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  1. Been letting go of a few Alexa packages that have been great in the studio/location but unfortunately swapping to some new Hassleblads for our next project. This is what's left of the bundle. Not parting out the Alexa package itself but all the support that was part of these kits. Hoping to get everything sold off before hitting the door for Cinegear. Paypal or Wire. Send over reasonable offers. Will work out shipping larger items. Arri Alexa Studio Package ---- $32,500 (SALE PENDING) Handle w/ Ext, Bridge Plate, Level Block, IDX Batt Plate Hours - 1521, Optical OVF-1 w/ Ext and Ground Glasses 8 - Sony 32GB SxS Cards, 12/24V Power Cables, Ethernet Cable Prores, High Speed and Anamorph Licenses Cinematography Cine Tape Kit -- $5000 Great Shape with Readout, Sensor, Pair of Sensor Cables and 2 Dtaps. Can throw in an arm, spare cable and some other AKS for right price O'Connor 2575 Head - $11,000 (Pending) Mitchell, Base plate, Handle and Extension, Tie Down Like New with the Rolling ATA Case O'Connor 2060HD --- $5000 ($7000 as a package with sticks and extras) Mitchell - Base plate with quick plate, Handle and Extension, Tie Down Good Shape, Mostly studio environment. Includes an ATA case, Mitchell Adapter if price is met for the package O'Connor Cine Sticks - $1400 (Standard or Baby) Mitchell - Clean with Ground Spreaders. Leg Locks are solid. Includes Case Arri FF4 ---------------- $2750 19mm Studio with Smart & Dumb side wheels, Crank, 3 Misc Gears (Wide/Tall and Std), Spare Mark Rings, 13" Whip Great Shape, nice and tight Arri MB20 V2 ---------- $3500 3 Stage - Top/Side Flags, Mattes, 138mm Bellows, 19mm Studio Adapter, 3 Bellows Rings (80/100/110) Arri LMB 25 --- $2200 (Sale Pend) Top/Bott Flags, Mattes, Cinetape Holder, 3 Stage Setup with 138mm back, 80 and 95mm rings Trays are all in good shape, mattes are fresh. May have various adapter rings to throw in Will update if more becomes available. Thanks -Mark
  2. Hi everyone! I will get my hands on the Arri SXU-1 System for the first time and i was wondering a bit about lens data. Is it possible to get lens data to the hand unit with a SMC-1 motor controller or do i have to step up to the WCU-4 system? We are on a budget and i can't afford the WCU-4 and it is not entirely necessary to have the lens data, it would be nice though :P And if anyone used it before, how does it handle? Are the CLM-4 Motor strong? I will be using Zeiss HS mkIII and a LMB-15 mattebox (clip-on). I've hade some issues with heden motors that aren't strong enough to pull the lens barrel, especially in cold weather.
  3. 1 x BarTech BFD Handset 1 x fSTOP Wireless V2-1 BarTech Receiver 1 x Digital Servo Motor Heden M26VE OR M21VE 1 x Digital Motor Cable 1 x fSTOP P-Tap Power Cable 2 x 900MHz 1/4 Wave Antenna 2 x 916MHz 1/4 Wave 3 1/8" long Antenna 2 x Plastic Focus Strip 1 x Pelican CUSTOM CASE HARD FOAM FROM MASTERCASE 8 X more cables ( run / stop - power - command) PLUS extra extra extra CABLES (NOT ALL IN PICS) POUCHES EVERYTHING YOU NEED PROFESSIONALLY MAINTAINED BY PANAVISION ONLY 2 YEARS OLD IN LOS ANGELES email direct: TIM@CINOFLEX.COM NEW PRICE $4000.00
  4. New version single sided Lensse S5 at 149US can be upgrade to dual.. http://www.lensse.com/lensse-s5-dual-follow-focus-single-focus-wheel/
  5. Follow Focus FF-4 - Basic FF4 with left knob, 1 marking disc - BA-2 adapter for Studio 19 rods - 0.8 gear Price. $2'200
  6. Yesterday I came across a focus pulller operator workshop class which will be held here in Italy, starting next February. The class will have a duration of two (2) weekends, so I guess about 8 hours per day for two consecutive week ends, 4 days totally. I haven't had access to the detailed schedule yet but I assume, comparing to similar Labs they provide, that it won't be two full days: so may be the first day (say on saturday) you will get 8 hours and the second one maybe something less. It will be pretty much intense anyway, I guess. Now, I don't want to attach a link to this school because they didn't act very professionally so far, based on a e-mail exchange we had yesterday, so I don't want to provide any sort of publicity to what they do. But I was wondering: is a kind of class like this one really helpful? I mean, of course learning always is, and especially learning from working professionals and by the aid of professional gear, but how much can you really learn from a 4-days class? Especially assuming that you won't be doing focus pulling from the very beginning, but you will probably be introduced with the different kind of cameras and the kind of gear you will be using, during the first hours. And then take into account that you won't be alone: some other students will be there with you and you'll probably have to take turns to operate the camera, and so on. So I guess that by the end of the course you will have a basic operative knowledge of focus pulling, a few hours of field experience (if you're lucky), but I definitely guess you won't be absolutely "ready for work", not even for a small short with friends!! May be youl'll be able to recognise a real follow focus when you see one on the set: that's more likely. Now of course I am a bit exaggerating here, but I really don't like this way of doing business, which is very common in the educational field here in Italy: aware of the huge appeal that some areas or activities may bear, some kind of people tend to give very little for a very high price, and usually to naif and passionate young girls and boys who would like to learn more or, in most cases, learn a profession for their futures. I am not saying there's a scam going on: of course you can always ask for information before applying for a class, and it is your duty indeed to do so, so that you know what you are paying for, but the information they provide is not always clear, not from the beginning at least. (the description they provide for the course on their internet page is very vague, and smells like the usual "resumé-upsizing kind of language") And, most importantly, what you pay for is definitely overpriced for the kind and quantity of training you get, in my opinion. Professional education and training is a very strong business here, and what you get is not always worth what you pay for, especially if you consider that, partly due to a peculiar job situation, partly to a typical italian mindset, the very same people who train you (which are usually working professionals), don't really care about being helpful to introduce you to the job, usually because this may conflict with their own interests. I guess it's not the same in United States, probably because that kind of harsh competition for work that we are experiencing now in the last five-ten years, you already had quite some years ago. Italy is a very cinical country at the present time. Some time ago I was listening to an interview to comedian Steve Kaplan for Film Courage (YT channel) and it struck me when, demanded to provide some advice to beginner writers, he finally said: ".. and then you can alway ask. I mean here in Los Angeles people are happy if they can help other people." WHAT???? That's completely impossible for Italy. There's a really strange approach to these matters in this country. A discussion board like this one for example, where trained and working professionals will answer your questions or curiosities, actually advancing your expertise and knowledge on the job, is quite inconceivable. And there is none in fact. Anyway, let me go back to the topic now. what I want to ask is: - except that I will be training on professional gear, - except that I will receive some kind of theoretical and technical background, will it really be helpful taking a short class like this one, if my ultimate goal is to actually learn to pull focus on the field, not just simply knowing how focus pulling works? I mean: let me say again I don't know the price of this specific course, but I can guess it will be between 500€ and 800€: can't I buy some decent gear for the same price and practice on my own? I know you can't buy a dslr AND a follow focus AND a good shoulder rig AND a good external display with that money, but a dear friend of mine already owns a good dslr camera and wants to learn shooting too. So I was thinking we could split the costs, buy some basic stuff on amazon and start practicing during week ends, taking turns alternatively: shooting and focus pulling. I know it's not the same as working with professional gear in a supervised milieu, where a teacher oversees your job and corrects your mistakes, but how much experience can you really get from a 4-day training? I guess focus pulling, as well as camera shooting, is mostly about experience, about practice. And by the way, I was reading some days ago a nice discussion on this board, which I cant find now, where an experienced assistant operator was explaining how the job is changing at the present time: how more and more you are asked to focus pull from the external monitor, sometimes disregarding or ignoring completely the marks you made for the actors, provided you had time to do that. And I can understand that: partly because, as he said, new directors don't even know these procedure and routines, partly because you don't always have much time, and partly because the nature of the shot may cause your marks to be completely useless (correct me if I am wrong). So this all tells me even more how much an extended practice is critical to this specific job.. What do you think, what's your opinion? thanks for reading
  7. Hi there, I'm looking to buy used the next items: - PL mount. (Like wooden camera) - 1 or 2 Magic Arms like Noga for the LCD monitor and the second monitor. - Matte Box - Like Tangerine ViV level. - ND Filters 4x4.56 - 15mm Rods - Follow Focus + Rings - LLO OLPF You can send me models, pics, quotes. I'm located in Los Angeles. Thanks Guillermo 310-658-133 gpolofilms@gmail.com
  8. Most cinema lenses have about a 300 degree rotation from near focus to far focus. Typically, follow focus units for these lenses are geared 2:1. So, does a normal setup like this mean a 150 degree rotation on the follow focus wheel? I've noticed that some follow focus units have a 1:1 gear ratio, to be used with dslr and still lenses. If you have a lens with a 180 degree focus range, and use a 1:1 gear ratio follow focus, does that mean you get a 180 degree rotation on the follow focus wheel? In general, if the follow focus is matched to the lens you are using, are there any advantages or disadvantages to each combo? Kevin
  9. Made me giggle, anyways. Move over Bartek!
  10. i have a couple of these follow focus gears for Chrosziel follow focus, they are unused, some are same and there is both pitch size for both tv and flm. they are located in sweden, but i can ship almost anywhere. Price: gibe me an offer
  11. 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!
  12. Hi Everybody, I am looking for a cheap follow focus solution. the best I've found is from Cinegears. Has anyone used them or know anything about their products? Thanks, Matt
  13. Eching, Germany - Sachtler, part of Vitec Videocom, a Vitec group company, has announced the release of a new range of premium camera support gear - the Ace Accessories - to complement the established Ace product range. Ace Accessories include the Ace Base Plate, Ace Follow Focus and Ace Matte Box, and can be bought individually or as a package. The height adjustable base plate provides the platform for the other two accessories to be attached to a tripod using industry-standard 15mm rods. The Ace Follow Focus enables camera operators to manipulate the focus point of photo or cine lenses without having to touch the lens barrel directly, bringing added accuracy and efficiency to shooting. The follow focus operates backlash free, and is characterized by its versatility, making it ideal for professional video applications. Operators can change the direction of the drive gear mechanism, as well as easily set the hard stops - merely by pressing one or two buttons. This makes it user-friendly and particularly useful for on-the-fly shooting environments. The Ace Matte Box can be used to minimize unwanted lens flare and provides housing for up to two standard-sized filters for the 4x4 and 4x4.56 variants. The matte box has been designed to support a range of DSLR and professional video cameras, such as the Canon 5D. It features an adjustable top and side flags, two filter stages (one rotating), four filter frames, two different sized donuts, one gear wheel and a friction drive wheel, as well as a rear clamping interface. "The new rig features the same robustness and reliability that customers expect from Sachtler products and has been designed drawing on the experience held within Vitec Videocom. The range specifically addresses the gap that exists in the market for support gear that is both high quality and economical. I am confident in saying it will be the best value for money package in the industry at the moment," says Tobias Keuthen, global brand manager, Sachtler. The Ace Accessories are compatible with other brands - including Anton/Bauer batteries that can be mounted in the base plate rods, and Litepanels products, such as the Croma compact LED fixture that can be mounted to the matte box. The range will be officially launched at NAB 2014 in Las Vegas where it will be demonstrated at stand C6025. # About Sachtler Sachtler, founded in 1958 by cameraman Wendelin Sachtler, is a worldwide market leader for professional camera support systems for cinematography and television production, its name a symbol of top quality and reliability for decades. With an extensive range of premium camera support systems, Sachtler is the highly qualified partner for broadcast, documentary, film and pro-video applications. Since 2000 Sachtler has been offering the artemis modular camera stabilizer system. With its numerous workshops and training sessions, the Wendelin Sachtler Academy has become a top address worldwide for invaluable know-how and the exchange of information, creating the ideal international platform for creative talents. Along with other leading brands in the broadcast and professional videographer industry, Sachtler is part of Vitec Videocom, a Vitec Group company. For more information on Sachtler, visit www.sachtler.com. About Vitec Videocom Vitec Videocom brings together some of the most respected, most innovative and most sought-after brands in the industry: Anton/Bauer, Autoscript, Litepanels, OConnor, Petrol, Sachtler, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business. Vitec Videocom is an operating division within the Vitec Group, an international business serving customers in the broadcast, photographic and military aerospace and government markets. Vitec is based on strong, well known, premium brands on which its customers rely on worldwide. Vitec Videocom - innovative products around the camera. Media Contact: ignite strategic communications 818.980.3473 Stacey Humphrey stacey@ignite.bz
  14. Excellent Condition. Please contact Rebecca 206.251.9526 ARRI Follow-Focus (see pages 39-41) ARRI FF3 2-SPEED FOLLOW FOCUS FOR 19MM RODS ARRI, RED, PANAVISION 1 - ARRI FF3 Follow Focus 1 - ARRI FF3 Right Focus Knob 1 - ARRI FF3 Right Focus Knob Extension 1 - ARRI FF3 Prime Lens Gear 1 - ARRI FF3 Zoom Lens Gear 2 - ARRI FF3 Marking Disks 2-speed follow focus for video and film cameras. 2-Speed Follow Focus Follow Focus For Video And Film Cameras Efficient Snap-On Mounting Flexible Mounting Options: • Snaps Onto Lightweight Rods • Snap-On Adapter For 19mm Rods • Compatible With FF-4 Accessories
  15. I'm looking for a mini follow focus that works well with short lenses and allows room for a matte box. All of the top options from Arri and O'conner have gear boxes that are too long and collide with either the camera or the matte box. - In other words they can't reach the lens gear from behind the lens because they hit the camera body and when placed in front of the lens ( away from the camera) the gear box interferes with the matte box. The only options I've seen that work are the studio units like the Arri FF4 and the CFF-1 by O'conner. They arm out the gear away from the gearbox and take up a tiny amount of space once they reach the lens. Does anyone know of a lightweight follow focus that has a slim gearbox and works well with short still lenses?
  16. Arri SR3 16mm Film Camera Package Available - located in Seattle, Washington. Arri SR3 Camera Package Please contact me with any questions 206.605.0510. Roland Morgan
  17. Hey all, One more item I'm looking to part with sadly. If anyone is in the market for this package, or perhaps one of the individual items, let me know and I can arrange a deal. $14,440.00 USD ARRI PRODUCTION MATTE BOX 4 X 4 MB-16 PACKAGE 1 - ARRI MB-16 4 X 4 Matte Box (19mm) 1 - ARRI MB-16 Arm (19mm) 1 - ARRI MB-16 Step Down Bellows 1 - ARRI MB-16 138mm Retaining Ring 1 - ARRI MB-16 80mm Step Down Ring 1 - ARRI MB-16 87mm Step Down Ring 1 - ARRI MB-16 2-Stage Filter Holder 2 - ARRI MB-16 4 X 4 Filter Tray 1 - ARRI MB-16 4 X 4 Eyebrow ARRI MB-16 HARD MATTE SET(5) 12-180MM PACKAGE 1 - ARRI MB-16 Matte 16mm/12mm 1 - ARRI MB-16 Matte 16mm/16-20mm 1 - ARRI MB-16 Matte 16mm/24-28mm 1 - ARRI MB-16 Matte 16mm/32-40mm 1 - ARRI MB-16 Matte 16mm/50-180mm ARRI 19MM SUPPORT PACKAGE 1 - ARRI Sliding Base Plate BP16 (19mm) 1 - ARRI Dove Tail (19mm) 1 - ARRI Support Rod 9.5” (19mm) 1 - ARRI Support Rod 17" (19mm) ARRI ROAD CASE ARRI Accessory Case 22" X 5" X 10" 4 X 4 PRODUCTION MATTE BOX MB-16 The standard equipment of the 4" x 4" production matte box MB-16 includes a 2x filter stage for two rotatable 4" x 4" push-through filters. One of the filter frames is toothed for operation by turning knob or flexible shaft. At the rear of the filter stage there is a receptacle for 4 1/2" filter rings and for an anti-reflection ring. The 2x filter stage can be interchanged against other filter stages. For easy lens changing the matte box swings open 90°.
  18. Hello, I'm considering a follow focus for my cam and I'm wondering if the gear teeth are all pretty standard. I haven't noticed much comment on variations, so would most work? Also, why the huge huge range in price? Not looking for anything super high end but I see things from $150 to several thousand. Kinda surprising. Thanks, P
  19. Hey Guys, I am looking to buy at least a single channel follow focus system. BarTech, Preston or Cmotion would be preferred. Upgradability is desirable. Please contact me at paul@bodicompany.com or (262) 238-9393. Thank you.
  20. For Sale: Fujinon Manual Focus Controller for ENG/EFP Lenses CHF-3 + FMM-6B The Fujinon CFH-3 + FMM-6B is a manual focus grip which provides precision focus control and is useful in a variety of professional broadcast applications, including live event coverage and sports. Original owner. Controller is in excellent condition. $400 + S&H For Sale: Century Precision Optics Optical Transformer. Lets you mount 2/3” broadcast lenses on a Super 16mm camera with an Arri B mount. Century Precision Optics (now Schneider) 2/3” Super 16 Arri B Transformer S/N C53683 I used to put my Fuji 2/3” broadcast lens with servo zoom on my Super 16mm film camera so I could have power zoom control on my Super 16mm camera.The lens worked perfectly on my Super 16mm camera with no vignetting even at 7.8mm. The picture was very sharp and I could not tell the difference between this lens and my rebuilt Zeiss 12-120mm lens with the Optex conversion when viewing the transfers in HD. The glass on the lens and transformer is perfect – no scratches, mold, etc. The transformer sold new for $2,500. I am the original owner of the transformer. Items were never rented. The transformer can have the mount changed from Arri B to PL although I don't know what the cost would be. $400 + S&H
  21. Arri FF-2 Follow Focus http://toddsines.com/sales/arri-ff-2-follow-focus/ A useful collector's item from ILM For 15mm rods, 100mm spacing Comes with 2 discs, dual hand wheels, whip, crank Paid $2,200, sell for $1,700 Bank transfer / Chase QuickPay / local cash payment preferred; Thanks Todd
  22. I have an opportunity to pick up a clean set of these 5 lenses for $12.8K for use with my Sony PMW F3. I know they are external focusing and even the focus ring moves forward, as well as being big beasts. Great bokeh and no breathing that I can see. But the price seems very interesting. Any other opinions ? Trying to see if it would be wiser to go with either Duclos Zeiss ZF.2's or Compact Primes instead, as I own a Canon 5D Mark III and often have shoots where we are mixing RED, my Sony PMW F3 and DSLR's. One thing purchasing would mean, would be to find a more solid follow focus and a matte box with a large enough rear opening. Chrosziel provides a package for dealing with the barreling issue: http://www.chrosziel...&wpid=115&sid=0 However, the matte box is reported to be cheap and easy to crack and I am wondering about that follow focus compared to O'Connor and ARRI, being that it starts to fall into the same price range. I still shoot a lot of DSLR though too, so I have been looking at the O'Connor DM with both photo and Cine wheels, but ARRI remains the standard as usual. I really need/like the idea of different transmission ratios depending on whether I am using photo or cine lenses. Any other contenders out there for mixed gear / transmission ratios at a less expensive price point?
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