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Showing results for tags 'ARRIFLEX'.
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Looking for a 2 perf Arricam LT if anyone has one for sale. I have a 416 Plus that I could trade also. All the best, Evan
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Hey all! Shooting a small music video on S16 soon, and wondering what everyone's thoughts are on the Aaton XTR vs. SR3 vs. 416. What are the advantages and disadvantages of each when compared against eachother? I'm seeing XTR packages are almost half the price of the SR3, and our budget is tiny so I'm trying to see what I'm giving up for the cheaper price.
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$2,500 O.B.O. Great 4x5.65 lightweight studio (swing-away) matte box for sale. In good condition. I know a few top-level ACs who prefer the MB-19 over the MB-18 or MB-20. This can mount on 15mm LWS rods, or with the included adapter, on 19mm studio rods. If you want to use with 15mm studio rods, you'd just need to pick up that adapter: K2.66040.0. Includes two 4x5.65 filter trays and it can hold a 138mm filter in the rear. Front horizontal tray holds either a 4x4 or 4x5.65 filter and rear vertical 4x5.65 filter tray is rotatable, great for positioning a grad filter just right on the horizon. Eyebrow and side brows included. Rubber bellows for 110mm included. Also included is plastic adapter to reduce 114mm to 80mm, but you'd need to buy Arri K2.52204.0 in order to use that. But then you'd also have a 114mm option. Case is a bit worn but foam is generally fine. Included hard shipping case has a small impact point near a corner (pictured in linked flickr album). Here are ten high-res pictures: https://flic.kr/s/aHskvKPSRB An excellent pdf technical resource for this matte box can be downloaded here: http://www.arri.com/camera/pro_camera_accessories/products/matte_boxes/studio_matte_boxes/studio_matte_box_mb_19/downloads/ Just click on: 29 May 2017 8.6.0 Matte Box MB-19 4x5.65 Download (pdf, 352 KB) I'm located in Brooklyn, NY. Thanks for looking.
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$150 Very convenient item to have if you own an Arri 2C or 3C or 16S or 16M or 16BL or 16SR. The rubber eyecup (in v. good condition) has a spring so when you take your eye away from it, two doors inside the eyepiece close, blocking light and preventing you from accidentally flashing your film while rolling. Diopter adjusts and locks normally. Cosmetics are ok for the age. Glass is pretty clean - a couple of schmutz marks on the inside of the "rear" element as you can see in one of the pictures. Not visible when looking at an image. Located in Brooklyn, NY. Thanks for looking.
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$400 OBO. This mount adapter lets you mount an older Arri Standard mount or Arri Bayonet mount lens on a PL mount camera. This is the much more complex type with two spring-loaded push buttons for release, and is compatible with lenses like old Cooke Speed Panchros in Arri Standard mount. Those lenses need the holding tab that this adapter has to let you focus. Very easy to pop lenses in and out by just pressing two the side buttons. Les Bosher was known for making these, although I'm not sure who made this one. I bought this one from Visual Products about 9 years ago. Duclos sells something similar new for $700: https://www.ducloslenses.com/products/arri-standard-pl-adapter Note, this works fine on most film cameras. I used it on my Arri 3C before I sold that last year. It may not be compatible with all PL mount digital cameras like the Alexa - the protruding back can collide with interior baffles. Located in Brooklyn, NY. Thanks for looking.
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Two ground glasses for sale. For use with an Arri 2C, 3C, 35-3 film cameras or Kish UDF or other Dir/Find that uses this type of ground glass. $200 for both OR: $150 for the one with the metal handle (in slightly nicer condition) with Academy 1.85 and what looks like Academy 4x3 (common sides). In blue ARRI jewel case. $100 for the one without handle (a couple of tiny blemishes, visible in photos), marked with Academy 1.85 and a "TV" that is not common sides or top/bottom. The 1.85 marking is the dominant marking on this one. Both have tiny chips outside of the picture area. Both have center cross-hair. Located in Brooklyn, NY. Thanks for looking.
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Colleagues, it's probably strange, but I'm looking for new original screws as an attachment. I hope for your help!
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Hi all! I'm interested in pairing the Zeiss CP2 lenses with the Arriflex SR1. Will the flange depth on the CP2s be a able to work with the SR? Is it possible to pair these two? Thank you!
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I'm looking to buy an Arri 416. Please reach out if you have one for sale. Thanks, J
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Im looking for a quick release for an Arri SR2 and I also want rails for it. Not really sure what to get. I cant find anything that is specific for my camera. Any help or pointers of what will work ok with it is appreciated. Thanks -
ARRIFLEX BL-4 CAMERA SYSTEM - PL MOUNT STUNNING ARRIGLOW! 35MM + SUPER 35MM twist the PL MOUNT JERGEN VIDEO TAP 3x1000ft magazines 2x400ft magazines long viewfinder extension handgrip XLR wires Excalibur Travel Cases for: Arriflex BL-4 body/video tap/xlr wires/handgrip/extension for long viewfinder 1000ft magazines 400ft magazines $6500.00 Free shipping and handling Local Pick Up NYC
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Tango/Swing Head in excellent condition. This is the preferred "Version 1" and was only used in a studio environment. Price: 4900.00
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For sale are a set of Zeiss Super Speeds Super 16 consisting of: Zeiss Distagon f1.2 / 9.5mm MKII (does cover Super 16) PL mount (metric and imperial) Zeiss Distagon f1.2 / 12mm MKI PL mount (metric and imperial, has additional markings by focus puller on camera tape.) Zeiss Distagon f1.2 / 16mm MKII PL mount (metric and imperial) Zeiss Distagon f1.2 / 25mm MKIII PL mount (metric) All four Super Speeds have just been checked, lens projected and approved by the lens master at Take 2 Films London. I've shot Super 16 mm film test footage and the glass mixes wonderfully. The 25mm especially produces a lovely cinematic bokeh. This is a great set of affordable classic cine prime lenses, ideal for Super 16mm film cameras and RED owners. Or for shooting high speed with a cropped sensor. Also for Panasonic GH3, GH4, GH5, BMPCC, BMCC. The optics are in perfect condition, no scratches, no fungus. The mechanics work very well. Cosmetically the lenses are very good for their age. The 25mm's front ring has a mark, probably caused by a clamp-on matte box. Please check the photos. All lenses come with PL mount and front and back lens covers. Price: £4200 Sterling Ebay listing is here: http://r.ebay.com/U7AnD0
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Filmmakers! I am clearing out some gear I used this spring/early summer on project that has wrapped. Up for grabs is an ARRIFLEX IIC with a BNCR mount and a video tap from Precision Camera that easily screws onto any ARRIFLEX style viewfinder. (works with 16mm and 35mm) I am also offering a spare door, a vintage Arriflex shoulder mount, 600ft of film ( recans ) 3 spare gates ( 1:66 / 1:37 / and 1:85 ) on top of the gate installed in the camera. I will be offering TWO motors for the camera both of which are constant speed motors. I will offering up TWO 400ft magazines. I will also include some power cords and a CINE 60 belt. I can provide pictures and can schedule a video conference if your inclined. I also have other spare gates for ARRIFLEX IIC cameras such as 1:37 / 1:85 / 1:66 I am will be listing various film gear as I purge. If your interested please PM #shootfilm p.s I can ship worldwide
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I'm so sorry to sell my lovely baby but I need some money for a next project. For sale : - 1 Arriflex 16 SR1 PL mount, upgraded in Super 16 by P+S Technik ( Munich). "Evolution Upgrading Program" by P+S Technik was a complete change of electronic mother board, new speed controller with screen ( intervallometer function on ), new mechanics, new viewfinder with better magnification, new black painting on whole camera body and magazines. - 2 Super 16 magazines. - 1 battery ( new cells) - 1 Arri battery charger - 1 VSU speed controller - 2 handgrip-trigger ( one broken, other one is ok) - 1 blimp - 1 matte box - 1 soft foam shoulder pad - 1 changing bag I join also some spare parts : - 2 new and unused lightmeters - 1 Arri SR2 motor - 1 normal 16 gate - 1 normal 16 ground glass Kit located in Europe ( Czech Republic). If you want to visit me for a local pick-up, you are welcome !! price : 3000 euros + shipping taxes. Lens is not included in the package ! Only here for the picture ! High Res pictures, informations and demo videos on demand : dartwiller@yahoo.fr
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Used Modulus 3000 transmitter for sale. You plug your video tap into it via a BNC cable and it transmits to a UHF TV or UHF receiver hooked to a monitor. This is for analog/SD only. Comes with one antenna and power cable. $250. Will ship for free or you can pick up near N. Hollywood.
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Please see below the used Arri Film equipment I have available for sale- ARRICAM LT 4 PERF- £7,500 GBP 1 4 perf Movement 1 Glow Mask 1 Gate Mask 1 Ground Glass 1 LT Camera Handle 1 LT Viewfinder Top (Anamorphic) 1 Eyepiece and eyecup 1 Extension Eyepiece ST 1 Frame Glow Module 1 BP8 Bridge Plate 1 Balance Plate 1 19MM/440MM Bar (Pair) 1 Camera to Battery Cable 1 Handgrip with on/off 1 LT To ST Magazine Adapter 1 LT Centre Handle 1 LT IVS (PAL) 1 400'/120M LT Shoulder Magazine 1 400'/120M LT Shoulder Magazine 1 400'/120M LT Shoulder Magazine ARRICAM ST 3 PERF - £8,500 GBP 1 Filter Mask 1 Gate (..UNI...) Format 1 Ground Glass () Format 1 ST Top/Rear Load Adapter 1 ST Top/Rear Load Adapter Cover Handle 1 ST Camera Handle 1 ST Viewfinder Top (SPHERICAL) 1 Eyepiece + Eyecup 1 ST Extension Eyepiece 1 Frame Glow 1 Frame Glow Mask 1 Footage Counter 1 Flexilight 1 BP5 Bridge Plate 1 Balance Plate 1 19mm / 440mm Bar (Long) 1 Camera To Battery Cable 24v 1 ST Rear Load Adapter 1 ARRI ST IVS Video Unit 1 ST IVS Optic 1 400'/120m Studio Magazine 1 400'/120m Studio Magazine 2 Loop Protector 2 Film Core 1 400'/120m Studio Magazine 1 Loop Protector 1 Film Core ARRI 435ES XTREME 4 PERF - £4,250 GBP 1 435 tcm 1 VIEWFINDER - AVF1 1 Filter Mask 1 Gate Mask 1 Ground Glass 1 Glow Module 1 12v On-Board Splitter (Fitted) 1 24v On-Board Splitter (Fitted) 1 Dovetail Shoe (Fitted) 1 435 Carrying Handle 1 435 Wide Angle Eyepiece + Eyecup 1 FE-3 Extension Eyepiece 1 RCU-1 TG Remote Control Unit-Digital 1 RCU-1 Cable (8 Pin - 8 Pin Fischer) 1 FEM-2 1 BP8 Bridge Plate 1 Balance Plate 1 Pair of 440mm Rods (19mm) 1 435 IVS PAL 1 IVS HEAD 1 IVS OPTIC 1 KC-20 POWER CABLE 1 435 400'/ 122m Magazine 1 435 400'/ 122m Magazine 1 435 400'/ 122m Magazine ARRIFLEX 235 4 Perf - £6,500 GBP 1 Ground Glass s185 1 235 Universal Viewfinder 1 235 Eyepiece + eyecup 1 235 Gate 1 235 Carrying Handle 1 Riser Plate 1 Camera To O/B Battery Cable 1 KC-20 POWER CABLE 1 235 - Long Extension Eyepiece 1 Shoulder Pad 1 235 24v On-Board Battery 1 235 24v On-Board Battery 1 235 24v On-Board Battery 1 24v On-Board Battery Charger 1 SBR-1 Side Bracket And Allen Screw 1 Shutter Tool 1 BP8 Bridge Plate 1 Balance Plate 1 Pair of 440mm Rods (19mm) 1 235 Media IVS PAL 1 235 200' Magazines 1 235 200' Magazines 1 235 200' Magazines 1 235 400' Magazines 1 235 400' Magazines MK2 ARRI Wireless Lens Control - £3,750 GBP 1 WMU-2 Transmitter 1 WMU-2 Transmitter 1 WZU-1 Zoom Control 1 WFU-1 Iris / Focus Unit 1 WFU-1 Iris / Focus Unit 1 Straps Fitted To Transmitter 1 Aerial x3 1 Lens Motor - CLM-2 1 Lens Motor - CLM-2 1 Lens Motor - CLM-2 1 URM-1 Receiver 1 UMC-1 Universal Motor Control 1 WAC-1 Battery Charger 1 WBU-1 7.2v Battery 1 WBU-1 7.2v Battery 1 WBU-1 7.2v Battery 1 WBU-1 7.2v Battery 1 Transformer 1 RS 3-Pin Fisher - UMC (UC-CI-S) 1 Focus Disc x2 1 Dovetail Bracket (2 Parts) MK3 ARRI Wireless Lens Control - £6,750 GBP 1 ARRI ZMU-3 Zoom Control 1 ARRI WMU-3 Wireless Main Unit (White Radio) 1 ARRI WMU-3 Wireless Main Unit (White Radio) 1 ARRI WFU-3 Wireless Focus Unit 1 ARRI WFU-3 Wireless Focus Unit 1 ARRI WEB-3 Wireless Expansion Bracket 1 ARRI WZB-3 Wireless Zoom Bracket 1 ARRI KC-105-S Cable ZMU-3A to WRS 1 ARRI CLM-2 Controlled Lens Motor 1 ARRI CLM-2 Controlled Lens Motor 1 ARRI CLM-2 Controlled Lens Motor 1 ARRI UMC-3 Universal Motor Controller (White Radio) 1 ARRI KC-98 Cable UMC-3A to RS Socket (3pin m Fischer) 1 ARRI KC-91-S 1.3m / 5ft Cable for ZMU-3 / CLM-2 Power 1 ARRI WBU-4 Wireless Battery Unit (High Capacity 7.2V/4.6Ah) 1 ARRI WBU-4 Wireless Battery Unit (High Capacity 7.2V/4.6Ah) 1 ARRI WBU-4 Wireless Battery Unit (High Capacity 7.2V/4.6Ah) 1 ARRI WAC-3 Battery Charger for WBU-3/4 1 Fig 8 (C7) to 13a Mains Cable (UK) 1 ARRI Dovetail 3/8" Adaptor for UMC-3A to Alexa 1 ARRI Dovetail 3/8" Adaptor with Lever for UMC-3A to Alexa 2 ARRI Flat Marking Disk for Full Size Focus Knobs 3 ARRI WLCS Aerial 1 ARRI WLCS Hand Strap 1 ARRI Lanyard (Neck Strap) for SXU-1 (2 Parts) Please contact me for pictures or any further information.
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Hello, I'm slightly confused about the door on my Arri 3. It has a spot for a video tap but I don't know what CCD cameras will fit it. It sort of looks like a bayonet style. I've found some online but I have no way of knowing if they'll mount. Anyone know where I could get one?
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Hi there, I believe that this is probably something that has been discussed before. But I hope there are some new things that can be brought up with this question. I have an upcoming project in the fall, and the director and I have decided that we want to have the anamorphic look for a short we will be making. Now the flares are not the most important thing, but rather the vast image that we are going for. The problem is how to achieve it. First idea would be to use my own S16 Eclair ACL, with an PL adapter, and we were considering renting pure 1.33x anamorphics. But as far as I know, the only ones to rent at the Hawk's, and they would cost us pretty much the complete production budget to get a set. Second idea we had is to use a R16 Arriflex SR and put Kowa 2x on it. The real issue here would just be the wider shots, since we basically loose all the width in the image. Third idea is to invest in a Panasonic AG-LA7200 adapter, with a 0.25 diopter, and use B4 lenses on the ACL to get the image we are going for. I also have a person that can make a M4/3 adapter for the ACL, so any M4/3 solution would work as well, but honestly I am open to any ideas you might have. And yes, both me and director are 100% set on shooting on film stock. C
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Hey everyone, I recently purchased a BL4s package in used but decent condition. I'm pretty excited about the camera but so far have not been able to get it to run. The previous owner stated the camera is running and good to go. The motor turns over but then stops right away. I bought the Arriflex 35 book and have been combing through but it doesn't describe this issue. When I plug the battery in (Bescor 12v 14.4ah) I get a quick beep tone. Then when I flip the cam switch the motor kicks but then stops half a second later. More like a quick jolt. The leds come on and I was able to reset the footage counter. I also checked the fuses and none of them appear to be blown. The camera came with a precision speed controller which I tried as well and that does the same thing. If anyone has any advice that would be great. Thanks!
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Hello everyone, I would love to hear your opinions on the following.... I'm waiting for a Russian K3 16mm camera to arrive which I bought recently and ordered some Kodak 16mm stock for it.... .....in the meantime (as one does in this day and age) I've been thinking about 'upgrading' to an Arriflex SR +....then I started thinking....why? which is where you all come in I hope to offer advice, knowledge.... An aside.....I used to shoot stills with a Hasselblad 503CW back in the day and now I have a standard 500CM but using the same excellent Hasselblad zeiss lenses = same quality of images.....the lenses give me the quality NOT the model of the Hasselblad I am using....thats a fact with me..... So i was thinking of how this relates to the K3 or Arriflex SR (whatever) scenario.... If the K3 gives me the 24fps without variation (it is a winding mechanism after all) using my beloved zeiss glass on it via the M42 mount..e.g. my superb 50mm aus jena f1.8.....or even using a Hasselblad V mount to M42 adapter (also in the post).....surely I will get the same results as using the same glass on an Arriflex.... my question really is, as long as the film is moved in front of the gate properly and at the correct speed does it matter what camera body I use (variable) given the quality of the lens???? or even simpler....would I get the same quality of image if I use the same lens on a K3 and an Arriflex SR3? There is a lot of garbage shot on 16mm which probably degrades the 'image' of the medium, sure this has to do more with the fact people do not know how to shoot film as opposed to cheaper cameras....cos the film is the same quality as long as a great lens is in front of it but sensors on digital cameras...well, we all know how different those all are.... (obviously the above is assuming I don't want internal light metre, video monitoring, audio capabilities, timecode, and any other advanced features that have nothing to do with image quality) Thank you for your time I look forward to replies.... -
Up for sale is my personal set of Zeiss/Opton Super-speed lenses. Ready to shoot. There are Five (5) Zeiss/Opton Super-speed, super 35mm full frame lenses. They are MkI/MkII glass. All PL mounts. All in near outstanding shape. With 80mm fronts, and follow focus. Recently thoroughly serviced in New York, and available for a check out. They are as follows; 25mm - T1.2 - 11, 35mm - T1.2 - 11, 50mm - T1.3 - 11, 85mm - T1.4 - 11, 135mm - T2.0 - 16 Plus 18mm Lomo wide T1.5 - 22 The last one is a Lomo lens, of very high standard glass. It was bought and added to the Zeiss/Opton set, because the glass was comparable. (The only drawback to this set is that the 18mm Lomo has a 110mm front as opposed to the 80mm fronts of the Zeiss/Opton. Thus an additional matte box.) This make it a six lens set. Front & rear caps and carry case included. $29,500.00 US$ woftam@erols.com email for service report, greater details, and more photos.
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FS: Arriflex 16SR, Arri Sound Blimp & Bolex Accessories
T Sanders posted a topic in Cine Marketplace
Hello Everyone, Well last year I was selling a bunch of gear before moving to South America. Some of it never sold and I'm back in the States for a short visit and still need to go ahead and try to get rid of it instead of letting it sit in my storage unit. I need to have all this sold before May 12th. I've tried to price them as low as I can to get rid of them quickly. There is some wiggle room for some of the more expensive items. Reasonable deals can be made if buying several items. There are no shipping costs for local pickup in Valrico, Florida. Arriflex 16SR + Accessories - $800 + $50 shipping It works fine and it works great with the blimp below. I bought this used from a dealer. The viewfinder is clear with no yellowing. The camera runs smoothly. 1 - Arriflex 16SR 16mm motion picture camera 1 - Eyepiece with eye cup 2 - 400' cartridges 1 - Battery Adapter 1 - Power cable 1 - Power adapter for plugging the camera into an outlet, NO LENSES ARE INCLUDED. ARRI BAYONET MOUNT. THIS IS NOT A SUPER 16 CAMERA. Arri Talbot SR Sound Blimp - $400 + $50 shipping 1 - Arri Talbot SR Sound Blimp with connector cables inside I'm selling a very unique Arri Talbot Sound Blimp for the Arriflex 16SR camera. It reduces the noise level to absolute ZERO! When the camera is inside, you plug in the wires and you are able to completely control the camera from the buttons on the outside of the blimp. The blimp also has rails on the front. I've never seen one of these anywhere else. It's extremely heavy so you'll have to use it on a heavy duty tripod. If you want to buy the Arriflex SR16 and the Sound Blimp together - $1000 + $100 shipping https://www.etsy.com/listing/195118392/arriflex-16mm-film-camera-sale-arri I also have some items for the Bolex Rex5 & Rex4: Bolex Rex 5 Film Magazines - $250 + $40 for shipping You can own two film magazines for your Bolex Rex 5 including a leather sound cover and vintage carrying case today! These film magazines allow you to use 400' rolls of 16mm film with your Bolex Rex 5. They are in good condition and work great. *Note the grey & color cards and scrims in the pictures are not included. https://www.etsy.com/listing/287265553/bolex-film-magazines-sale-16mm-film Sound Blimp for a Bolex Rex 4 - $200 + $40 shipping You can own a custom made sound blimp for your Bolex Rex 4 today! It reduces the noise made by the Rex 4 to near zero. There is a non-crystal sync motor inside that works. Only a Bolex Rex 4 will fit inside this housing. A replacement rubber collar is needed for the power cable to seal it in the opening. Front glass is cracked (not shown in the photos) and will need to be replaced. https://www.etsy.com/listing/273635904/bolex-sound-blimp-sale-custom-16mm-film Shipping costs listed are for buyers in the lower 48 states. I know many of you may be in other countries and as long as we can work out shipping costs, I will ship to most counties if using Etsy to pay. You must cover the full cost of shipping. If in doubt, please ask. Thanks. Shipping for heavy items will be done via Amtrak: Amtrak is a great, safe way to ship heavy items. You can pay by credit card or Paypal through Etsy. If you don't want to pay through Etsy, and you want the item(s) shipped to one of the lower 48 states, I can accept payments via Stripe as well. Billing and shipping addresses must be the same. Please feel free to ask me if you have any questions about any of these items and I will answer as best I can. -
$900 Or Best Offer. Very rare item, in very good condition. These were only made circa 1982 for the Arri 3C, but are compatible with the 2C as well. 24 or 25 fps crystal switchable. Or, switch to variable mode (non-crystal) for other speeds. I was told the small 4-pin port is for connecting a speed controller for getting crystal sync at other speeds. Powers from 12V 4-pin XLR connector. Can run forwards or reverse - it has a switch for that. It needs a phenolic gear to connect to the drive gear at the bottom of the camera, but that's included with this motor. The motor has captive screws to attach to your 2C or 3C. No power cable included. This item is currently in Los Angeles with a friend. Thanks, Rich
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$750 Or Best Offer. If you own an Arri 3C and want to shoot anamorphic, this is something you'll want. You can shoot spherical, or flip a switch and the optics will desqueeze the anamorphic image so you don't have to frame up your image with everyone looking skinny. A very rare door, unique to the 3C, so certainly nice to have if you ever want to shoot anamorphic on this camera. Thanks, Rich
