S/N 1173 FULL PACKAGE SOLD AS A BUNDLE ONLY: MOVIECAM SL MARK 2 - 3P AND 4P GATE AND MOVEMENTS + INSTRUCTIONS MANUAL SPEED CONTROL BOX - ON BOARD AND WIRED (REMOTE) LONG EXTENSION FNDER (ARRICAM LITE/STUDIO) ARRI L-3 EXTENSION FINDER LEVELLER HORIZONTAL VIEWFINDER LEVELLER BRACKET (ARRIHEAD/SCAHTLER) HEATED EYECUP + (2) CABLES BP-8 BRIDGE PLATE + SLIDING BASE PLATE + RODS 19mm x 220/330/440mm LW SHOULDER PLATE w/15mm RODS MOVIECAM LEFT HANDGRIP (15mm) + SWIVEL CONNECTOR 2x POWER CABLES - COILED SHUTTER/GROUND GLASS TOOL 4mm & 1.5mm HEX SCREWDRIVER IN-LINE AND 90° TOP CARRYING HANDLE ANAMORPHIC/SPHERICAL VIEWFINDER ASSEMBLY (ARRICAM LITE) IVS-2 (ARRI 235) 100% VIDEO TOP FOR STEADICAM/REMOTE CRANE JERRY HILL LOW MODE STEADICAM PLATE IRIS ROD ADAPTER 15mm REMOTE READOUT + ON/OFF (WIRED) 4P ANAMORPHIC GATE (RARE) AND GROUND GLASS 2.39 3P FULL FRAME GATE 4P FULL FRAME GATE MANY GROUND GLASSES AVAILABLE: 35 STANDARD - SUPER 35 - 3P MAGAZINE THROAT ADAPTER (STUDIO MODE)(> SL TO COMPACT MAGAZINES) PISTOL GRIP w/ON/OFF AND CURVED ADAPTER TO CAMERA BODY RS-3 SPLITTER BOX ATTACHED TO CAMERA BODY (RIGHT SIDE, 3x OUTPUTS & ON/OFF) 4x 400' SL SHOULDER MAG 5x 400' SL STEADIMAG 5x 500' STUDIO MODE MAGAZINE (MAGNESIUM) 3x 1000' STUDIO MODE MAGAZINE (MAGNESIUM) MANY REPLACEMENT BELTS FOR MAGAZINES (DO NOT EXIST ANYMORE !!!!!) 3x 1000' "AJA" CASES (NEW FOAM LINING) 2x 2x500' STUDIO MAGS ALUMINUM CASE (CP CASES) 1x 3x400' "AJA" CASE (NEW FOAM LINING) FOR SHOULDER/STEADICAM MAGS 4x 1x 400' ALUMINUM TRANSIT CASE FOR SHOULDER/STEADICAM MAGS (CP CASES) 1x CAMERA & ACC ALUMINUM TRANSIT CASE (EISELE) BLUE MODULAR HANDLE: HOT SHOE ADAPTER BLUE MODULAR HANDLE: CUBE ADAPTER w/ 3/8'' and 1/4'' TRHEADS LEATHER SOUND BARNEYS : CAMERA BODY + 400' MAG + 1000' MAG This is a PRIVATE owned camera which I bought to make a picture over several years and finally - due to main actor death - production went to an abrupt end and we never could finish the movie. I am selling it as I have no more use of it. I can send you loads of pictures to show actual stat of this camera and all accessories delivered with. LOCATED IN BELGIUM MANY PICTURES AVAILABLE ON REQUEST !!!! SERVICED BY ARRI/MOVIECAM IN 2012 PRICE REQUIRED: PLEASE SEND E-MAIL TO: realtoreel@skynet.be
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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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- 35mm
- 35mm cameras
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