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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

Hi all, I'm going to try my best to describe my troubles in hopes that someone will understand what I'm talking about. Basically when I run film through my Arri 2b, the film (or more specifically the perforations) hit against the small knob/gear that says "Fette (Grease)". I don't think it is damaging the film too much, but it just doesn't seem right. Here's a photo of the knob/gear I am talking about. I have a shoot coming up soon, so anyone with insight please let me know ASAP. Thanks

We have a fantastic price available currently for a maximum of 20 ARRI M40 4kW HMI systems. The heads are unused, new, still in the box genuine ARRI and have been purchased via an official distributor so full warranty etc will appply. The ballasts are manufactured by Power to Light, a UK company who makes ballasts for HMI lights from 200W to 24kW. The system is an M40 head, Barndoors, Lamp, Head to 50' (15.2m) ballast cable and 2.4/4kW electronic ballast. The usual price for these is around £10K (US$15K) each We are selling them for just £6,995 each Prices are Ex Works UK and exclude VAT which will be added for UK orders. We can ship worldwide, at extra cost, once we know your location. We can accept payment via bank transfer or credit card. Contact Projects Department for more details Regards Peter Daffarn

Asking price: $55,000. Arri Alexa-M 4:3 XR Camera Pkg. (S/N: K1.71000.0-3604) Arri Alexa-M 4:3 Camera Head With XR Upgrade Arri Alexa-M Camera Body with XR Module incl. High Speed License, Pro Res option, Anamorphic option Lens Adapter PL Mount w/o LDS Turret Plug for Alexa Camera Body SD Card Arri Alexa A-EV Electronic Viewfinder (EVF-1) incl. Magnetic Eyecup Arri Alexa Viewfinder Cable Short (.35m/1.2ft) Arri Alexa A-EV Viewfinder Mounting Bracket (VMB-1) Alexa-M Handle, CCH-2 (K2.73002.0) Arri Alexa A-EV Center Camera Handle (CCH-1) Arri Alexa A-EV Battery Adapter Back for Gold Mount (BAB-G) Alexa-M Cage Plate ACP-2 (AMC-1, K2.73003.0) Alexa-M Bridge Plate Adapter AMB-2 (AMC-1, K2.73005.0) Side Bracket ASB-1 (AMC-1, K2.72086.0) (1) 24v Power Cable - 2p Fischer - 3p XLR A&J Custom Alexa M Shipping Case Images available upon request. Please PM for any details or email sales@tcsfilm.com or call 212-247-2517 and ask for Matt Schwalb or John Ryan.

18,25,35,50&100mm Contact : sales@broadcastsolutions.com

Reduced price. Selling a mint-condition Arri SR- asking $3,500. Recently serviced. Comes with original Zeiss 10-100m 2.8, two 400ft mags, one original battery (with charger), new Belcor battery belt, core adapters and Porta Brace strap. Original case included. Refrigerated film stock also available: 15 rolls of 7222 negative film for sale for $25 per roll and one (1) 400ft roll of OWO b/w negative also available for $100. You won't find an SR in better condition than this one. Here's a short that was shot with it about two months ago in Vermont: Thanks!

ARRI Amira Camera Package ARRI Alexa-M 4:3 XR Camera Package ARRI Alexa Plus 4:3 Camera Package ARRI Alexa Studio Camera Package ARRI Alexa Plus 16:9 Camera Packages ARRI Alexa EV Camera Package Please contact sales@broadcastsolutions.com

Please Contact : sales@broadcastsolutions.com

Hi guys. Selling my lovely TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s. Bought from Du-All Cameras 2 years ago. never used, only tested recently, working like a charm. Asking price: US$ 900 (Paid US$ 995, receipt as proof). Can ship worldwide. Item is in Brazil. Can declare small value to avoid customs. Shipment costs is around US$ 60, ETA 2 weeks by normal postage. Can ship UPS if you'd like. Will post pictures here soon. Any questions, just shout. *** PLEASE CHECK MY 2 ARRI 16S KITS FOR SELL ON EBAY: http://www.ebay.co.uk/itm/2-ARRI-16S-ARRIFLEX-KITS-FULLY-WORKING-PRISTINE-CONDITION-/171665355148?#shpCntId

Hi, I'm looking online for an arri 2b manual but can only find the 2c. Thank you!

Hello, basically looking for what the title says. I have an arriflex 35mm IIB, and the cameras mount is a Arriflex standard mount. Having some trouble looking for a place to rent or buy low cost lens. I've searched eBay but it's proving to be few and far in between. Thanks!

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

For Sale Alexa Plus w/ Hi Speed Option Just came back form Arri and is Factory Certified and given a clean bill of health also enables buyer to purchase Alexa Plus warranty if you choose to do so. Please contact me directly for price Tel. 843-554-7811 barbara@newprovideo.com Comes with 5-32GB SXS CARDS 3-64 GB SXS CARDS 1-SHOULDER PAD 3-EYE PIECE CABLES (2med,1 long) 1-EYE PIECE EXTENSION 1-COMPUTER CABLE 1-12 VOLT AKS CABLE 1-ALLEN WRENCH 1-V ADAPTER FOR BASE PLATE 1-BASE PLATE ADAPTER 1-CAMERA REAR SUPPORT

As someone who loves film and the process of it all, and wanting a lucrative career in filmmaking, I would fight anyone who says shooting digital is better (than film) or anyone who puts film down for any reason because I believe film is superior. I still do, when it comes to the approach and the finished product. Well, fast forward into reality, I was about to throw down $3,000+ on an Arri BL4 (plus extras), spoke to a few owners who were more than willing to sell. And although I had that driving force to shoot film and have a big ol’ bad camera, something was bugging me, something was holding me back. Now, I am not a rich man, I’m just like you. But I started thinking, hmmm…most people can’t even tell the difference or don’t care about the difference in picture quality. They also aren’t helping me when I have to purchase, process and scan a 1000’ foot reel. Also, if I differ the costs to the client, then I price myself out of the market if I want to do any ‘for hire’ work. I’m also investing in a camera that will be hard to find parts. So what am I fighting for? Why do I want this uphill battle? Oh, right, the picture quality is supburb and digital still sucks. But it is getting better. Now as nostalgic as Super 8mm is, digital surpassed it. I don’t know if anyone out there could tell me they would want to see a feature length movie on Super 8mm. And as economically as it is to shoot 16mm to a certain extent, digital passed it in regards to resolution and clarity. And it’s just a matter of time before 35mm is caught up with, maybe this year by the new Alexa 65. With filmlabs dwindling in the world, and with Kodak one economic hiccup away from closing, why would I want any counterparty risk to be able to do my work? Yeah, yeah, Star Wars is supposed to be shot on film, etc. etc. etc. but if there’s an economic crash like is expected this year (possibly in the Sept. time frame), then Kodak will be gone, or will become super expensive. And if Kodak goes bye bye, then J.J. Abrams and team will be like, “Uhm guys, let’s do the George Lucas thing and shoot digital seeing that we can’t find any film. And Christopher Nolon might be crying in the bat cave.” And if there’s no film, then I doubt there will be any filmlabs. (Note: If you do not think we are set for a market crash or for an ever spiraling down of the U.S. economy, I invite you to take any U.S. currency bill out from your wallet (if you have any) and I guarantee you, you will not find a bill printed past 2009 (that includes that new $100 bill with the blue stripe…if you’re looking for some tangible proof to what I’m saying that is). You’re money is already monopoly money, you just may not know it yet, shh….mainstream news doesn’t want you to know. To this, l will say one thing and quote J.P. Morgan himself – “Gold is money, everything else is credit.”) So, do I want to buy a BL4 and possibly have nothing to feed it in the near future, and very limited places to process it when digital whom the masses have already accepted helps my wallet? Plain and simple, the infrastructure to shoot film is disappearing more and more everyday. Case in point, the two CVS stores that would develop my C-41 took their machines out last week. Now I have to travel or mail it somewhere. I don’t mind waiting for personal stuff, but for work and clients, I need it today. Now, I will still shoot film for personal use, my old Nikon FG is still kicking, or if I find a 16mm camera at a garage sale, or if a friend is shooting a 35mm movie and needs my help or my own little project, but for my work and my dime, uh-uh, I rather keep as much of my money as I can and shoot digital. What I do like about film is that it allows you be as artistic as you want to be, digital isn’t there yet, but it’s getting there on some level. And I’m not looking for a digital cam that will look just like film, that a pipe dream, but if I can find something I can at least work with, that could be something. I did see one video recently that got me thinking. It was footage shot with the Blackmagic production camera and here’s the link… Is the footage perfect? No, but it does have a different feel I think from the Alexas-Reds-Sonys-Genesis of the market. I could do something with this, I can work with it. The camera housing is butt-ugly, I would have to get passed that. And if not this camera, then another, but the bottom line is, digital makes a lot more cents. Where was my breakthrough you ask? I realized I was emotionally attached to film, and I needed to break that. It was clouding my mind from looking at things objectively. I didn’t want to do Blockbuster’s mistake and not foresee the trend and inadvertenly have my butt kicked to the curb by Netflix and Redbox. Big deal, I can’t call myself a ‘filmmaker’ because I’m not actually shooting physical film through a 40 lb. iron movie camera, oh well, I’ll just have to let that title go for a lucrative career. I’m sure I can find something else to call myself, like, ‘the camera guy,’ or ‘digitizer of the world’, whatever, who cares, at least I’ll have work and food in my stomach as I enjoy my craft. Just sharing my journey, maybe someone else can relate. Best regards, Alexander

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

Hello! I have been trying to outfit my Arriflex 16MB with a sync motor for music videos or similar (knowing how loud my camera is). I purchased a 60hz - 42v sync motor without its transformer for a reasonably low price on ebay. I shouldn't have any trouble building my own transformer but the connector on the motor is a little confusing to me. Does anybody know what the pins are on these 60hz - 42v motors? I assume there is a ground, pilot tone, +/- 42v, maybe a secondary at 8vdc for the torque motor on the SB model? Any help would be appreciated!!

Edit: Sorry about the repost, the title got mixed up and I don't know how to delete posts. wonderful first impression : ) Edit 2: Ah, duck. The title is still 10-20.000 . It should have been 10-20.000€ vintage PL set for feature film. FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied cinematography autodidactively, read the ASC Mag, Painting with Light, Film Lighting and books like that for quite some time now and have a handful of questions as I am currently approaching my first feature film. I can’t really say a lot about it at this moment but it will all come in the future. THE PROJECT The film takes place in the late 60s and the sets will be old european buildings and modernist 50s & 60s architecture (Wright, Rose, Bauhaus, …) My moods are 2001: A Space Odyssey, Dr.Strangelove, Lola Montes, Touch of Evil, Brazil, North by Northwest, Yojimbo and Grand Budapest Hotel. I know it’s a bit colourful and partly entirely different but these are some the films that will inspire the look of this project. I would love to use film, which there is not enough budget and my first digital choice would be an Alexa. Now, there might not be enough budget for that as well and Even though I never wanted to do that, I’m thinking about/kind of pre-decided on a red dragon camera. I am not looking for a digital look, which sounds funny, but you know what I mean. I also won’t shoot 16mm because I want as much lens coverage as I can get. And I don’t want all that film hassle on my first feature, where I’ll have enough hassles already. The plan is too use the entire sensor (only possible in 6K) and tuning it down to 4K DPX Seqs. (Also handy for stabilizing shots). If I’m using vintage lenses and a 1/8 pro mist filter or something like that I’ll be fine. My first idea was to use 1.33x anamorphic lenses and I would really like to do that to get even more space. I didn’t find any 1.33x anam lens wider than 25mm, which is a 19 on FF (stretched to final image). And I want something a bit wider. More like a 14mm or 16mm FF equivalent. I thought about using the Letus Anamorphx Adapter. I don’t know how good it is, or what it can and can’t handle as there are few reviews out there. I would really like to test it though, but there are none in Austria, where I live. I am buying looking into buying lenses for the project and there will be 10-20k euros for that. Why not rent? because you can’t rent any vintage PL glass in Austria and I also really want that glass : ) . I also thought that maybe the set and dressing alone will have enough vintage flair and I could use newer lenses, like the CP.2s. THE DREAM I’m looking for something like this. 14mm - 21mm - 28mm - 35mm - 50mm - 80mm SOME LENS SET OPTIONS _ 2-3 anamorphic lenses + something like a 14mm Arri/Zeiss PL with an anamorphx (or not) I am afraid though, that the 14mm shots would look very different than the anam shots. The Anamorphx Adapter could fix some of that, but who knows. I also thought about the Tokina 11-16 cine rehousing but I’m even more worried about fixing up that look opposed to a 14mm Zeiss. _ An old PL Set + Anam Adapter _ CP.2s + Anam Adapter Maybe the 1/8 Filter + the Anam Adapter could deliver our vintage look? _ An old PL set and shooting 16:9 ACTUAL QUESTIONS I would love to hear your thoughts on it and if you have any other ideas or know any other anamorphic adapter aside the LV7200 and the anamorphx. What other filter I could use for achieving a “vintage look”. Another approach to this entire thing. P.S. Sorry if the post is too long : )

FIRSTLY Sorry about the title, I am horrible at this. FOREWORD Hello. This is my first posting in this forum and I don’t think it will be my last : ). I’m still young and there are lots of things that I don’t know about cinematography. So if I’m wrong somewhere, please correct me and feel free to tell me your thoughts. I have studied cinematography autodidactively, read the ASC Mag, Painting with Light, Film Lighting and books like that for quite some time now and have a handful of questions as I am currently approaching my first feature film. I can’t really say a lot about it at this moment but it will all come in the future. THE PROJECT The film takes place in the late 60s and the sets will be old european buildings and modernist 50s & 60s architecture (Wright, Rose, Bauhaus, …) My moods are 2001: A Space Odyssey, Dr.Strangelove, Lola Montes, Touch of Evil, Brazil, North by Northwest, Yojimbo and Grand Budapest Hotel. I know it’s a bit colourful and partly entirely different but these are some the films that will inspire the look of this project. I would love to use film, which there is not enough budget and my first digital choice would be an Alexa. Now, there might not be enough budget for that as well and Even though I never wanted to do that, I’m thinking about/kind of pre-decided on a red dragon camera. I am not looking for a digital look, which sounds funny, but you know what I mean. I also won’t shoot 16mm because I want as much lens coverage as I can get. And I don’t want all that film hassle on my first feature, where I’ll have enough hassles already. The plan is too use the entire sensor (only possible in 6K) and tuning it down to 4K DPX Seqs. (Also handy for stabilizing shots). If I’m using vintage lenses and a 1/8 pro mist filter or something like that I’ll be fine. My first idea was to use 1.33x anamorphic lenses and I would really like to do that to get even more space. I didn’t find any 1.33x anam lens wider than 25mm, which is a 19 on FF (stretched to final image). And I want something a bit wider. More like a 14mm or 16mm FF equivalent. I thought about using the Letus Anamorphx Adapter. I don’t know how good it is, or what it can and can’t handle as there are few reviews out there. I would really like to test it though, but there are none in Austria, where I live. I am buying looking into buying lenses for the project and there will be 10-20k euros for that. Why not rent? because you can’t rent any vintage PL glass in Austria and I also really want that glass : ) . I also thought that maybe the set and dressing alone will have enough vintage flair and I could use newer lenses, like the CP.2s. THE DREAM I’m looking for something like this. 14mm - 21mm - 28mm - 35mm - 50mm - 80mm SOME LENS SET OPTIONS _ 2-3 anamorphic lenses + something like a 14mm Arri/Zeiss PL with an anamorphx (or not) I am afraid though, that the 14mm shots would look very different than the anam shots. The Anamorphx Adapter could fix some of that, but who knows. I also thought about the Tokina 11-16 cine rehousing but I’m even more worried about fixing up that look opposed to a 14mm Zeiss. _ An old PL Set + Anam Adapter _ CP.2s + Anam Adapter Maybe the 1/8 Filter + the Anam Adapter could deliver our vintage look? _ An old PL set and shooting 16:9 ACTUAL QUESTIONS I would love to hear your thoughts on it and if you have any other ideas or know any other anamorphic adapter aside the LV7200 and the anamorphx. What other filter I could use for achieving a “vintage look”. Another approach to this entire thing. P.S. Sorry if the post is too long : )

Selling my Canon C300 with PL mount, due to a camera upgrade. Camera was purchased in Oct. of 2013, so hours are minimal compared to most bodies. I was the only owner/ operator, so aside from moderate signs of use, the camera is in great condition and functions like the day I purchased it! This is a COMPLETE kit for anyone looking to own a work horse camera, and invest in glass or shoot with higher end lenses than the normal EF mount photo zooms. In addition to the body itself, I am throwing in $1500+ worth of accessories with it, including extra batteries, media, a travel case etc. A full gear list is below. Please private message or email me with serious inquiries. Pictures I have are too big for this forum, so also email if you would like to see pictures of the kit. 1x Canon C300 PL Body, w/ AC power 1x Canon C300 Monitor 5x Canon batteries, and charger (3x BP-955 and 2x BP-975) 4x Sandisk 32gb 160mpb UDMA7 CF Cards 1x Movcam Top Handle 1x Arri BP-2 Bridge Plate 1x Arri BPA Adapter plate 1x Hoodman sun screen for monitor 1x Zacuto Shoulder pAd 1x Zacuto 15mm Rod Counter weight 1x Laser cut Custom C300 1510 Pelican case by Film Tools (Carry On ready)

Pretty much as the topic states. I've never used the FF5 with the CN-Es but I need to know if it can clear them. I appreciate any help I can get. Thanks!

I'm shooting a person with images being projected on them by a Epson 8350 Digital Projector. I want to shoot at a high frames per second (120fps) or a high as I can get a way with... The problem is the viewfinder and monitors show an unwatchable bad amount of pulsing light flicker. Does any one have any advice on how to do slow motion with a projector light in the shot and on a subject to mitigate or preferably all together stop flicker/pulsing light look?

Hello all. Please check my 2 Arris for sale on ebay: http://www.ebay.co.uk/itm/2-ARRIFLEX-16S-KITS-FULLY-OVERHAULED-AND-WORKING-/171623295637? 2 ARRIFLEX 16S BODIES 4 MAGAZINES (1 12V + 3 8V) 2 ORIGINAL ARRIFLEX MATTEBOX ORIGINAL 8V MOTOR TOBIN TCS TM-23 For sale 2 Arriflex 16s kits Fully working with magazines and motors. Lens not included. Fully serviced by Les Bosher in South Wales about 1 year ago. Bodies are pristine and clean inside and outside. 1 Original Mattebox is in good condition (pictured). 1 Original Matte Box with bad signs of usage (not pictured). Magazines have some signs of use and acrylic pieces (on footage meter) cracked, but does not affect performance. Serial Numbers: 6587 and 8467 Questions answered promptly. Not selling separate, not splitting pieces, sorry. Please make your offering considering they are fully working and bodies are pristine, and servicing alone was £300. Can ship worldwide but buyer pays expenses and is responsible for tax and duties on countries of destination. No returns. Good luck.

Hi all. Selling my 2 Arri 16s + Mags. Just checking who would be interested while I arrange a good price for it. Thanks, Flavio

Hello and thank you for viewing our post. We are selling the following products for a reasonable price. Please look through it and if anything peaks your interest feel free to reach out to discuss pricing. 1-Black Magic 4k Digital Cinema camera 1-BMDC AC Power Supply 2-500GB Crutial SSD's 1-x quick cage 1-x A-Box for bmdc 1 set-15mm Rods 1-15mm x Anton Bauer plate 1-x NATO handle O'connor O-Box WM Matte Box Top Flag 2-4x4" Filter Frames 2-4x5.65" Filter Frames 1-19mm LWS Rod Bracket O-Box WM Side Flag Bracket Set (2 Brackets) OConnor - Clamp Ring (150-80mm) OConnor - Clamp Ring (150-114mm) OConnor - Clamp Ring (150-95mm) OConnor - Studio Adapter (19mm) Arri FF4 2-marking disks 2-FF knobs 1-removable 15-19 adapter 1-12" whip 1-speed crank Teradek Bolt Pro 2000 1-Transmitter 1-Reciever 1-ptap cable for TX 1-AC Power Supply for RX 2-short BNC cables 1-Baby pin receiver with 1/4-20 for RX 1-1/4-20 lock down knob for TX O'Connor 1030 Head and 30L Sticks-$6500 1-Dog leg/Pan arm 1-Wedge plate 1-1/4-20 screw 1-3/8-16 screw 1-100mm tie down 1-case with wheels Marshall 17" 3G Studio Monitor with yoke-$1200 If you would like to find out more info or discuss pricing please contact Mike. Mike: Mike@NYCJIBS.com 917-669-8141

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