Jump to content

Search the Community

Showing results for tags 'FILM'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

  1. Hi , Just purchased a beautiful old lady in perfect working condition (still got to do some test next week but motors are running pretty well) : an Aaton Ltr 7 from the first era (1974-1982) 1) It came with two mags that are a bit different one from another. Any tips about the serial numbers and the pressure plate (see photos) is welcome. 2) Is there anyone in europe making this kind of video output/assist : http://www.visualproducts.com/storeProductDetail01.asp?productID=741&Cat=11 3) any comments about the camera electronics, what to take care of etc ... is very much welcome ? photos : https://drive.google.com/drive/folders/1oh1TppG0EFdFYhjaO6_K7DUtGjWVuGoj
  2. Greetings I am doing some Spring cleaning/clearing and I am parting ways with My Konvaii. (Plural for multiple Konvas cameras?) Anyway, here is is what I have left of my gear: Konvas 2M 35mm camera body - UBER NICE / CLEAN - 1993 - 1:37 gate - viewfinder: GOOD Konvas 2M 35mm camera body - UBER NICE / CLEAN - 1993 - 1:37 gate - viewfinder: GOOD 17AK-EP CRYSAL SYNC MOTOR #1 - GOOD 17AK-EP CRYSAL SYNC MOTOR #2 - METAL CHIPPED - SEE PHOTO # SPARE FUSES FOR SYNC MOTORS Sound barney for Konvas 2M CAMERA BODY, 200FT/60M MAGAZINE, 400FT/120M MAGAZINE and 17AK-EP CRYSAL SYNC MOTOR NON SYNC MOTOR FRENCH FLAG #1 FRENCH FLAG #2 KOMPEDIUM MATTE BOX #1 KOMEPDIUM MATTE BOX #2 UP DOWN CONVERTER BATTERY 3 PIN XLR - NEEDS RE-CELLING - ANAMORPHIC GATE MEDIUM FORMAT LENS ADAPTER M42 LENS ADAPTER CHANGING BAG 600FT OF RE CAN FILM - KEPT IN MY FILM FRIDGE DIRECTOR'S VIEWFINDER 4X 400FT MAGAZINES - 2: MINT 2: USED 60FT MAG - GOOD 2X SCREW ON HANDLE FOR STEADY HAND HELD WORK. $1200 shipping will be in 3 large boxes http://www.ebay.com/itm/282393879383?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 http://www.ebay.com/itm/282396634065?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  3. Currently, my 5008 MS is in Sweden with Björn being serviced, re-celled, and having a Angenieux 8-64mm collimated - it's a lens I'm very happy with as I've always found it to be sharper than the Schneider 6-66mm. That said, I've recently been offered a chance to buy a 10mm 1.8 retrofocus Angenieux which I've seen be compared to the Cinegon 10mm! But is it worth buying this and then paying for it to be collimated if I've already got a 8-64mm?
  4. Boris bruno

    Konvas 2m

    Hi I just purchased a konvas 2m, new to this camera. What tripods would fit for camera. Also any stabilizers or glides that will fit.
  5. Hello All, I just completed a new short film shot on 16MM Kodak film via an Arri SR3 HS. I wrote and directed this fun little horror short, and my producing partner, and friend, Evan Samaras did the cinematography (say hi in the comments, Evan). Not only did Evan and I work behind the camera, but also in front of it. The short features only two characters played by us. Due to COVID-19, we wanted to make something small with a minimal, to non-existent, cast and crew. We have submitted the film to some festivals so, for the time being, it is only up privately with a password on our Vimeo page. The link and password are below, for your viewing pleasure. Please let me know your thoughts and critiques. Anything feedback would be greatly appreciated. Password: SRF2020 Thank you all in advance! Keep shooting!
  6. Hello, Selling my Arri 235 package. ARRIFLEX 235 4 perf Camera Body Ground Glass – ANSI 16:9 CGG 235 Universal Viewfinder s/n 2068 235 Eyepiece + eyecup Oppenheimer V mount battery system. 235 Carrying Handle 2x Camera To O/B Battery Cable KC-20 POWER CABLE 235 - Long Extension Eyepiece s/n 2005 Shoulder Pad 235 24v On-Board Battery 235 24v On-Board Battery 235 24v On-Board Battery 24v On-Board Battery Charger SBR-1 Side Bracket And Allen Screw BP8 Bridge Plate Pair of 440mm Rods (19mm) 235 Media IVS PAL 2 X 235 Shoulder Magazine 60/200 1 extra Arrimag 120/400 and 2 x 35-3 2C Mag 60/200 The camera is in perfect condition. Pm for photos and price. All the best Kimon
  7. I'm currently filming a western, shot in the west (Colorado), on film. It's called THE LAST RESORT. Shooting with a Canon 1014XL-S. Filming it on Kodak Tri-X 7266. On location. So far, the film looks amazing! This is a Warehouse 9 Production. I wish I could post a picture, but the image requirements are too small... I don't have a teaser yet, but check out my other film projects. https://vimeo.com/user2463860
  8. Hi I’m looking to purchase a bolex h16 reflex camera or any other reflex 16mm cameras like beaulieu r16 canon scooping, arr16, arr2bc, etc my price range is the highest $600
  9. Hello, The eyepiece on my SR2 used to open and close when I applied pressure, preventing unwanted light passing through when not filming. It has stopped doing that and is just constantly open. Anyone have any advice on how to fix it? I have tried to wiggle it ect Cheers, Ed
  10. Hey everyone, I'm looking for old, expired 400' rolls of 16mm that I can use to practice loading. I'm planning to start shooting 16mm more seriously and don't want to have to worry about potentially wasting brand new film while I familiarize myself with the process. Thanks!
  11. Hello! This is my first post here on the forum and I would like to begin it by thanking everyone who posts on here; this forum has been a huge source of information for me, basically like the film school I couldn't afford, so yeah thanks everyone. I just recently acquired an Arri 2c, one that was advertised by the seller as a high speed model. It has the tachometer that reads up to 80fps, but from doing research on this forum and others, I understand that it is possible to attach that tach to a non high speed model. I've read that the only fool-proof way of determining if the camera is an actual high speed model is by the presence of four extra screws on the film gate that can adjust the pressure of the gate. But having been unable to find another picture of an Arri 2c gate to compare mine too, I'm unsure if the screws on my gate are the high speed ones or just the standard. Here's a pic of the gate on my 2c: Is this the high speed gate? And if so, is the combination of the gate and the 80fps tach enough to pretty much guarantee this is definitely a high speed model and is safe to run at 80fps? Just want to be sure, as I have a high speed motor on the way and would like to be sure of what I'm dealing with. Speaking of the high speed motor, I've read that it needs 32v to run at 80fps. At the risk of sounding silly, how exactly do I acquire 32v of power? I can't seem to find any 32v batteries that can connect to the high speed motor. (The cable for my motor has a 4 pin XLR). Is it a case where I would need to have a battery specially fashioned? Anyone who has any experience running a 2c at high frame rates, your help would be greatly appreciated! Thanks!
  12. Hi, Does anyone knows how to expose this film in the two configuration mentionned ? is it possible to have good result in low light by pushing in development ? (any experience with that ?) I am opened to any tips regarding reversal film treatment as a 1st AC (conservation, use and elese ...) For upcoming projects, i am wondering how it would look like. The first one is a low light / hangar / industrial environment with light coming from a dancefloor with 5 people on it (the aim would be to have color effect / aberration and dynamism like in the 'domino' movie, the dancefloor lights would help accomplishing this nighclub ambiance) The second one is more of a natural ambiance in bright daylight with characters in the frame running on a road and other narratives sequences in the city ... Thanks in advance ! cheers
  13. I recently got an Aaton LTR 7 serviced and have been practicing loading it and running film through it for a project. It has 2 mags. One of the mags is making a scratching sound and I am not sure what it is. The only difference between the mags is the rubber stoppers on the load in side seem to keep getting ground down everytime I run a roll through the camera on this problematic mag. Is there another reason that the sound could be happening and if not do you know why these are being grounded down? improper loading? The roll maybe has to be completely flat when loading? I'm really not sure and would appreciate any help. Thanks!
  14. I'm looking for SR3 | 416 Fiberscreens. In particular - 1.66 and 2.35 or 2.39 Does anyone have these and looking to sell?
  15. Hey guys! I just finished a 16mm shoot and am on the process of sending the negatives do be processed by CineLab London. They offer tons of scanning solutions and I'm kind of confused with some of them. Would love if you guys could help me with some questions :) 1.They state that all of the scans are deliveres as .dpx "full frame" files - Full Frame is only the image? Or will I see the borders, sprockets and etc? 2. What does it mean to have the negatives "overscanned"? They offer this option only on the Scanity scans - does it means that I'll see the sprockets, borders, etc? 3. What are the image quality difference between Spirit and Scanity scans? Is it significant? Thanks for the attention!
  16. Hey there, I work on 16mm and super 8 film and have a pretty sufficient editing setup in my home studio -- rewinds, splicers, etc. However, I really need to get my hands on a film trim bin (big standing bin on wheels with the muslin bag to catch tails, and rack of pins for organizing clips). I've searched google a million times and can't find any for sale, just posts by filmmakers talking about having one in their studio. I know they have to come from somewhere! I emailed Dwight Cody and he doesn't have any at the moment, though I'll keep checking back. I've been looking for about a year. I'd also love to hear if anybody has made one of their own, and how you did it - I'm just tired of pinning my strips to the wall and would love a more long-term solution (plus, I miss my old school's darkroom). Anybody have experience on this or a tutorial, or a resource to purchase/make one? Thanks so much! E
  17. It's my understanding that to eliminate roll bar from a CRT or 'Tube' TV, one can use the combination of a 23.967 framerate and a 144º shutter. This specific combination, of course, only works with NTSC (60Hz) televisions only. The other PAL (60Hz) methods obviously don't pertain to my situation. Anyway, It just so happens I will be filming a CRT TV, however I own an Arriflex SRII which has a fixed 180 degree shutter. I am able to use a speed controller to set the framerate to 23.976 but that alone won't exactly fix the problem, but rather keep the black bar in a fixed location. I want to eliminate the black bar entirely. It occurred to me that this wasn't a possibility, until I researched the problem quite a bit and actually found out there is actually something called a Film/Video Synchronizing Control Box. At my first uneducated glance I thought it was some outdated equipment which was probably used to change the framerate of cameras before we had framerate controllers. Then the size of the thing struck me and I thought "Maybe this isn't simply for only framerate" because there's no conceivable way to describe going from a giant box to change the framerate to only years later the speed controllers we all know and love that can all fit in the palm of your hand. That's just not the way technology progresses. So after more research, and finding a couple instances of people vaguely talking about how they used to use these sync boxes 'back in the day', I seemingly submitted to the fact that this thing can actually do what it says. But I still just couldn't understand how people can make the claim that this thing could sync any camera with a CRT TV when not every camera has an adjustable shutter. That was until I found this post on here from back in March of 2018. This actually makes sense, given how cathode ray tubes are sensitive to magnetic fields. Now before anyone dismisses the Film/Video Synchronizing Control Box, I should probably point out a few ways I will not settle for fixing the problem. 1. No I do not want to green screen the tv, even with artificial light to suggest television glow. It never looks real. 2. I don't want anything shot digitally, especially since the cost of a digital camera is more than that of the sync box. 3. I can't afford renting another film camera that has an adjustable shutter for merely one or two shots. I have considered number one as an option in the past for shots of the television screen only, however one also runs into the problem of the glass reflection not being there. And probably the biggest problem is my idea of a wide shot of the actor watching the television from across the room, both the television and the talent visible in the frame. Now while real television glow is nowhere near enough for a key light, it would have still been present in the frame thus casting some type of glow that would reflect near objects, even the slightest bit. I went a little off track as I often do, so here are my two questions. How does the Film/Video Synchronizing Control Box actually work? Can someone who has used this before please explain the setup and operation in detail? If applicable to my situation I'd love to own one.
  18. I watched the first episode on BBC last Sunday evening.....loved it......I'm very much into civil rights films/documentaries......came across it quite some time ago as the Cinelab London posted about it as they processed all the film for the series.......it's on Amazon Prime on the 20th November....directed by Steve McQueen and shot by Shabier Kirchner. This is the film v digital debate right there.....do we believe we're back in the 50s, 60s etc when we watch The Crown......do we believe we're back in the 70s when we watch Small Axe.....
  19. Selling my Arri SR3 High Speed (150fps) super16 camera. The package comes with two HS 400ft magazines, eyepiece extension, base plate, "pig tail." 1.66 fiber optic groundglass (full aperture+safe.) Flight case. Extra AKS cable included (RS long cable, 3pin XLR power cable.) No batteries included with the package. The camera is clean and in good condition. Send me an email for more details and photos flarrondom@gmail.com Package is located in LA. Local pickup is preferred, but can ship at buyers expense.
  20. Hi everyone I’m selling a great working arriflex 16s with accessories. The camera comes with Paris angineux 12-120mm zoom lens, battery charge belt, 2 mag, torque motor, lens filters, matte box, shoulder strap, two motors, and lens cap. Camera was serviced, lubed and cleaned a month ago. I’m selling camera for $1550 or best offer.
  21. Recently serviced by Andree including syncing shutter timer and switching to 3-perf movement. Price $47K & shipping cost ARRICAM LT 3 and 4 perf movements (2) Shoulder Mags (2) Steadi Mags (2) 1000’ Studio Mags Studio Viewfinder Handheld Bracket Shoulder Pad Low Mode Bracket Heated Eyepiece + Cable Remote trigger + ext cable BP8 Riser Plate 1.85 GG
  22. Eclair ACL Super 16mm Camera with Zeiss 10-100mm lens and Bescor 12v li-ion bat. Condition is "Used" French made, the better of the models, with Bescor 12v XLR battery, recently serviced and converted by Les Bosher to super 16m looking for offers around £2300, open to conversation, if bought outside of ebay. Eclair ACL converted to super 16mm by Les Bosher, recently serviced, variable speed motor and rotating eye peice, and handle. Fully working XLR power input 2x 400ft french made magazine recently serviced Zeiss 10-100mm 3.1 lens with Arri mount and adaptor for eclair New Bescor 12v battery 4 pin XLR (worth £250) Tifen filters x 5 various Film Changing bag flight case Motor runs fine, magazines are like new. Lens is a bit stiff, but nothing a little service won't fix, reflected in the price Collection in person available. Any questions just ask postage available Link to ebay posting ; https://www.ebay.co.uk/itm/Eclair-ACL-Super-16mm-Camera-with-Zeiss-10-100mm-lens-and-Bescor-12v-li-ion-bat/143855996556?hash=item217e7c4e8c:g:VAMAAOSwttRfuPMC
  23. Hi my name is Boris I just recently moved to Rhode Island. I’m not familiar with any production or film based jobs in area. Does anyone know any in area. I’m willing to works as a pa in production or any film production based jobs
  24. Email sales@broadcastsolutions.com for pricing and details. Arri 535B 4- Perf Kit Includes: 1- 535B Camera Body Serial 1- Ground Glass 535 1:78 TV (S) 1- Arri 24V Power Cable 1- Eyepiece Extension 535B 1- Eyepiece Leveler 2- 400’ Magazines 1- 1000’ Magazine 1- Bridge Plate 1- OB Monitor 1- CEI Color Video Assist 3- A&J Carrying Cases
  25. Hello, I am looking for a used super 16 package with a PL mount. I'm interested in a SR2 or SR3 or an Aaton XTR Prod. If anyone is interested in selling please let me know! Thanks!
×
×
  • Create New...