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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 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.

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

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?

hi I'm looking for some stuff for my SRII I'm looking for light weight rods you put in the front of the camera also looking for a lightweight clip on mattebox // Sebastian

I am putting together a lighting order and have a question about my power distro. I have to run three 18k's, some smaller units, as well as a 50k Softsun. I know the softsun runs off 240v, while the 18k's run 220v. Can I run these at the same time? Also while having smaller units with 120v? I have a 1400amp tow plant on order, just could use some input about running it all together, thanks.

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

Used Arri 35-3 MkII with Nikon mount for sale - $1700 Clean, well maintained, ready to shoot Super 35. I am the owner and operator and have treated it like a baby. Photos and full details at http://www.prairiepictures.com/gear.html Martin

Hi im gonna do a documentary in china next year on S16 film, my first plan was to bring all filmstock from Europe but regarding to x-rays and all that maybe its better to buy the filmstock in china and then also develop and scan it there, so can someone recommend a good developer in Beijing? and where to get filmstock? / Sebastian

hi I'm cleaning amongst my gear so i have some stuff for sale first of i have a Arri MB-16 4-stage mattebox for sale, its in nice condition except for a crack (see picture) I'm not including any masks or flags with this, the mattebox is for 19mm rods but i include an "adapter" so it works with 15mm rods i halso have some jimmy jib stuff for sale, i have tube sections for jimmy jib III, wires for several lengths, strut 4ft and much more, i also have a rebuilder Sachtler fluid head to control remote head jimmy jib, works with both triangle and gen 3 i lost the baseplate so i made one in metal, it works really good for the purpose all items are located in sweden and I'm shipping world wide

Arri laser recorder + Imagica scanner Our facility is moving to a new location and 1x Arri laser recorder and 1x Imagica scanner are for sale now. Both machines are in very good condition and are located in Burbank. Please contact me if you like to inspect the machines.

Im selling a set of 3 ARRI Master Primes. The 18mm T1.3, 32mm T1.3, and 65mm T1.3 are in excellent condition. Never rented. Available for inspection. Location: North Texas, 45 min north of Dallas. Im asking $55,000. The lenses come in a durable Innerspace lens case. Also willing to sell lenses individually. The best way to reach me is by email at: elliotovla@yahoo.com We purchased the master primes in late 2012, so we have had them almost two years. They have not been in for any service. One of the lens caps has a chip in it. Not sure how that even happened, but I included a photo of the plastic cap with its damage. Nothing major. The lens case has some wear, but a small wipe down will get it looking in great condition. I have included photos below.

For Sale Arri Master Macro 100mm Lens With Case

Anyone have experience with the Arri 416 timecode module? After jamming the camera/attaching a sync-box, the TC light blinks... which means it's not actually recording the timecode onto the film. After consulting the manual, the error code it gives me corresponds to 'timecode led not recognized' and suggests to check the timecode module. I'm not sure where the timecode module is, and I have a hunch that the 400' magazines we're using aren't equipped with the module to burn the timecode in. Where is the timecode module located on the mag/camera?

Greetings, Selling my trusty Arri SR3 package. A++ Excellent, with recent service records, both camera and mags overhauled at TCS (tcsfilm) in NY in July 2013. Ready to go. Camera body (3) mags charger long and short finders 1:78 GG long rods 2 handles handgrip XC-75 video tap (b&w), with prism Transvideo Rainbow 5" monitor (2) barneys Single frame remote Asking $3500. PM me if you're interested. Thank you, Martin

The majority of the work I do is documentary and sports features and it seems that an Amira is inevitable in the near future. With NFL Films making the switch to the Arri Amira as their primary camera I am curious as to what lenses they are using with the body. 2/3" ENG lenses? Cinema Zooms? Any information would be great.

My team is about to take possession of an Amira. We’ve been renting for a while and shooting Log-C as standard. I’m starting to question the merits of shooting Log. Typically we shoot product footage in a studio, with finely tuned and very controlled light. We really craft each shot – bread and butter shots are pretty low DR. Occasionally we go for dramatic contrast. I’ve done a fair but of reading on the theory, pros, and cons of shooting Log, but I have to say I’m still not convinced either way. If I’m careful with clipping and try to get a healthy looking histogram/waveform, is Rec 709 just as good as Log, or in fact would it be better?

Hello all! I thought I would put a thread up to inform you about new products as they are added to the site: http://mediablackout.net I specialize in making custom cables and accessories. For enquires about custom work, you can contact me at alan@mediablackout.net

I am selling my Arriflex 435 ES camera. This camera is in great condition and runs perfectly! It was well maintained and recently serviced. The Arriflex 435 ES is a fantastic MOS film camera that has been trusted and used worldwide for years. The 435 is amazing for slow-motion, running crystal sync up to 150 fps! It's a lightweight camera, yet it's incredibly sturdy. The ES stands for electronic shutter meaning that the 435 ES can adjust its shutter electronically, which is great for speed ramping, something this camera does well. The Arriflex 435 ES will serve you well for years to come. The camera is still highly in use today, with many directors and cinematographers choosing to shoot on it due to its high-speed capabilities, and overall compact lightweight design. The package includes: Arri Arriflex 435 ES Camera Integrated Video Assist (IVS) (3) 400' Magazines Short Viewfinder Long Viewfinder Extension Heated Eyecup Heater Cable RCU-1 Remote Control Unit RCU Long Cable WL-3 Work Light 24v Plug-In Module Carrying handle Right Hand Grip w/Trigger Large Flight Case Small Flight Case Film is a beautiful medium, and will be used to capture gorgeous cinematic images for a long time to come. I am asking $8,500 but I am open and willing to negotiate a lower price, so make me an offer! Thanks! I am also selling an Arriflex SR3 Advanced package for $3,500 OBO. Includes 3 mags, 2 batteries, mattebox, rods, etc. Hit me up if you're interested!

Hello everybody, Has anyone of you made a comparative test between Alexa and Amira under the same conditions? According to Tech Specs, both cameras have exactly the same sensor. But is it possible to tell the difference between the two cameras, assuming they are using the same codec and ISO settings, the same lens and t-stop and the same lighting conditions? I´m looking forward to hear your opinions and experiences about this. Thanks, Matteo

Manned Camera Limited Arri AMIRA, lighting and grip rental in SW London Grosvenor Court Grosvenor Hill London SW19 4RX Open from 9am to 6pm, Monday to Friday by appointment. Telephone: +44 (0) 7717 514 991 Email: kieron@mannedcamera.com Website: http://mannedcamera.com Facebook: http://facebook.com/mannedcamera Twitter: http://twitter.com/mannedcamera Manned Camera works in partnership with Decode, a long established and well respected camera and grip rental company in SW London, and are proud to be amongst the first to offer Arri AMIRA hire in the UK. We offer camera, grip, lighting and lens hire. If you are looking for help with your project we can also offer a Manned Camera service. Manned Camera was established by filmmaker Kieron Jansch with the goal of improving his filmmaking; Kieron is particularly keen to develop his skills in lighting for narrative fiction. As a result Manned Camera is happy to discuss very preferential rates for projects where Kieron can accompany our equipment, and assist or shadow an experienced Director of Photography.