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For sale is my personal Lomo anamorphic round front set: 35mm Lomo Anamorphic T2.4, PL-mount 50mm Lomo Anamorphic T2.4, PL-mount 75mm Lomo Anamorphic T2.4, PL-mount All lenses are optically and mechanically in perfect condition with smooth aperture and focus operation. All have stainless PL-mounts, and focus gear rings. No scratches, no fungus, The lenses are ready for shooting. Also included: 2 Cases, front and rear caps. New York City checkout can be arranged. Price: $25,000.00 Contact woftam@erols.com

Jane Got A Gun Trailer Imdb Link http://www.imdb.com/title/tt2140037/ "A woman asks her ex-lover for help in order to save her outlaw husband from a gang out to kill him." Director Gavin O'Connor Cinematographer Mandy Walker As a movie, "Jane Got A Gun" has a very interesting plot and a fantastic start. Natalie Portman as Jane is a great cast and she plays the role in a really great way. However, once we start to know what has happened to her and the reasons behind the "bad gang" and why they want to catch her, it becomes a very dull story. It is a pity that the screenwriters didn't spend more time portraying the ambitions and hopes of "the bad guy", played by Ewan McGregor, because we don't even get to see that he is "that bad". Although in the movie we see 4 or 5 times a banner which reminds us that he is "really bad" as he is the boss of a very dangerous gang. Other than that we don't see anything bad about him, and even his search for Jane is very well justified as in "I have some business left with you" On the other hand, Mandy Walker did her most beautiful job ever, even better than "Tracks"! Gavin and herself introduced a couple of "arty" sequences which are really well thought and the overall look of the movie is just gorgeous. Obviously she is used to shooting in really harsh environments, like "Australia" or "Tracks" but the naturalistic approach yet perfectly photographed frames on 35mm anamorphic creates the right mood for the movie. The night sequence is a little bit of a shock at the beginning being that blue, but after one second watching it you forget about the colour and you see that she made the right choice! and the blacks in the movie are so dense!!! Gavin O'Connor did a great job in the directing part and everything works super flawlessly and the interactions between the three lead characters and how they are told is first class. I suppose it really helps that he is a great director anyways! :D Definitely a movie to watch in the cinema because of the cinematography and the directing skills! Have a good day.

For sale is my beautiful 2-perf (Techniscope) Arri 3C (IIIC) camera package. This camera was never a rental and it looks like it's hardly ever been used, it's in such beautiful condition. I've owned it since 2009 and during that time I found and bought an original Arri factory 2-perf conversion kit, which was installed by the technicians at Clairmont Camera in North Hollywood. I'm guessing everyone here knows why 2-perf is so great. But just in case... basically you get twice the run time from the same amount of film. A 400' roll of 35mm film running at 24 fps lasts about 8 minutes instead of the usual 4 minutes. A 200' short end is suddenly not a pain to work with since it lasts about 4 minutes. So that means you spend half as much money on film stock and processing since that's paid by the foot, too. The aspect ratio is naturally 2.40:1 at the gate so it's well suited to that cinemascope look, but much less expensive than anamorphic on film stock/processing (not to mention lens rental costs). If you wanted to shoot 1.85:1 on this camera, you could have the ground glass pencilled with two vertical lines to create 1.85 within the 2.40, and you'd still have roughly twice as much negative area than if you shot 1.85 on Super 16. I know of a feature film that just wrapped which did exactly that. Some recent and beautifully-shot 2-perf films: "Hunger", "Shame", "The Place Beyond the Pines", "American Hustle", "The Fighter", "Silver Linings Playbook", to name a few. Includes: - Arri 3C Camera body with PL mount port cap, body (magazine) port cap, in custom shipping case - Custom-made by Shurco 2-perf 2.40:1 Arri-3 style ground glass, with clear plastic case - Panavision (PV) Mount (PL mount currently installed, centered on Academy, not Super) with some shims - Cinematography Electronics Crystal Motor Base (could also be used with an Arri 2C, best motor you can get for these cameras) - Arriflex 3C Crystal Handgrip Motor (12V) with screws and gear (could also be used with an Arri 2C, a very rare item) - Italian Flatbase Motor Adapter Plate for above handgrip motor (ECE - ROME), untested - Custom Samcine Hand Held Support Brackets for IIC/IIIC in small hard shipping case - 2x 400' Arri 3 mags in a 2-hole mag case - 4x 200' Arri 3 mags in a 4-hole mag case. Note, two of the mags need some minor servicing. One looks like it's never been used - 2x 400' Fromm Shoulder Mags with spare rubber belt drives and 1x adjustable shoulder bracket (no case) - Jurgen's Orientable Video Door for 3C with Sony Color CCD camera - Arri Hand Held Door for 3C - Arri Orientable Door for 3C - Arri Straight Door for 3C with 2x Anamorphic desqueeze lever - Flat cover for above Straight Door if anamorphic dequeeze module is to be removed - Wide Angle Deniz Eyepiece with rubber eyecup that has shutter that can close - Spare Arri Eyepiece with rubber eyecup -push eye against eyecup to open shutter type, helps prevent light leaks - 1x Jurgen's Extension Eyepiece - 1x Arri Extension Eyepiece - 1x Arri Right Handgrip (no on/off switch) Arri Rosette style attachment - 1x Rosette to Rosette extension arm (adapter bracket needed/not included to use with above handgrip). Bracket pictured in hand held mode is not included) - 1x Unknown Brand Balance Plate Top A35/S35 switchable, like BP-9 (for 15mm rods) - 1x Van Diemen Balance Plate Bottom (Dovetail) ~12" - 2x 12V 4-pin XLR to 4-pin XLR power cables, one with a pigtail - 3x Power Cables for Jurgen's Video Door - 2x Medium Carbon Fiber rods (15mm) - 2x Medium rods (15mm) - 2x Short rods (15mm) - 1x SR2/SR3 type LWS 15mm bracket with 2x screw-in extension rods (for attaching to front of CE Flat Crystal Motor Base - Arri grease The inching knob (shutter/frame advance knob) has three holes drilled in it which was done to attach a hand-crank module from Clairmont Camera for a commercial (shot before the 2-perf conversion). Due to the 2-perf conversion, the Cinematography Electronics Crystal motor base does not count footage correctly. Simply divide the readout by half for an accurate footage count. I've created an album on Flickr with quite a few photos. On the wide photo with everything, you may notice two smudges. I've erased two items which I realized after the fact have no relevance or use with this package. I've also included some frame grabs from a music video I made with this camera after the 2-perf conversion. It was a joy to shoot with, performing flawlessly with not one instance of a hair in the gate. It was almost entirely shot with short ends of 200' or less. 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, mostly designed as a result of engineering Arri did to the 2C for the German WW2 film "Das Boot". It has an orientable door which keeps the horizon level as you reposition the eyepiece up or down (on the 2 doors here that let you swivel the eyepiece up/down). It has a more sturdy hinged door (not interchangeable with the Arri 35-3 door), unlike the metal prongs which hold the 2C door to the body. That design was never intended for the weight of a Jurgen's video door and I've seen a few 2C bodies that are wearing out where these prongs grip, making it risky that the door could fall off. 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. This is a beautiful example of the very rare Arri IIIC. The 3C movement is the same as the 2C movement and motors, mags and of course ground glasses are interchangeable. It took me many years to assemble this package so at least initially, I won't consider splitting off pieces of it. That said, feel free to get in touch if you're interested in something, and I'll keep you in mind. Available for $6,500 Or Best Offer. Available to see in NYC or Los Angeles, if you cover shipping costs to LA. For convenience, preference will be given if there is a buyer in the NYC (1st) or Los Angeles (2nd) area who will pick up in person and pay cash. I live in NYC but have friends/family in LA who can coordinate a sale in LA for me. Please check out the pictures and shoot me a private message if you're interested or if you have any questions. Thanks for looking! Rich https://flic.kr/s/aHskwM83a3

I have a few random mags for cameras I don't own. They're untested but look to be pretty clean inside. Mechanically everything looks to be in good shape but they haven't been tested. Arri 35 BL-3 400' Mag Arri 35-BL-3 1000' Mag Mitchell 35mm 400' Mag Mitchell 35mm 1000' Mag Photos here: https://www.flickr.com/photos/friolator/albums/72157664038315513 I'm willing to sell them as a lot or separately. Make offers! Shipping would be extra (or if you want to give me your UPS or FedEX account for shipping, we can do that). They're located in Boston so if you're local you can pick up in person or come check them out.

" P I G S " Filmed in 35mm Eastman Color by Glenn Roland Director of Photography/Cinematographer New 2k DCP Restoration was Screened at Cinefamily Silent Movie Theatre on March 12, 2016. Out on Blu-Ray from Vinegar Syndrome - March 29, 2016 Director of Photography Glenn Roland is available worldwide for hire to film Motion Pictures, Television and Television Commercials. For Booking Call: (310) 475-0937 ENJOY THE HORROR! :o

Dear Cinematographers, I was wondering if anyone could direct me to a website, or provide me with information of, film screenings in or near Indiana. I have developed an irreversible affinity for film projection, and delight at nothing more than seeing a picture the traditional, and therefore the proper, way, despite this inclination having developed at such a terrible time for the format. (And please - let's not turn this into an imagining debate, as so often happens.) I would thus be extremely appreciative of anyone providing me with information on local screenings. With Warmest Regards, Kurt Cassidy-Gabhart I measured my future with a Surveyor's Staff, And passed through it, as if through the mountains.

Simple Questions, to begin with, Do you shoot in FILM or VIDEO? IF FILM or VIDEO, why? Do you believe that FILM costs more to use that VIDEO? Do you seek out Motion Pictures, (i.e., The Hateful Eight) shot on film? And if so, Do you seek out film-recorded Motion Pictures, such at The Hateful Eight, to see the PROJECTED on film? I am beginning a new production company and would like industry feedback. I will also post, throughout this discussion, facts such as... According to MPAA, in 2014, there were 14,526 ANALOG or Film projected screens in the World, 62,784 Digital NON 3D screens and 64.905 Digital 3D screens in the World. In the US alone, it 1,747 Analog, 25.372 Digital NON 3D and 16,146 Digital 3D screens. (http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf) I am of the opinion, contrary that it may be that film is NOT dead, certainly not as a medium for Recording Motion Pictures. But I must agree that its most likely no longer a widely used medium for Projecting Motion Pictures. FYI, I shoot on 35MM and 120 FILM photography, as well as AD on 16MM & 35MM, and I would like to continue to use Film as my recording Medium. I don't believe its dead, just as OIL paints didn't 'die' when ACRYLIC paints arrived. Different mediums for different artists. I look forward to hearing for you. jGb

To start hello everyone ... my first question would be about 35mm camera ... we see an arm that seems to be made ​​to rotate on an axis on almost every old 35mm camera ... does it means that it must be turned in permanence to make the camera recording or you only have to turn it a little to start the recording process ...

Hello all, I am looking for Kodak 5219/ Fuji 8547 Recans, Short ends and factory sealed. If you have any/know where I can get them please let me know. I've already checked with the major resellers.

I am selling famous Russian round anamorphic lens 35mm/2,2 35BAC-27-1 ser.870025 made in 1987 PL mount, iris and focus gears. Can be changed to black colour. glass is glean, no fungus, iris clean. more pictures: http://picsurge.com/g/hF1oxN Price is 7400USD + shipping 100USD. Located in Prague.

Moviecam compact package for sale in working AS IS condition. $8,500.00 contact me for details here: jacobeppy@gmail.com (Cases for camera and mags included.) - 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

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.

Up for auction Now. http://www.ebay.com/itm/-/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.

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

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

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

Film scanner - current manufacturer Open topic....

How many professional film labs are left?

Hey guys. Brand new to the forum and i joined specifically because i'm trying to find an answer to this question. Film usually runs vertically threw a camera but a few formats have it run horizontally to achieve a much larger negative. IMAX does this with 65mm and VistaVision does it with 35mm. Is there a 16mm equivalent?

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

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

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

Hello all, Anyone have an Arricam ST package for sale? Or know where I can find one? Thanks, James

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

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