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Showing results for tags '35mm'.
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Up for auction Now. http://www.ebay.com/...-/272107471058? Package Includes: Arri Metal Flight Cases ARRICAM Lite 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Camera Aperture Cover Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 RS Block 24v RS Block 12v LT Camera Handle LT Center Handle Magazine Port Cover LT Viewfinder Top Finder Block Short Eyepiece + Rubber Eyecup Extension Eyepiece LT Frame Glow Frame Glow Mask Format 1.85 LT S35 LT IVS Color Video Tap Case Containing (3): 400' LT Shoulder Magazine 400' LT Shoulder Magazine 400' LT Shoulder Magazine Package Details: This camera package is from the inventory of ARRI Film & TV Services Munich which has been its sole owner. The entire package is in impeccable condition and has been maintained by professionals in Germany for its entire lifetime. The camera performs at factory specifications and is free of any mechanical defects. There are very few ARRICAMs left in such good condition.
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Hello all, 3-Perf ARRICAM ST Package: Package Details: This 3-Perf camera package is from the inventory of ARRI Film & TV Services Munich which has been its sole owner. The entire package is in impeccable condition and has been maintained by professionals in Germany for its entire lifetime. The camera performs at factory specifications and is free of any mechanical defects. There are very few ARRICAMs left in such good condition. Package Includes: Arri Metal Flight Cases ARRICAM Studio (3 PERF) 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 ST Top/Rear Load Adapter ST Top/Rear Load Adapter Cover Handle ST 3 Part Camera Handle (Long) Magazine Port Cover ST Viewfinder Top (SPHERICAL/ANAMORPHIC) Finder Block Short Eyepiece + Eyecup Extension Eyepiece Long (ST SPHERICAL/ANAMORPHIC) Frame Glow Frame Glow Mask Format 1.85 ST + LT S35 Footage Counter (2) Flexilight RS Block 24v RS Block 12v ST Rear Load Adapter ST IVS Color Video Tap Case Containing (3): 400' Studio Magazine 400' Studio Magazine 400' Studio Magazine Asking $20,000 OBO
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Hello all, For sale is a 3-Perf ARRICAM ST Package: Package Details: This 3-Perf camera package is from the inventory of ARRI Film & TV Services Munich which has been its sole owner. The entire package is in impeccable condition and has been maintained by professionals in Germany for its entire lifetime. The camera performs at factory specifications and is free of any mechanical defects. There are very few ARRICAMs left in such good condition. Package Includes: Arri Metal Flight Cases ARRICAM Studio (3 PERF) 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 ST Top/Rear Load Adapter ST Top/Rear Load Adapter Cover Handle ST 3 Part Camera Handle (Long) Magazine Port Cover ST Viewfinder Top (SPHERICAL/ANAMORPHIC) Finder Block Short Eyepiece + Eyecup Extension Eyepiece Long (ST SPHERICAL/ANAMORPHIC) Frame Glow Frame Glow Mask Format 1.85 ST + LT S35 Footage Counter (2) Flexilight RS Block 24v RS Block 12v ST Rear Load Adapter ST IVS Color Video Tap Case Containing (3): 400' Studio Magazine 400' Studio Magazine 400' Studio Magazine Asking $14,150 OBO http://www.ebay.com/itm/272105160107
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Film scanner - current manufacturer Open topic....
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Hey everyone, I will be shooting my first show on 35mm film this coming April and I really want to put Kodak 5219 to the test in terms of grain control and contrast. Please bear with me for I've only shot 7222 and 7266. Can anyone tell me the effects that these variables create together in terms of grain, contrast, and saturation? Perhaps how this affects the characteristic curve? 1. Over-exposing and pulling 2. Over-exposing and printing down 3. Under-exposing and pushing 4. Under-exposing and printing up 5. Over-exposing, pulling, and bleach-bypassing My goal is to differentiate between different timelines of the film. Flashbacks are as the director said "dream-like" and he immediately liked my recommendation of having low grain, glooming highlights, and high saturation. Can this be achieved with #5 on the list? I am very open to using glimmer glass or nets on the rear element. I've heard that when skipping the bleach, it is recommended to change a 7:1 ratio to a 3:1 ratio due to the contrast that it brings. This is for my thesis film at my school and I think it is the perfect opportunity to experiment on film! I do not want to be experimenting on set, but I do want to do a camera test at the prep. As always, thank you for taking the time to respond. -Jeremy
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Hello all, I just recently shot a roll of Kodak 35mm color film, 24 exposures 400 ISO, on a Canon AE-1. However, I brought the camera into a dark room to check and see if the film had been entirely used (for there have been times in the past when the film didn't catch onto the spindle) and I noticed that the film was completely severed from the cartridge. This is my first time to use this particular camera, so I'm wondering how could this happen? I thought I had rolled all the film back into the cartridge after taking all 24 exposures. Thanks, John
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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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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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My Moviecam Compact is available to rent if anyone is interested! Here's the craigslist link with all the details... http://losangeles.craigslist.org/lac/pho/5373717653.html Would love to see more people shooting on film! Pricing is negotiable for younger filmmakers and students :) $200/day $750/week $400/ Friday - Sunday weekend (rates for extended shoots available upon request) - Moviecam Compact Camera Body * PL Mount * 4 Perf Pull Down * Sync Sound * Superscope Ground Glass + Multi Format Frame Glow * Shutter Degree Adjustment tool * Color CCD Monitor out - 1 1000' Rear load Camera Magazine w/ film core - 3 400' Rear load Camera Magazines w/ film core - 3 400' Rear load Steadycam Magazines w/film core - 1 Standard Short Eye Piece - 1 Standard/ Anamorphic Long Eye Piece - 2 Male 3pin XLR to Female 4 pin XLR (Use with 24v Battery) - 1 Super Speed Control - 1 Syncobox - 1 Attachable Niner Camera Assistant light - 2 19mm rails/rods - 2 Rail Clamp Spider Grips - 1 Large Tripod Mounting Plate - Spare fuses
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Hello, you often can find old Kinoptik lenses, for example the Apochromat 25mm, in Cameflex, C-mount or other mounts for very, very high prices. What do you think about this lenses ? How is their quality and their 'look' compared to other lenses like Zeiss etc ? Why are this lenses so expensive ? Micha
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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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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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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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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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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! :) -
As I understand it, most big-budget feature movies record on film as opposed to digital; the common claim being that film provides a much more cinematic image, etc. Does anyone think that we'll come to a point when digital cameras are able to produce an image, indistinguishable from film - and that cinematographers will choose digital over film due to artistic choices instead of being led by financial considerations?
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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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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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I purchased this Arri 3C in the Otto Nemenz auction middle of last year. I did a registration test with good results but have not had a chance to use the camera for anything else due to personal reasons. Includes: - Arri 3C Camera body with PL mount port cap, body (magazine) port cap, accessory mounting bracket, Super 2.35 ground glass (could be Super 2.40, not sure) in shipping case. - Cinematography Electronics Crystal Motor Base (could also be used with an Arri 2C) - Arriflex 3C Crystal Handgrip Motor with screws and gear in plastic cup. - 6x 400' Arri 3 mags in 2x 3-hole mag cases - Jurgen's Orientable Video Door for 3C with Sony Color CCD camera. - Wide Angle Eyepiece (no rubber eyecup is included) - Arri grease - Arri Hand Held Door for 3C PICTURED BUT NOT INCLUDED: Extension Eyepiece. NOT INCLUDED: Rubber Eyecup, Power cables for camera motors to battery, power or video cables for Sony Color CCD, Balance Plate Top, Dovetail, Rods, Batteries, Lenses, etc. If you're not familiar with the 3C, you could think of it as the final refinement of the 2C before the Arri 35-3 came out. It has a more sturdy hinged door, unlike the metal prongs which held on the 2C door to the body. That design was never intended for the weight of a Jurgen's door and I've seen a few 2C bodies that are wearing out where these prongs grip. The 3C came from the factory with a PL mount, and it has a very nice crystal handgrip motor which is often sought after since it works just as well on the 2C. Something else I like about the 3C, they have a variable shutter, something that's hard to find on a 2C. The 3C also has a rosette for mounting accessories, right by the inching knob. The 2C doesn't have that. The 3C movement is the same as the 2C movement and motors, mags and of course ground glasses are interchangeable. The 3C is perhaps best know as the camera Arri made for the film "Das Boot" in the early 1980's. This means this camera isn't nearly as old as most 2Cs floating around out there. I know of four doors made for the 3C, although this package only includes two: Arri Orientable Door (which I've seen can be modified into a video split door) Arri Hand Held Door (included) Arri Straight Door (with optional anamorphic desqueeze module) Jurgen's Video Door (included) I should note, the door type is hinged, but it is not interchangeable with the Arri 3 door. The 3C doors are more rare, as not many of these cameras were made. Also, please see the picture with the note about compatibility with certain lenses due to the PL mount being centered for S35 (as opposed to Academy). Available for only $2,000 O.B.O!!! Available to see in West Hollywood through this Saturday. After that, get in touch and I can coordinate a time when you can check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. More pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633346930378/ Please send me a private message if interested. Thanks for looking! Rich
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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! -
I have Konvas 2M for sale with Crystal Sync Motor, Mattebox, 28mm,50mm,35mm,and 75mm mattes, Baseplate for Mattebox, A mounting plate that goes underneath the Baseplate, A battery with XLR input, and a voltage converter that allows European --> US. MSG me if your interested. I can provide photos, and videos. -
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
