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  1. Library Look license included. Price : $39,000 US Below is the list of items included. K1.0003873 Alexa mini body Hours : 3886 K2.0003216 Titanium PL LDS Mount K2.0005861 Viewfinder K2.0008135 View finder cable (2Pcs) K2.0007091 Bebob V-Mount Battery Adapter for ALEXA Mini K2.0006960 Transvideo Starlite hd5 Mon/Rec KK.0005677 UBS-3 Handgrip Set K2.0031436 Bridge Plate BP-8 K2.0006334 2x Lightweight adapter plate for ALEXA Mini (MAP-1) K2.0006347 2x Adapter plate with rod support for ALEXA Mini (MAP-2) K2.0006348 2x Side bracket for ALEXA Mini (MSB-1) K2.0006352 1x Bridge plate adapter for ALEXA Mini (BPA-4) K2.0006186 2x Rod mounting bracket (RMB-3) K2.66255.0 2x 15 mm Reduction Insert K2.0006140 1x Viewfinder mounting bracket for ALEXA Mini (MVB-1) K2.73002.0 2x Center Camera Handle, CCH-2 K2.66252.0 1x Support Rods 340 mm (13.4 inch), Ø 15 mm K2.0006495 3x CFast 2.0 Card 256 GB K2.75007.0 1x Power Cable Straight (2m, 6.6 feet) KC-50 K2.72021.0 1x ALEXA Ethernet/RJ-45 Cable (3.00m/9.8ft) KC 153-S K2.0006170 1x EXT-RS Adapter K2.0006471 1x Battery Adapter Plate BAP-1 K2.0006990 2x Battery Adapter Plate BAP-2 K2.0006807 1x Shoulder Pad CSP-1 K2.0008408 1x Low bracket for CSP-1 K2.0001242 1x CFast 2.0 Card Reader (USB-3) Pelican 1620 Case
  2. If anyone has one they can sell please email pricing and details to sales@broadcastsolutions.com.
  3. Hey all. Happy holidays and happy new year. 2020 is now hindsight (thank god). First off, I have a lot of reverence for what you guys do. Many of you on this forum I'm a huge fan of, so it's an honor even in a small way to be writing this. So thanks for listening. Overwhelmed by choice overload. I tend to be a little too good at matching pros with cons and vice versa, so this amount of indecision (and the self-awareness about the indecision) has been difficult. Hence the need to reach out. I'll cut to the chase since I don't want to waste anybody's time. I'm looking to own a camera, thats what this is about. I've got enough $ to own a Komodo production kit with tax. I'll outline choices at the end. The purpose is for me to just feel empowered to get out and make films and work as a director / operator full time versus a owner / op who just rents his camera out to DP's other peoples stuff primarily. I do that for money occasionally the same way I color or edit or crew for people occasionally but my full step forward is towards going from one project to the next on my portfolio. Until then, here's a lot of ridiculous background and way too much information. I'm a filmmaker who prefers self-operating, but mainly for the intimacy and connection with the actors and for how it helps me concentrate, not because I consider myself a proper image-maker at heart, like I'm sure some of you do. My passion is mainly storytelling, not gear, though I'm well capable of digging into deep rabbit holes of technical details if it means getting exactly what I want when I want it. Background: age 25, Burbank-native, editor primarily (that's certainly where most of my superficial skills lie) I'm experienced in that I've made shorts since I was 10 years old. My first feature did get distributed by Gravitas and won a lot of awards - so I'm not totally untalented. But it was exhausting getting there. And in general, I hate the word "content" and have no intention of being a "content creator" at all, ever. Just want to keep telling stories in the way that feels truest to my heart, and make the strongest step forward. Life doesn't make a lot of sense when I'm not making films. And I need to make films right now. What's been hard is not having anything to express myself with. Like many of you, I'm relegated to primarily being at home, needing to channel energy. I've got stuff to shoot, I'm always writing and working with friends on writing films. I told myself I will just rent, that the entirety of hollywood infrastructure is built upon the idea that you don't own your own gear - that its better to just own lenses, which I still do. Logically, I still believe that. Emotionally though, whats been hard is not having that tool to express myself with. I know that theres an argument to be made for todays infrastructure being different from shooting 10 years ago, that being an owner operator now especially as a young person is fairly valuable. I also know its the story, performances, composition, movement, and lighting (in that order) that makes it, not the gear. Furthermore, Steve Yedlin's right. Camera's today are really just data collection tools. Even film cameras are glorified boxes the film goes through. I like being a colorist and relish the freedom it gives me. But its almost a separate part of my brain. The part of me on set thats connected to the actors and the story, that's the part I wanna grow. But still for me, film nearly always looks better. I have been fooled a few times, but only when they shot on anamorphic lenses. Linus Sandgren isn't wrong about the distortion of those being almost necessary in a twisted sort of way. His work, plus Maniac, 10 Cloverfield Lane, and a few others I find truly exceptional. If I'm to collect data, then the data I actually care about (which makes film superior) is the motion cadence of a global shutter, the ability to sandblast highlights and still have it look cool, and the ability to oversaturate or shoot in harshly oversaturated environments. That's the data set I'm looking for in a camera to own. Recently wrapped up a short on the Red Komodo which I made for an AFI application. Super happy with the image and versatility of R3D, which is inspiring in how it almost dares you to challenge it and push it to its limits. I love that you can beat the tar out of it in post and it never bands or splotches or falls apart. We even did a filmout from the R3D files to a 16mm sized portion of the negative at Fotokem, just to see how close Komodo could get to film, since its the first camera with films dynamic range and a global shutter. Astonished by the results - so much so I genuinely think I could film out everything I've ever done and get the best of both worlds (Most of my heroes are people who utilize the best of both, or create an invisible third option by kicking down the door) Still, something about shooting digital with that camera did not feel right to me. Could have been the stress of mounting COVID productions in general being a huge hassle, but also (while I appreciate lightweight cameras) I've never been a fan of feeling like I'm holding a DSLR. (Though BOY is it nice when you wanna shoot illegally. Had the Canon C70 existed before, my feature would have been completed considerably faster.) Tested the Varicam LT for the short first because that's been my favorite look on digital (perfect mixture of RED's cutting edge and Arri's painterly qualities) but weirdly, wasn't as good as Komodo, was heavy, and was bothered by the rolling shutter on that as well. Which was disappointing, because shooting 3200 iso in camera and NDing for exposure compensation is the closest I've seen to film grain yet. Plus Varicam colors are more Eterna than Vision3, and I'm definitely more of an Eterna guy. I've used lots of cameras, but owned only 2. HVX200 was the camera I learned on and in some ways it spoiled me. Got used to global shutter and undercranking & overcranking and timelapse photography and thick viewfinders and shooting to tape and it's been hard finding cameras that feel that level of satisfying. Owned a c100, but was never happy with it. Most of shooting my feature was about pushing that thing to its absolute limit in every conceivable way (to the point it stopped turning on altogether). After that, I owned the S1H for a bit, mainly because of my history with the HVX200 & how much I liked the Varicam. Sold it. Got WAY too into the whole idea of kitting it out to oblivion, trying to turn it into something its not - and became unhappy. Image was lovely but HATED the rolling shutter. Any readout 15ms or greater seems similar to the Haas effect in acoustics, where you don't truly perceive it until its in the 15ms to 30ms range. Though our eyes are way sharper (hehe) than our ears, so its probably more like 7ms or greater (at least for me). I've used lots of cameras, owned only a few. Mainly, the c100 Mark I, and the S1H for about 6 months. Unhappy with both. As badly as I want to like the EVA1, the image is beautiful, its the only camera I've ever used which actually enrages me ergonomically. That horrible plastic body and screen and clickless dial which makes menus impossible to navigate. Blackmagic is a fascinating player in the scene, and has the best menu system ever but I hate how every college kid or person my age uses them. I know you can color them to look however you want but I hate having to give myself so much to do, and I hate their lack of quality control. My choices so far have boiled down to these 3. I'm discounting options which I believe will be useless in 10 years. Komodo seems of all the new cameras to be the one best primed for the test of time, and the Alexas proven her stripes, and film, well, film is film. I want this to be (if at all possible) the last time I purchase a camera, at least for a decade. I also hate how every manufacturer uses the word FUTUREPROOF. 1. Red Komodo. Have the experience with it, love the image, and of course - the global shutter innovation makes it (to me) the most exciting digital camera in the world at any price level. I know people do get hired because of the Red bias, too, which is nice. Unless I get super creative though, it's gonna be forever till they actually get in stock. But: I can afford to get a decent run and gun kit, and after the initial charges, I'd never have to pay again to create, and I'd have the closest approximation to film motion cadence on a digital sensor. With that ND wheel from Kippertie it'll be great. Genuinely, I do feel its the ultimate tool for someone my age in the year 2020, if properly utilized (and yes, utilized in a way that's different from REDs design purpose). To me, it seems like Reds Mini. The Alexa Mini was a drone camera that became an A cam, too. I don't like having to lean down and look at that tiny screen, but part of me also feels this may help my compositions, and force concentration on framing better. I know I do function better with some limitations. All in all, I love the Komodo in spirit, mainly because it appeals to the more "fly by the seat of my pants" part of me, the one that believes in taking risks and stuff. The young punk, lol. 2. Alexa Classic. I don't need the resolution (2K's my favorite) and despite me hating the vanilla-ness of that choice - there is part of me that always thought, wouldn't it be cool to own that camera and really do some more extreme photography? Overexpose, underexpose, get grainy and nasty - i do have a little devil in there somewhere that feels he would enjoy that. Plus, its the standard. Menus are easy. Love the EVF. Much closer on paper to my experience with the HVX200 than the Red Komodo. Theres an appeal in that to me being that its the closest thing in digital to cutting out the bullshit. I've heard DP's articulate how that camera more than any other just allows them to focus on their creativity and their storytelling, and not worry about anything else. I do prefer the Varicam look over the Alexa, and the built in ND's. But the rolling shutter bugs me. And an LT is pretty hard to come by used. So a classic EV seems the most compelling option in the realm of "can't go wrong". But theres self-conciousness about wanting something so "safe" 3. Shoot film. My favorite look, the look I grew up on, is Super 16mm. I dream in 16mm, honestly. Specifically, the format from the 90s forward. Nearly all of my style comes in some way from Super 16mm or super grimy 35mm. Especially in 2020 with the advances in scanning I find the look to immediately be more like the 35mm of the 1970s. It's also the only format I've never seen any successful digital emulation of. Closest was operation avalanche. And that's because they actually filmed out, so it WAS 16mm. I know there's Arri SR's for decent prices, and CP16s, and Eclairs, and despite that essentially being a form of sinking myself into an endless money pit, buying into a dead technology, etc - I've also found more community talking to film people than any other group, and theres a general focus on creativity that seems harder to find in digital (though I know it exists). Only shot on a Bolex and a super 8 camera before so I'd be a huge noob. But I loved doing it. And unquestionably I know it would force me to grow the quickest. I'm attracted to the romance of it, and the idea of proving myself on it doesn't seem scary. What I know I'll miss is getting to do multiple takes with the actors, because I adore that experience of discovering things with them in the process, and not just shooting coverage. (BTW, I loathe coverage. I hate it. ) Nearly everyone I know tells me its a terrible idea to own a film camera and shoot on film. I can't logically disagree, but emotionally I've been torn. One of the best arguments I've ever heard for shooting film ironically came from Michael Cioni, talking about how film still is the only capture medium with a true 1:1 quality ratio (at least when captured correctly.) That idea of pure timelessness does quite a lot for me, but I'm very much not a believer in the sake of nostalgia for the sake of nostalgia. Filming out to a grainier portion of the intermediate stock looks more filmic than any filmout I've ever seen, and still preserves the spontaneity and magic of film, without any of the limitations or sacrifices. Especially if you shoot 35mm stills on set with the same lenses using Vision3 stock, you've got access (roughly) to the filmic color space that would be present on set, too, not just that of the final "patina" or "texture". Grain is grain, its cool but not everything. Color to me is everything. And for the record, while I'm on the subject of film, the only place digital always falls short for me is outdoors. Something about the harshness of the sun and the slightly blown highlights and halation that comes from shooting exteriors on film always feels like my own eyes. In LA too everything is always too sunny, I like how in film, theres almost that flickering red that you get in your eyes when you've looked at the sun too long, I love how film behaves a similar way. To me, so much expressiveness comes from being able to accurately capture the environment. I love how Elswit shot digital at night and film during day. If I could, I'd do that every day for every shoot, until a solution exists that trumps either of them in isolation. But again, too much wishful thinking doesn't do anyone any good. Anyone who made it this far, I'd love to know your unsanitized thoughts. There's no wrong answers, nor is there a perfect choice (as much as I'd like there to me). What I'm looking for is the right set of compromises, Thanks in any case for listening. Hope you're staying safe out there. Soren
  4. ARRI ALEXA XT PLUS 4:3 FULL PACKAGE (Open Gate includes Codex XR Media Mags, EVF, Reader, More) S/N 8580 FS: Alexa XT Camera Package (Hours: Between 1000 and 2000 - will update on exact hours when returns from ARRI Blauvelt) Licenses: ARRIRAW, 16:9, 4:3 License Super Speed and Open Gate License High Speed License Media: (2) Codex 512GB Capture Drives XR (1) Codex USB 3.0 Capture Drive Dock Components: (2) Codex ARRI BPA-13 Bridge Plate Adapter, ARRI Bridge Plate Adapter, ARRI ALEXA Center Camera Handle, ARRI ALEXA Electronic Viewfinder EVF-1, ARRI Viewfinder Mounting Bracket (Tube), Anton Bauer Gold Mount Plate, ARRI Viewfinder Cross Pipe, ARRI Wedge Adapter WA-1, ARRI LB-1 Leveling Block, ARRI Alexa Shoulder Pad, ARRI ALEXA Cable 5P-XLR-M TO (Y) 2x3P-XLR-F, (1) 2-Pin ARRI Fischer to XLR Power Cable (3) EVF Cables, (2) 19mm 18" Metal Rods, (2) 15mm 12" Metal Rods, Tilta 12" ARRI Style Dovetail, ARRI EVF Extender, ALEXA XT Custom Case Price: $14,500
  5. ARRI ALEXA MINI KIT $41,500 ALEXA Mini Body Hours-650 Look Library & 4:3 License MAP-2 x 2 MAP-1 x 1 CCH-2 BPA-4 MSB-1 MSB-2BAP-1 MVB-1 View Finder V-Mount Adapter Plate EF Mount PL Mount 2 x 256GB Cfast Cards 15mm Rails Wooden Camera A-Box Pelican 1620 Case Pelican 1020 Micro Case
  6. Alexa Mini Kits Available (2) 1. Hours 513 + ARRI Certified w/ Warranty (ARRIRAW, 4:3, Look Library) Price $ 52K 2. Hours 1,235 (ARRIRAW, 4:3, Look Library) Price $46K Includes Abel Cine Inspection Items below included with Body and MVF (2) ARRI MAP-1 (1) ARRI MAP-2 (2) ARRI MSB-1 (1) ARRI RMB-3 (1) ARRI CTH-1 (1) ARRI MVF Mounting Bracket (1) ARRI Gold Mount Plate (1) ARRI MVF Cable (3) SanDisk Extreme PRO 128GB CFast 2.0 Card (1) Pelican CFast Card Case (1) CFast 2.0 to USB-C Card Reader
  7. Need to Purchase : Alexa Mini w/4:3 & Raw License. Please email details to sales@broadcastsolutions.com
  8. Selling a small Alexa XT Plus package. Price: $13,250 5902 Hours PL Mount // Gold Mount // Serial #6522 Located in Los Angeles, CA for pickup or no-contact local delivery. Will ship within the USA via Fedex at buyer's expense. The Alexa XT enables 16:9, 4:3, and Open Gate modes, perfect for anamorphic lensing. It is capable of internal recording up to 3.4K Open Gate ARRIRAW and 3.2K ProRes 4444 XQ. The camera is in good working condition. The body shows cosmetic wear as pictured. The exterior of the case shows wear and tear from use and the interior foam is worn. All licenses: Open Gate, ARRIRAW, Anamorphic, 120fps High Speed Sale includes: (1) ARRI Alexa XT Plus Body (1) BAB-G Gold Mount Battery Adapter (1) EVF-1 (1) Short EVF Cable (1) VMB-2 EVF Mount (1) CCH-1 Top Handle (1) SP-4 Shoulder Pad (1) BP-13 Bridge Plate (1) Side Cheese Plate (1) 12" Dovetail (1) A&J ATA Travel Case Does not include media. I may be able to help you source XR media if you need it. Contact maxgoldbergdp@gmail.com for more photos or questions!
  9. Hello Everyone, I would like to introduce myself as a local ARRI Rep. here on the West Coast (out of the Burbank Office) working in the Technical Camera team. I just wanted to make a post that although things are a little crazy at times like these (and bit scary right) we are moving to a lot of online demo's both 1:1 for customers and in groups for our rental house customers. We have a lot of people that have more time on their hands and want to get more in depth knowledge about our gear and we want to help people stay in the "know". In these online demos we cover all sorts of topics based on whatever you as the customer are interested in. We are happily answering any questions you might have about our camera products (not just the cameras themselves but also our vast Lens portfolio but also our mechanical/electronic camera AKS) or even just listening to/discussing any feedback you might want to share with us about any of our products. We have a wealth of knowledge (w/ visual presentations) we are happy to share to help you get the most out of the tools we make. We have lots of information about topics like "Shooting Large Format", specific presentations about the ALEXA MINI LF, as well as "nitty gritty" detailed tips and tricks for getting the most of the wireless focus tools we make like the WCU-4. If anyone reading this would be interested in any 1:1 online demo sessions with myself or any of the other ARRI staff (like our Cinema Lens Specialist - Art Adams) I can point you to the right person depending on your region and interest. You can just reach out to me and let me know what you are looking for and we can set something up that works for you. I can be reached at: chagen@arri.com Thanks. - Chase Hagen
  10. Hi, I have a new Alexa MiniLF Ready-to-Shoot V-Mount Package for sale. (NIB/0hrs). Alexa MiniLF Body Ready-to-Shoot V-Mount Kit Codex Reader $73,660 USD total Please email at nli@q-films.com or PM if interested. Thanks, Norm
  11. Very low hour Alexa Classic package in great condition. 1430 hours with Highspeed and Anamorphic licenses Kit includes: - 2 short EVF Cables - 2 Long EVF Cables - EVF extension bracket - Top Handle w/ extension piece - Anton Bauer battery plate - Shoulder pad - 19mm BP-12 bridge plate |- 19mm rails - BPA-2 bracket - WA-1 bracket - Leveling block - (3) Female 2-pin Fischer to 3-pin male XLR power cables - AC power supply (24 Volt) - (1) Male 5-pin XLR Splitter to 2 female 3-pin XLR - Wooden Camera A-Box - (2) Sony SxS 32GB cards - (1) Sony SxS 64GB card - Sonnet SxS card reader w/ thunderbolt cable - Black Innerspace case Asking $6500
  12. FS: Alexa Plus 4:3 $13,000 USD Comes with V mount plate installed and AB plate included 5x 64gb Sony SxS pro cards Sony card reader 2533 hrs runtime Includes case and all cables and accessories pictured Let me know if you have any questions Located in Vancouver, BC Please email brandon@scrapcreative.com with any questions
  13. Selling my Alexa Classic Kit. Please see what's included below. Alexa classic body + Viewfinder kit + Highspeed Licence inc. 3x 64GB + 2x 32 GB SXS PRO cards V-mount Viewfinder extension bracket Viewfinder cables - short + medium Power cable Base plate Quick release plate Bridge plate BP13 Bridge plate adapter BPA-1 Eyepiece leveller BA3 adapter Wedge adapter Shoulder pad Viewfinder eye cushion Shoulder set S-4 Original ARRI Camera CASE Has only been on short form shoots. 2005 hours. In perfect working condition. Thoroughly tested. Optional Oconnor 2065 head and legs package available for a complete package deal. Please email me for detailed pictures of the entire kit and anymore info. nima@ybycreative.tv
  14. Please email sales@broadcastsolutions.com for pricing and details. Canon EF Lenses (14mm-24mm-35mm-50mm-85mm-135mm) L Series / USM II Optex 5.5mm Super 16 Lens Zeiss Super 16 Lenses (9.5mm-12mm-16mm-25mm-50mm) MK 2 Zeiss Super 16 Zoom Lens 11-110mm Zeiss Variable Primes VP1-VP2-VP3 ARRI Alexa Classic Camera with Accessories (Fully checked at ARRI Munich)
  15. Hello Cinematography lovers! I hope you're all well! I recently shot a music promo using all natural and golden hour light! Filmed on location in the UK, where normally it's not like this! The budget was so small, like really small! We just managed to get hold of an Alexa for the weekend. We used my Canon EF lenses which I use normally for stills. I was quite impressed with the quality, what do you all think? Thanks for watching! Lee
  16. I'm sure most of you have seen this beauty by now. Dropped out of nowhere yesterday and set the entire Internet ablaze. First of all, do yourselves a favor and avoid watching the trailer on YouTube or any other source than Netflix itself obviously. The trailer is apparently in 4K on the platform, I watched it on a big screen and it's obviously much less compressed and much more representative. The deaging can be seen from the opening of the trailer with Pesci and De Niro and at the end of it. Looks pretty darn impressive when viewed properly on Netflix. De Niro's skin looks a bit smooth on more compressed versions, it does not on Netflix itself. Otherwise, I've been checking out a bunch of set photos to determine how much was film and digital. The producer Emma Tillinger Koskoff pulled some numbers a while ago which were incorrect for some reason, ie 30% of the film being shot on 35mm, and that everything involving the deaging required shooting digitally. However, Thelma Schoonmaker said half of the film has them deaged. So that means half Alexa (as listed on IMDB) and half 35mm film. IMDB lists the following info: Arri Alexa Mini, Zeiss Master Prime and Cooke Panchro/i Classics Lenses Arricam LT, Zeiss Master Prime and Cooke Panchro/i Classics Lenses I don't know if anyone here knows Prieto or someone else involved with the film and can provide maybe more technical info? I also saw that Prieto tested some special rigs consisting of multiple cameras at a rental house. And you can see one of the rigs on the set photos, seemed like several Red cameras which are presumably there to capture facial data for the deaging. And the Alexa which is now being regularly used by Prieto and Scorsese for low light work (Wolf, Silence). Gorgeous work as expected and a film that's been in the works for a decade, Schoonmaker and others close to the project have said it's a different animal than Goodfellas and Casino despite the obvious initial similarities. The film is opening at NYFF late September too, presumably released in November on Netflix, Scorsese has been said to make a push for a wide release of sorts with possibly an exclusive theatrical window of a few weeks.
  17. Yep… it’s the Deakins camera. I’m gutted to have to do this, but the doctors have ordered a downsize (for my mangled spine) and I have to move back to a smaller/mini-er camera package. So I’m putting my beloved Arri Alexa Studio up for sale. It’s got all of Arri’s usual teutonic deliciousness, but unlike other Alexas, this one comes with the added benefits of a true global shutter, internal ND, and the real camera operators delight - a proper optical viewfinder. For me it was largely the global shutter that drew me to the Studio. The motion cadence is perfect, pans are perfect (no matter the speed), handheld operating doesn’t skew the image in any way as you bump along. Strobing lights and muzzle flashes can’t cause those horrible CMOS striping artefacts that you’ll see on rolling shutter cameras (and the retakes that go with them). It really does step things up a notch in the overall image. And the optical viewfinder? You realise pretty instantly the difference it makes. It allows you to operate the camera in real-time. Modern EVFs are getting better and better, but they still have milliseconds of delay - and you’ve fought against them every time you’ve tried to follow an actor jumping or standing up quickly, or detailed insert shots with precise movements within the frame - being able to respond in real-time means you can follow specific actions precisely, and it’s a wonderful, wonderful thing as a camera operator. It really does translate into fewer takes being needed. So the standout features of the camera are: - HD/2k Prores4444 and DNxHD - 2.8k Arriraw - Up to 120fps - Global Shutter - Internal ND - 4:3 Anamorphic Sensor - Alexa Plus Module (for full integration with the WCU-4 or SXU-1) The camera is in excellent used condition, and has never skipped a beat for me. It has a moderate 2700 hours on the clock (so thousands of hours of life left in it). It has everything you need to get shooting, including a full seven 64GB SxS cards (so you won’t be out another couple of thousand dollars just to get enough recording media to shoot for a full day). The included accessories with the camera are: - Alexa Studio Optical Viewfinder OVF-1 - Viewfinder Extension Medium FE-5 - ARRI Heated Eyecup HE-4 (so you never have to deal with a fogged-up viewfinder) - Ground Glass 4:3, Spherical - Ground Glass 16:9, Spherical - Frameglow Mask 4:3 and 16:9 Spherical - Ground Glass 4:3, Anamorphic 2x - Frameglow Mask 4:3, Anamorphic 2x - Ground Glass Tool - Alexa Studio VF Port Cover - Alexa Studio Electronic Viewfinder Adapter, EVA-1 (for attaching Arri’s EVF-1 if you need to) - ARRI Bridge Plate BP-8 - Alexa Center Camera Handle, CCH-1 - Alexa Handle Extension Block, HEB-2 - Alexa Leveling Block, LB-1 - V-Lock Battery Adapter, BAB-V - Alexa Shoulder Pad – SP-3 - AC Power Supply - 5pin XLR Audio Splitter Cable - 7x 64GB SxS Pro Cards - Sony SBAC-US30 USB3 SxS Card Reader - Rods 19 x 340mm - Compact and Rugged Custom Flight Case I’ve loved this camera more than any other (and I’ve known a few). It just works, and delivers beautiful images every time. It’s easy to see why it’s Roger’s pick of the bunch. If you have any questions about the camera, feel free to get in touch. $16,500 USD / €15,250 EUR / $23,900 AUD (+GST if sold in Australia) Located in Melbourne, Australia, but happy to ship worldwide. Cheers, Mark
  18. I just watched Joker (amazing film), and looked up the camera spec on ShotOnWhat. One thing I found interesting is how they used Alexa 65, LF and the mini for the film. The Alexa LF and 65 parts were interesting to me, since considering with budget of 55 million, there shouldn't be a reason not to get another 65 instead of LF. Especially considering DP Lawrence Sher ASC also shot Godzilla II: King of the Monsters, another alexa 65 show, and should be able to negotiate the rate down quite a bit. Using the LF feels a bit odd, since there will be another crop ratio to consider, as we would need to crop in on top and bottom to get 1.85:1 in the LF, where as we can keep the full height on the 65. This leads me to wonder is there any advantage to shooting LF over 65 (besides cost and that it doesn't matter if you shoot anamorphic)? Jing
  19. Email sales@broadcastsolutions.com for pricing and details.
  20. Alexa Mini $43,950 Hours:2145 RAW and 4:3 licenses. Pro package Wooden Camera Handheld equipment (Rosette arms and handle). A box Gold / V mount battery plate Bridgeplate and Dovetail Good as new. Comes with an Innerspace case. Titanium PL LDS Mount w/LBus connector MVF-1 Viewfinder Spare viewfinder cable 75cm Viewfinder mounting bracket BPA-4 bridge plate adapter Lightweight Adapter Plate Shoulder Pad MAP-2 w/LWS Rod support Side Bracket RMB-3 19mm Rod mounting bracket 15mm Reduction insert Center Camera Handle Support Rods 340mm (13.4"), 15mm Battery adapter plate Ethernet cable KC-50 Straight power cable 3x CFast 2.0 Card - 128gb CFast 2.0 card Reader Alexa Mini $$45,500 Hours:1967.20 4:3 & ArriRaw Viewfinder 2xLightweight adapter plate MAP1 2x adapter plate w/rod support MAP2 2x Side bracket MSB-1 Bridge plate adapter BPA-4 2x RMB-3 rod mounting bracket 2x 15mm Reduction insert Viewfinder mounting bracket Center camera handle 2x 256gb Cfast Card Card reader Power cable straight Ethernet/RJ-45 cable EXT-RS adapter Battery adapter plate BAP-1 Bebob Vmount battery adapter Shoulder Pad Low Bracket 2xArri Tools Camera case bvw@vidgear.com
  21. I was listening to Good. The Podcast and the interviewee is Sean Porter (Green Book, Kumiko the Treasure Hunter) and he mentions how in the past some cinematographers were able to get work because they own a cinema camera package. After listening to this my friend and I are interested in investing in a package. My friend wants to invest in an Alexa Classic - mainly due to budget - but is it really a good idea to buy one in today's market? I know that having work experience, lighting knowledge, networking etc really help to get opportunities but I'm wondering from other's experiences if owning a camera package vs not owning one has really affected work opportunities? Thanks in advance.
  22. Anyone selling a Arri Mini or Arri Amira package? Please Email me details.idproductional@gmail.comNo brokers please.
  23. Hi there! This is my first music video as a working DP in LA and I'd love for your feedback. This was a 2 day micro--budget production shot on an Alexa Classic with Vintage Russian 'faux anamorphic' glass. I had to operate and pull my own focus which made some shots challenging at times.
  24. Selling my Alexa mini package. Less than 50 operating hours. LIKE NEW!Asking price is 43.000 euro's OBOlocated in Belgium. Buyer pays for shipping. You are welcome to come and inspect.Purchased last december with extended warranty, so there is still a long warranty on the camera.included:Alexa mini bodyAlexa mini viewfinder MVF-1Alexa mini viewfinder cableTitanium PL LDS mount with LBUS3x 256GB Arri certified SanDisk extreme pro Cfast 2.0 cardsSandisk reader cfast for 2.0 seriesTilta camera cage for alexa mini with v-lockNo VAT if I sell to a EU company. (Except sales in Belgium of course)No licencesemail me for more info or questions: ben@bensteensels.be (or ben@squarenine.be)Photo'shttps://drive.google.com/open?id=1Q2EcIPhwfFm-cK2EwdXj7T8gHu7q2C7i
  25. Please email sales@broadcastsolutions for pricing and details. For Sale:CINEMA LENSES: Leica Thalia Set Includes: 30/35/45/70/100mm Excellent ConditionLeica Summicron-C Set Includes: 18/21/25/29/35/50/75/100/135mm Zeiss Super Speed MKIII Set: 18/25/35/50/85mm Angenieux Optimo Anamorphic 56-152mm Zoom LensAngenieux Optimo 24-290mm Zoom Lens Angenieux Optimo 28-76mm Zoom LensLomo Amamorphic Square Front Set Includes: 35/50/80mm Cooke Speed Panchro Set Includes: 18/25/32/40/50/75mm Van Diemen Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm TLS Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm P&S Cooke Speed Panchro Set Includes: 18/25/32/40/50mm (Rehoused Eastern Enterprises)Cooke Anamorphic 65 Macro Lens Schneider Cine-Xenar III PL Set Includes: 18/25/35/50/75/95mm & Case Cooke Varotal 18-100mm T3 Zoom LensCanon CN-E 14.5-60mm Zoom Lens Canon 17-120mm Zoom PL LensFujinon Cabrio 19-90mm V2 Zoom Lens Zeiss LightWeight Zoom LWZ.3 21-100mm/ T2.9 PL/EF Mount Arri Master Prime 150mm Lens Arri Master Prime 27mm Lens Arri Ultra Prime 8R Lens (Metric) CAMERAS:Arri Alexa LF Camera Package Arri Alexa Mini Camera Package Arri Alexa SXT Plus Camera PackageArri Amira Premium 4K Camera Package Hours-350 Arri Alexa XT Studio Camera PackageArri Alexa XT Camera PackageArri Alexa Studio Camera PackageArri Alexa Plus 4:3 Camera Package Arri Alexa Plus Camera Package Under 1500 hours Arri Alexa EV Camera PackagePhantom Flex 4K 64GB Camera Package Phantom Miro 320S Camera Package Red DSMC2 MONSTRO 8K VV (Woven Carbon Fiber) Camera Package New Condition Only 25 hoursCanon EOS C700 FF Camera Packages Qty.-2 Available Canon EOS C500 EF & PL Mount Qty.-2 AvailableSony PMW-F5 w/4K upgrade Low Hours Qty.-2 Available Sony F65RS Demo Camera Package Hours-4MISCELLANEOUS: Phantom Flex 4K Water Housing Full Controls & 3 Ports/ Directors Video Split Like NewC Motion System Preston Motorized Controls Email For Details Teradek Bolt 500 Transmitter/Receiver & Accessories NEWS16/35mm FILM CAMERAS:Arriflex 235 4 Perf Kit Includes 7 Mags, 4 Batteries, 2 Chargers,etc.Arriflex BL4Arriflex BL3Arri 435ES 4 Perf KitArri 535B 4 Perf KitFILM AKS:Arri SR3 24V Battery ChargerArri SR2 400' Magazines Qty.-2Arri SR3 400' Magazines Qty-2S16/16mm FILM LENSES:Cooke SK4 S16 Lens 6mm Cooke SK4 S16 Lens 9.5mm Cooke SK4 S16 Lens 12mm Zeiss S16 High Speed 9.5 T1.3 MKIIZeiss 10-100 T2 MKII 16mm B MountLooking For : (Preowned) To Purchase Angenieux Optimo Anamorphic 30-72mm Lens Ultra Prime LDS 14mm &180mm Feet Canon S16 7-63mm Zoom LensSony SCL-PK6L/F Set 20/25/35/50/85/100mm Ft.Kowa Anamorphic Lens Set Zeiss S16mm SS Lens SetArri 416 Film Kits Arricam LT Film Kits Aaton Minima Kits Aaton XTR Prod Kits
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