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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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ARRI 235 4perf Super 35mm Film Camera Kit 6x 400ft Magazines + Transvideo 6.5” Rainbow monitor. USD $14,500 ONO Includes: ARRI 235 CAMERA. Ser.No #2006 235 RISER PLATE. Ser.No #2020 BP-9 35F 15mm BASEPLATE TOP. Ser.No #BPT908 235 UNIVERSAL VIEWFINDER UV-1. Ser.No #2111 TURRET PLUG PL MOUNT 235 DUST COVER GR.GLASS 535A/B-435ES/235 FORMAT MASK 535/B 435/ES 235/416 EYEPIECE EYECUP 235 SHOULDER PAD 235 CENTRE HANDLE SCH-1 KC-20: ARRI-POWER 24V 235 BATTERY CABLE 235 IVS VIDEO TAP /NTSC Ser.No #9513 IVS Blank & 100% VIDEO BLANK PLATES TRANSVIDEO RAINBOW 6.5” Monitor CABLE for Video+power /235 - Transvideo Rainbow monitor. 235 SHOULDER MAG 400’ x3 Ser.No #2170 Ser.No #2174 Ser.No #2176 235 STEADICAM MAG 400’ x3 Ser.No #2072 Ser.No #2112 Ser.No #2117 LOOP GUARD 435/35-3/235 x6 235 CAMERA CASE 235 400’ MAG CASE 235 400’ MAG CASE 235 400’ STEADI MAG CASE SHIPPING WORLDWIDE from Sydney Australia 4x cases: 1 - Magazines - 24 lbs. 14 inches x 12 inches x 17 inches 2 - Magazines - 26 lbs. 14 inches x 12 inches 17 inches 3 - Magazines - 25 lbs. 15 inches x 11 inches x 15 inches 4 - Camera - 41 lbs 25 inches x 16 inches x 15 inches regards, Andrew ajcam@me.com +61 414620249 More Photos: http://s1190.photobucket.com/user/ajcam1/library/?sort=3&page=1
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Hello all, Anyone have an Arricam ST package for sale? Or know where I can find one? Thanks, James
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Hello, I have a short film shoot set to go to camera early November and we're shooting on Kodak 35mm film. There's a particular scene involving two characters who go out for a night in the city and involves them running through the streets, in china town shops, and restaurants. We've set aside 5219 for those scenes and will be shooting on Zeiss Super Speeds but I'm worried it still won't be enough. So I've thought about push processing. The look of push processing would also aid the story as everything is supposed to feel heightened for the characters. I've never attempted it before so I wanted to see if anyone could help answer some questions: - Does push processing actually get you more image in the blacks or just simply up the contrast? - How many stops should one push to get clear characteristics of push processing (grain, contrast, saturation). I've heard that modern stocks need to be really pushed to their limits before seeing clear results? - Considering I'm shooting 500T, how do I rate the stock for each additional stop? +1 = 1000, +2 = 2000? - Is it even worth it to get the effect chemically or can the same results be achieved in the DI? Thanks for the help! Chris
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Hi, my listing for ARRI 435ES camera set, including magazines and accessories. Price is 3990 euro https://www.kitmondo.com/used-arriflex-435es-for-sale-2/ref608356
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Hello, I am preparing to shoot a project where I what to use both 16mm and 35mm stocks. The plan is to shoot the CS to MS sized shots in16mm (7203) and the wider angle shots in 35mm. I am looking for advice about which 35mm stock to use that will best match the 16mm 7203 in grain, contrast and color. Any suggestions would be much appreciated. Thank you. Steven Holloway steven@shfilms.com
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35 mm short ends for someone who wants to come pick them up, best offer accepted. 400' recan 5213, 200' recan 5219, 170' 5219 - all from March of 2015.
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Hi everyone, i am in pre-production for the short film we will be shooting in Caucasus mountains this winter. We are shooting 35mm 5222 black and white film, and i want to get Hawk anamorphic lenses with 2x squeeze from Paris. The camera they have in a local rental is Arri 435 Xtreme (4 perf). I'm in touch with the local AC and what he says is that the camera doesn't have an anamorphic viewfinder, also it does not have anamorphic matte glass and arri glow. I'm trying to figure out how to solve this issue, maybe somebody can help me out? If the lens squeezes the image into 4:3 academy frame - then what should be the matte glass/ground glass/ gate installed inside of the camera? And if it doesn't have an anamorphic viewfinder (we are shooting steadicam anyway) - can i get an unsqueezed image on the monitor and playback just through the monitor? I would appreciate any tips and help. Thanks -
Filmmaker Panel at Independent Film Week to Focus on Producing Low-Budget Features on Film NEW YORK, September 22, 2015 — A panel featuring award-winning filmmakers Ferne Pearlstein (Imelda), producer Adam Piotrowicz (Listen Up Philip), director Ari Taub (79 Parts) and cinematographer Franco G. DeMarco (Hedwig and the Angry Inch Worm) will explore the process of creating low-budget features on film here at IFP’s Annual Independent Film Week. Kodak, a Premier Sponsor of IFP Week, will host the seminar on September 23 at 11:00 a.m. in the Bruno Walter Auditorium (111 Amsterdam Avenue, at 65th Street). “Realizing Your Vision on a Budget,” which is open to conference-goers, will explore the panelists’ real-world experiences in bringing their project to the big screen on motion picture film without breaking the bank. Moderated by Scott Macaulay, editor-in-chief of Filmmaker Magazine, the panel will focus on the filmmakers’ choices and the benefits they reaped. “This is a great opportunity for filmmakers to hear first-hand about how easy and affordable it is to tell their story on motion picture film,” says Andrew Evenski, president and general manager for Entertainment & Commercial Films at Kodak. “We’re committed to helping independent filmmakers tell their unique stories and realize their vision on film.” To attend the panel, you can purchase passes to the conference at http://www.ifp.org/conferences/filmmaker-conference/purchase-pass/#.VAoL3mRdVEk. For more information on Kodak, visit http://www.kodak.com/go/motion. For more information on Independent Film Week, visit www.independentfilmweek.com. # (Panelists are subject to availability) About Kodak Kodak is a technology company focused on imaging. We provide – directly and through partnerships with other innovative companies – hardware, software, consumables and services to customers in graphic arts, commercial print, publishing, packaging, electronic displays, entertainment and commercial films, and consumer products markets. With our world-class R&D capabilities, innovative solutions portfolio and highly trusted brand, Kodak is helping customers around the globe to sustainably grow their own businesses and enjoy their lives. For additional information on Kodak, visit us at kodak.com, follow us on Twitter @Kodak, or like us on Facebook at KodakNow. About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). (Kodak is a trademark.) 2015 -
For someone that is not going to film school (if film schools even TEACH 35mm anymore), or who isn't planning on film school and just wants the basics of operating a 35 mm motion picture camera, what (if any) options are there to learn? What resources are there and what do you recommend for learning once the resources have been located? This obviously is presuming that the person already has access to such a camera. (Which in my case I do not, but hope to someday; I have films I'd like to make!) I am a photography student interested in making the natural graduation from still photography (digital AND film), to motion picture film. Yes I realize film is almost unused anymore and takes a high learning curve (or so I've gathered), but there's a mystique and an attraction to it I just cannot deny! Questions that arise for me are: how similar is it to a regular 35 mm still film camera? I'm sure motion picture cameras have F-stop controls of course, but what about shutter speeds? I assume photography "stuff" all applies, such as dynamic and detail ranges, inverse square law, keeping highlights and shadows at an even balance, Sunny 16 Rule, composition (a huge one for ANY type of photographer), decisive moment, blah blah all that BS? LOL So hit me up with some feedback, everyone! :) -
I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,300. If you are interested please email me at: adam@adamcohendp.com
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This is definitely a question better suited to a photography forum, however I'd rather be active on cinematography.com as I find it one of the best forums in terms of the community feel it has. I recently invested in an old Pentax Super ME 35mm camera, and was just wondering if someone could shed some light on what the little switch to the left of the lens mount does? You can pull it down, and then it slowly ticks back into the start position. Is it some kind of self timer?
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Check this out. A new indie theater is set to open on Manhattan's Lower East Side featuring both digital and 35mm projection. Metrograph
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I have 2 Moviola film rewinds for sale. They are in good working condition and works with 35mm, 16mm and 8mm film reels. Some surface wear but does not affect the operation of the equipment. Comes with 2 spring locks and 6 spacers. Asking $45.00 US plus shipping.
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Lost River, directed by Ryan Gosling and photographed by Benoit Debie Lost River - Trailer https://www.youtube.com/watch?v=H8ngDiG9V8w I do not know how to start this post as I am still in shock after having watched "Lost River". I have been trying to elaborate my thoughts about the movie for quite a while and I think I am unable to create a linear narration so I will throw them all here for anybody who might be interested in experiencing the first film directed by Ryan Gosling. Lost River is a very difficult movie to classify in our "tag" world, somebody could argue that it is an "auteur" movie with all the connotations that that word brings to the table, some others could say that it is an experimental movie with a narrative arch which brings the spectator from "a" to "b". However, I firmly believe that it is the result of Ryan Gosling's thoughts, desires and influences as a filmmaker. Ryan Gosling knows exactly what he wants to tell and he gives to the visual part of the story a very specific weight, which is considerably 200% of it. It is very clear to me that he knew how the movie had to look like and in his inner interior (is that right? :D) he wanted it to be controversial and bold, both (one of the production companies is called "Bold films"), and for him to express his voice (and what a voice!) he had to bring a cinematographer whose work has been always controversial and stylistic, Benoit Debie. Mr. Debie might not be a super well known cinematographer but he definitely has a very interesting career, from Fabrice Du Welz and Gaspar Noe to Harmony Korine and now Ryan Gosling, Benoit Debie knows how to surpass everybody's expectations and how to create amazing and bold moods with a lot of colour and desires, always within the very thin line which separates darkness from "darkness" and being successful all the time! He knows very well how to manipulate the audience with the palette of colours that he uses, as in Irreversible (2002) and Colt 45 (2014) or Spring Breakers (2012) to name a few. He is even working with Wim Wenders now on The Beautiful Days of Aranjuez. Regarding Ryan Gosling's skills as a director, there are certainly some gaps in the narration of the movie (as in any) but he tells the story in an impressive way. Definitely he learnt a lot from the directors he has worked for, Terrence Malick, Nicolas Winding Refn, Derek Cianfrance and Shane Black, etc. The way he frames, the way he choses the focal lengths, how he follows the characters or what he wants to not show are things that only a very mature filmmaker can do, and let us say that "Lost River" is his FIRST feature film ever. And he is a very very good actors' director! Ben Mendelsohn is really good and also the rest of the cast. With a very difficult script, Ryan Gosling makes the actors feel real and linked to the world where they are, a world of decadence and sadness, but also with a little bit of hope. I know Ryan Gosling got a lot of bad critics with "Lost River" but it is my impression that those critics were that bad because of Ryan Gosling himself, specially in Cannes. I am pretty sure that if any other filmmaker in the world had presented a FIRST MOVIE like this one in Cannes, everybody had been clapping at it. I could digress all day long about the movie but I think that it is better if you just watch it and experience it. I am very glad I saw it and I am looking forward to receiving my blu ray copy some time soon. Have a good day! -
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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Hello! I'm shooting a short film on B&W 35mm (this is a strict decision of the director and I- it's set in the 1960s are we feel that shooting film is crucial to this story). We have quite a few scenes in a 'beach house' set where the windows look out onto the ocean. We will need to digitally project an ocean outside the windows but my concerns are - how do we get the brightest image so that the outside is overexposed than the inside? I know I will have to shoot wider open so the projector overpowers the light sources inside. we are thinking of putting up a giant white muslin around the outside of the windows and doing something similar to what Claudio did on Oblivion. http://www.fdtimes.com/2013/03/29/claudio-miranda-asc-on-oblivion/ the only problem being that we can't afford 21 projectors. Perhaps only two or three. Does anyone have any better ideas for this? Is front projection the best way to go? Thank so much. Kate -
Far From The Madding Crowd, directed by Thomas Vinterberg and photographed by Charlotte Bruus Christensen. IMDB http://www.imdb.com/title/tt2935476/?ref_=ttfc_fc_tt Trailer Synopsis In Victorian England, the independent and headstrong Bathsheba Everdene attracts three very different suitors: Gabriel Oak, a sheep farmer; Frank Troy, a reckless Sergeant; and William Boldwood, a prosperous and mature bachelor. I am going to let this post open because I need to be able to articulate a critic in a reasonable language rather than a critic full of WOWs and AMAZING. What I am going to say though is, if you like cinematography and photography, go and see it. Phil probably won't like it because of the "British hand - held indie camera work style" :P but it is very well done in this one and with a bit of analysis on the sequences. For me it has been one of those movies that open your mind and bring it to another level. More soon! Have a good day!
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Hello, I'm considering about buying my own 35mm film camera. Pardon if this is a common topic on this forum, but I'd like to get some advice from people wiser than me. The rational reason for owning a 35mm camera would be the duration of the film projects. Because we're not at a professional level and everyone has another job or goes to school, the filming schedule is rather irregular and long. I figured that a rent of 2 months would buy me half of my own camera and anyway at least I would like to make more projects than just one. The lenses would be rental however because they are very expensive and one usually needs more than just one focal length or model. The cameras I'm considering are the following: Moviecam Compact Moviecam SL Arricam ST The Moviecams are about 5000$ and the Arricam ST is 12000£ (a rental house is the seller). Do these sound like fair prices? Is Visual Products a reliable seller (seller of the Moviecams)? To the main point: What I'm looking for is a reliable basic sync sound 35mm camera which is not too heavy for shoulder operation. I would be expecting a couple ten years (or more) of service life. The Arricam would probably be the best choice, as Arri still services them and accessories like mags can be rented from the local rental house for it but the price of the camera is rather high for me. So are the Moviecams a good option? I know that the Moviecams and Arricams both have practically the same movements, but I heard that the electronics of the Moviecams are inferior. However what is unclear to me is that are the electronics of the Moviecams just less sophisticated or really of inferior design or build quality? Also I believe getting a Moviecam serviced can prove to be difficult. Out of the Moviecams the SL would probably be the better choice as it's a bit newer and smaller. But I heard that the body wouldn't be so rigid and thus prone to light leaks. Is this true? Also, is the extra noise (compared to a Compact or ST) a problem when dialogue is recorded while filming? Sorry for the bit lengthy text, but I would appreciate any advice (but please don't try to sell me digital - it's just not the same). Thank you very much for any help and information. Regards, Valter
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I'd like you guys to check out a film I've been working on for a bit now. The original plan was to shoot exclusively on 35 but our camera broke and we finished it on digital. I really do take pride in composition and mise en scene, but fluidity of narrative is where I can do so much better. Please give it a watch, it's just 5 minutes of your day, and if you aren't sold in the first 30 seconds, shut it off. We shot this on an arri 35 IIb and a 60D. https://www.youtube.com/watch?v=mdt7fnaHJPQ&feature=autoshare
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I got my scanner project working today, still lots of things to figure out but... Maybe the roughest and coolest scanner ever ;) And yes, I can transfer 35mm film in 4K. somewhat B) http://aapolettinen.blogspot.fi/2015/05/making-film-scanner-out-of-konvas-camera.html
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Hi All, I was just wondering whether anyone would be able to comment on their experiences with both Cinelab London and iDailies. Ideally, I'm looking for those who have used both companies and would be able to provide some kind of comparison. I understand that the differences between the two will mostly boil down to pricing and service, but I wondered whether their telecines and scans differed at all. (They do both, Cinelab in particular, have a number of option with regards to the type of scan they will give you - HD, 2K Spirit, 4K, etc.) I'd be interested to know also whether people are mainly shooting 16mm or 35mm these days. I am planning to shoot a short up in the North York Moors so if anyone has any suggestions for any labs nearer to Yorkshire that would be great, although I am not sure that there are any left! Thank you all for your help! Cheers, Shahid
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Email For Pricing : sales@broadcastsolutions.com Used On One Project. Director Film Scanner Base 4K & 2K 35mm Pinless Fast Shuttling Module Kodak Digital ICE (DICE) Dustusting System CineDirector Software, 2K 35mm CCD Sensor, LED Light Source, KeyKode Reader, TimeCode, EDL Import, KeyKode EDL Import, Custom Film Transport for gentle film handling, Host Computer with Windows 7 64-bit, Pinless film transport, Lasergraphics Optical registration System, HEPA Filter Positive Air Pressure System, Modular design for fast/easy maintenance, Scanning Speed of 11fps full aperture 2k and HD (8fps when running Kodak DICE). Up to 100 fps shuttling plus thumbnail preview
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Hi guys, I've just joined the forums as I'm hoping to start pursuing cinematography, I've been a keen stills photographer for some time but found an Eyemo the other day that I couldn't help but buy! It was sold to me as 'not running', so I spent most of today completely stripping it down and rebuilding it. It runs perfectly now except I'm missing a couple of pieces! 1) The top spindle that holds the spool 2) The shutter I was thinking I could probably make the spindle as a worst case scenario, but I'm stuck on the shutter! Does anyone know where I can find these parts? I can't imagine they're easy to come by but I'm hoping theres a website I've not found yet! Thanks! Milan
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I'm selling my Arricam LT package. The camera has been carefully handled and is in excellent condition. This is a rare deal as I haven't seen many Arricam LT's for sale for so cheap. Included in the package is: Arricam LT camera body IVS - Integrated Video System Anamorphic and spherical viewfinder Medium viewfinder extension Long viewfinder extension with magnification Viewfinder leveler Heated eyepiece Power bridgeplate with rods Adjustable quick release plate Mask frame glow module Studio mag to Lite mag adapter Top handle Power cable Adjustment hex tools The camera is currently setup for 4-perf. If you have any questions feel free to ask! Asking $20,000 but make me an offer. I'm definitely willing to negotiate.
