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  1. 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
  2. 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.
  3. 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
  4. 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
  5. I purchased this Arri 3C in the big Otto Nemenz auction around the middle of 2012. I did a registration test with good results after buying it but have otherwise not used the camera. 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 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 $1,600 O.B.O!!! Available to see if you're in the LA area. For convenience, preference will be given if there is a local buyer 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
  6. Hi everyone, I got hold of a B&H 35mm eyemo with a PV mount. I'm extremely new to filming in 35mm and have never had the opportunity to work with Panavision lenses so please forgive me for my basic questions. Since I'm only trying to gain experience with filming, I really don't have a need to shoot with PV lenses. I'd rather just use something more readily accessible for the time being. Is there an adapter out there that will allow me to use non-PV lenses on this camera? I've tried looking, but all I seem to find are adapters that allow you to use PV lens on an arri mount... I've also seen some that allow you to attach a PV to an EOS... but I haven't found an adapter allowing you to use a non-pv lens on a camera with a PV mount. If there is no such adapter available, is there any possibility of replacing the PV mount on the camera with something else? Or is that going to be the job of a technician? Sorry for all the basic questions. I've tried to do research online about all this, but aside from reading previous threads I haven't had much luck in getting my questions answered. Thanks!
  7. Hello all, This is my first post to the forum and I'm glad to be here. I am an undergrad cinematography major and I will be shooting my first show on 35mm. Naturally, a gear head will be best for our studio work, but I have only worked as an assistant with the equipment. A few operators and DoPs have told me that tracing a circle on the wall with a laser pointer is a good way to start out. Does anyone have any recommendations on how I can practice? I'll have just the prep day and the test shoot day to figure out the muscle memory. (Unless I should just settle with a fluid head?) Thanks for your time in advance, -Jeremy
  8. Hi, first time posting here. Basically I just purchased an arriflex 35mm IIB. I have searched ebay for lens' to fit this camera, but coming across a lens with this mount is proving difficult. Also I was just recently taught that there are different lenses suited to cover a 16mm and 35mm camera, so although they have the same mount, a 16mm lens would cause vignetting among other things if used on my 35mm camera. But a lot of the listings don't state whether or not they are suited for a 35mm camera. Could you guys recommend a vendor who would supply these, or any other useful knowledge I should know when searching for a lens? Thanks
  9. Leviathan "In a Russian coastal town, Nikolai is forced to fight the corrupt mayor when he is told that his house will be demolished. He recruits a lawyer friend to help, but the man's arrival brings further misfortune for Nikolai and his family." Imdb page http://www.imdb.com/title/tt2802154/ Trailer From Andrey Zvyagintsev (director of Elena and The Return) comes a new movie set in a rural village in Russia. It is such a powerful movie that gets you right in the brain and stays there after having watched it. With a very dense script full of characters which go back and forth, the movie wants to create a sense of closeness with the spectator through them and it does it really well, even with the length of the movie (2.20 hours) your emotions stay there all the time and you don't feel disconnected ever, moreover, you need the movie to keep going and not finish. The script is just amazing, the actors are superb and the way the director manages to get your attention from one to another is very "kubrickish", playing with them within the frame and letting them walk through it and do their actions. Its cinematography is just marvelous, condensed and content, the director knows what he wants and how to show it and Mikhail Krichman (I have the honour of working with in a movie in Ireland right now) shows the places as they are, but with a cinematography touch, let's say that he, as a cinematographer, brings the naturalism to the movie but places little touches that let you know that the light is there because it has to be there. There is a marvelous sequence which I think it is really difficult and starts with the main female character in bed, she gets up, goes to the bathroom and leaves the house. It is easily perceived that there is a light at the beginning and in some other places but it is so well placed that you feel it as if it were normal there. Obviously it is not a single take (which would have been amazing and it matches the director's vision very well) but the way it is cut is flawless. A movie full of long, thought and meditated takes that brings us back the cinema of the Russian realism but with a modern twist. By the way, Mikhail got the 2014 Cameraimage award because of this movie ;). Very highly recommended, even more now that is in Bluray! Have a good day. Best.
  10. I was having a nice conversation with a camera owner and he mentioned to me, according to conversations he had with other camera folk, that movie film cameras are set to appreciate in the near future and I wanted to post this to get some feedback from the community here. I do agree with him, since these cameras are not being made anymore, film is still available and people enjoy the film look and working with film. These cameras could turn into a nice commodity and maybe hard to get your hands on in the future. Love to hear your thoughts, Alexander
  11. Hello all, I have a question about the ever increasing use of the 2.55:1 aspect ratio and wider on music videos and commercials. To make my question a little clearer here is an example: Toro Y Moi — "So Many Details" This video was shot anamorphically with the LOMO anamorphics. Judging by the final aspect ratio would it be reasonable to guess that it was shot on Super35 with anamorphic lenses and then desqueezed to achieve what appears to be 2.55:1? I was wondering whether if this is the case, they would have needed a custom ground glass to ensure that framing was possible without say centring the system for sound aperture, using an anamorphic GG, then estimating where the centre of frame would be so that your footage ends up centre once it has been desqueezed in the wider format. Of course they could have simply cropped the 2.39:1 image to give the extra width... I hope that makes sense. Thanks, Shahid
  12. RED Pro Primes 5 Lens Set (25, 35, 50, 85, 100mm) Imperial.Excellent Condition. Kept in air-conditioned private home. Owned by Cinematographer and well taken care of. Footage shot with these lenses provided upon request. We love them but have to invest elsewhere. Great deal. Location: Los AngelesPrice for package $14,500 OBO Case included email: info@colinakoon.com
  13. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please email me at: adam@adamcohendp.com
  14. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please message or email me at: adam@adamcohendp.com
  15. Anyone selling 35mm recans or knows someone who does? Looking for any of the following stocks: Kodak 5219, 5213, 5218, 5217 OR Fuji Eterna 8573, 8583, 8553. All in the range of 200T to 500T. Price per foot cannot exceed $.12 Willing to pay shipping cost! Thanks
  16. Guest

    Cinelabs London group visit

    Myself and John Holland will be taking a tour of Cinelabs, one of the two boutique film labs in London, on the 13th November to see their recently revamped facilities. If anyone would like to join us you'd be more then welcome, please let me know here and I'll add your name to the list.
  17. Hello, We have 35mm film stock to sell: 760ft of short ends - Kodak 500 T / 5219. Purchased direct from Kodak. Available for £20 total. . 4 x 400ft rolls of Fuji Eterna 250D. Purchased from Bwark Films. Available for £80 total. The film is being kept in a fridge. Collection from South East London (SE4) would be ideal, but happy to negotiate alternative collection/delivery. Please enquiry via: akua@kindproductions.com. Thank you, Akua
  18. Used Arri 35-3 MkII with Nikon mount for sale - $1700 Clean, well maintained, ready to shoot Super 35. I am the owner and operator and have treated it like a baby. Photos and full details at http://www.prairiepictures.com/gear.html Martin
  19. Christopher Nolan Continues Long Association with Facility for Unprecedented Film-to-Multiplatform Release Model BURBANK, CA (November 24, 2014) - Celebrated director Christopher Nolan returned to FotoKem to craft unique 35mm and 65mm film finishing pipelines for his epic sci-fi adventure Interstellar. Having completed numerous projects at FotoKem over the years - including the 35mm blowup and re-mastering of Following, the original lab work and re-mastering of Memento, and the home theater release of Inception and The Dark Knight - Nolan's collaboration with the facility deepened on Interstellar to involve negative processing through film, digital and video finishing, and distribution. "My experience of working with FotoKem dates back to 1999, and I'm happy to say in 2014 their photochemical post-production and film handling work is better than ever," Nolan said. Nolan and cinematographer Hoyte van Hoytema, FSF, NSC worked closely with artists and technicians at FotoKem to fine tune lab and digital processes to ensure that every scene, take and visual effect during production and post was reproduced accurately in all distribution formats. FotoKem's involvement on the project started with 65mm negative processing, progressed to include 35mm VFX negative processing, and 35mm and 65mm negative cutting with acclaimed negative cutter Mo Henry working in a special room at FotoKem designed for the process. Other work included 35mm and 70mm answer prints, intermediates, domestic release prints, digital cinema mastering and home video transfers. A unique optical format conversion to extract both 35mm and 65mm/5p widescreen images from 65mm/15p source negative was designed and utilized in over one hour of the movie's content. Seasoned film timer Mato worked closely with Nolan and Hoytema to fine tune scene-by-scene color, working with intercut original and intermediate elements to build the final film masters, with meticulous attention on color and mood for each scene. Mato teamed up with DI colorist Walter Volpatto and color scientist Joseph Slomka to ensure an exact match with the approved film print masters for the multiple digital deliverables. The unique release structure of Interstellar allows audiences to experience the film on 70mm IMAX print, 70mm 5-perf print, 35mm print, IMAX Digital, 4K DCP and 2K DCP, with the IMAX 70mm print version being the highest resolution and most immersive of the available exhibition options. FotoKem will also provide digital deliverables for home theatrical presentation, with Kostas Theodosiou supervising the color pass, his sixth time mastering a Nolan film for home release. For more information about FotoKem, visit www.fotokem.com.
  20. I'm shooting some car scenes where I want studio lighting on the actors, so I'm thinking rear projection might be the best way to go. A model for the look I want is the driving sequence near the beginning of Bunuel's BELLE DE JOUR (starting at about 11 minutes into the film). One DP I spoke to said he thinks those shots were done on a process trailer, but to me they look like rear projection. Any thoughts on how those scenes were shot would be greatly appreciated. We're shooting on 35mm, and I was wondering if anyone has had experience shooting on 35mm and projecting the background plates on LCD or DLP? Are there issues with flicker when shooting in this way? And does anyone have advice on which type and size of screen to use?
  21. 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, no scratches, no fungus, have stainless PL-mounts and focus gear rings ARRI standard 32 pitch. The lenses were recently serviced and are ready for shooting. Also included: Peli case, ARRI Lens Support LS-7, front and rear caps. Price: $35,000 Contact: c.lang@langfilms.de
  22. 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.
  23. Hello everybody. I am selling 9h and 11min of 35mm Fujifilm due to a feature film project to shoot in Italy that has been canceled. I have: 115 rolls (400ft - 4 perf) ETERNA VIVID 250D and 9 rolls (400ft - 4 perf) ETERNA 250D All rolls have been bought March 2013. Anyone interested can write me at: wiggle@hotmail.it Can send more details of pictures in the case. Paolo
  24. Applications: Restoration of old film in SD, HD, 2K or 4K resolutions. High resolution scanning for DI grading. Real time scanning into digital dailies or WEB/DVD distribution monetizing of your old film. Sensors: 2K and 4K True RGB colour 12bits per colour depth. Gate offered: 35mm Academy non contact gate (8mm, Regular 16mm and Super 16mm as well as full contact gates available as separate options) Scans colour print and negatives, B/W Print and negative intermediates. Analog track audio decoding. Output to DPX (8, 10, 16 bit log or linear). Multiple TIFF, Quicktime uncompressed or other codecs, MPEG, AVI, WMV and more. Save more than 60% on the purchase price. We're selling below our cost for these units. We have 2 units in mint condition - hardly used. GEArchiver-datasheet.pdf
  25. I made an affordable 8v battery for my Konvas 1-KCP using NiMh cells picked off of eBay : https://aapolettinen.blogspot.com/b/post-preview?token=rzYJvEcBAAA.55i9J13eyhYWCBKkzH1YZg.n-gZF7DeDmyp0JYjlY338g&postId=389739504158150991&type=POST#!/2014/08/making-simple-nimh-battery-for-konvas.html The same procedure can be used for making a oddball voltage battery for any type of camera or equipment :lol:
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