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For sale is 1200ft (3x 400ft cans) of 35mm Kodak Vision3 500T 5219. Freezer stored, sealed cans, packaging intact. $400 for all. Terrible iphone photo included.

Hello, I am wondering if anyone can tell me what mount this could possibly be. I purchased this Angenieux 9.5-57 thinking this was a PL mount, but it's far too small for the opening. Ultimately I would like to use it on my PL mount camera, but if it's not capable I would try to sell it, but knowing the mount type would go a long way for both plans. any help would be appreciated!

Hello Group, Planning on a short film in Super 16mm B&W. Did some first B-Roll shots as a test with Kodak Tri-X 7226 reversal, waiting for the scan to return. I happened to have two 100ft rolls (one still in the freezer). The idea is to evoke a 1940s-50s period feel. Not sure about excessive film grain in S 16mm though. I have seen a lot of recent footage (excellent digital scans) of Tri-X reversal, Double-X neg, Orwo UN 54 and FomaPan R 100. The latter seems to suffer from unpleasant round white spots (like air or gas bubbles during processing) frequently. Other than that I really can't tell the difference, since it heavily depends on grain management during scanning and grading. The Tri-X reversal is actually the most expensive, but I have seen Double-X and even Orwo UN 54 with about the same amount of grain - all looking very good. Sharpness seems great on all film stocks. Seen Vision 3 de-saturated. Doesn't work for me: it's somehow too milky and the gray values seem off. IMHO a Black&White film should be shot (if possible) on genuine B&W stock. Please feel free to correct me if I'm wrong. I am asking because if the Tri-X reversal turns out too grainy in the scan (will have it scanned with a 2K Muller scanner, it's used by the most inexpensive lab I can find where I am located (EU) and the results are always great) - I might switch to Double-X neg and if it works, mixed with the Orwo (when I don't need 200/160 ISO/ASA). I am not after the "near grainless" 35mm look from the late 1940s and '50s. A little grain is just fine as long as there are no digital artifacts (I have seen Tri-X reversal scans in 16mm/S 16mm ranging from "unusable, gritty and very grainy" to excellent with fine detail in the highlights (one wouldn't expect with reversal). I guess some labs apply sharpening with the wrong settings that brings out the grain (especially in darker areas) way too much. Any input and tips very much appreciated, Cheers, Christian

Selling 4 cans of new, unopened 16mm Kodak Vision3 250D film. Bought from Kodak three weeks ago, stored in temperature-controlled condition. $150 (+ shipping) per can Pickup possible in Los Angeles 90012

This is the first of MANY posts I am probably going to do, on this and also on other filmmaking website. I have a huge (very SPECIFIC dream) of an independent motion picture I want to make, and have all these ideas knocking around in my head, and am overwhelmed and unsure where to begin. These forums would appear to be my only savior in making sense of all of this and getting advice I can use on my Film Adventure! :) Therefore, the first two of the many questions are these: 1) I have noticed in many older films (1980's and prior) white artificial lights will have a bluish hue to them, including headlights, when in the dark or low light situations. I love that effect and want to achieve that on my film. I have heard something to the effect of that you can get that effect if you use tungsten film as opposed to daylight (something about the emulsion color balance, I would assume). So, is that necessarily the case, and if not, what do I do to achieve that effect? (WITHOUT using a CTB) 2) I am not going to be using any special effects at all. My film will be straight-up, 100% film sent through the camera and then processed. I want my film to have a specific hue, graininess, and even color balance that was common in films from the 80's, and more of an extent in the 1970's and 60's. Below I will include a link to a clip of a 1975 movie that shows a close representation of the look I want. The question therefore, is what brand/type/speed (and any other specific data) of film do I use to get that look? If that is even possible. Thanks so much for all of your help and answers! I feel intimidated by all of the talented cinematographers with all their experience, but at the same time count myself lucky as I can avail myself of it! :)

For sale is my Arri 435es Free shipping anywhere in the world you'd like. I took a Job in England and can't take the camera with me. Very complete package in outstanding condition. Camera was recently completely overhauled with new electronics and circuits. It was just recently serviced by factory trained technicians and has not been used since. Included with the package are two 24v batteries which I just had completely re celled. It includes: (2) 24v Batteries Arri BP-8 Baseplate w rods Arri Dovetail IVS Color Video Tap NTSC Ground Glass & Glow Mask Extension Eyepiece Eyepiece Heater Cup Remote Control Unit 1 Finder Block 24v Power Cable RCU Cable - Long RCU Cable - Short Carrying Handle Short Eyepiece Eyepiece Heater Cable Lens Port Cap RS Block 24v RS Block 12v Silent Lens/IVSRS Mag Port Cover (1) 435 1000' Magazine (4) 435 400' Magazines Price $4000 USD

Hi everyone, first post, long time lurker. I recently bought an Aaton LTR-7 and have just ran my first test film, the result is as follows: https://vimeo.com/210062910 (Excuse my great readings...) We shot with a standard 16mm Angénieux 12-120mm but recorded to super16 as we knew the long end of the lens would cover the s16 frame and wanted to see the extent of the vignettes. What we were not expecting were the red light leaks that crop up on both sides but more so the right side of the frame... I wonder if there any tell tell signs to this type of light leak? I did the S16 conversion myself via instructions from http://cinematography.net/edited-pages/Aaton16mmRegtoSuper.htm - I have a sneaking suspicion the leak could be from where the viewfinder seats on to the top of the camera, I had to move the 'wedge' over and reseat the VF to complete the s16 conversion.. I would love to know your thoughts, - Francis

Rare chance to own a complete Arri SR3 Advanced camera package just serviced and regularly maintained by Clairmont Camera. Includes premium IVS video assist. Package Includes: Arriflex SR3 Advanced S16mm PL Mount Camera Body S/N: 4070 1.78/1.33 Combo Ground Glass Arri 30mm Eyepiece Arri Heated Eyecup Arri FE-4 Extension Eyepiece S/N: 1007 Arri Eyepiece Leveling Rod S/N: 1072 Arri IVS S/N: 5079 Arri BP-7 S/N: 5929 Arri 12" Dovetail S/N: 5079 Arri DC/DC2 Box S/N: 1434 Arri Right Side Grip w/ Start/Stop S/N: 340 Arri "Piggyback" On-board Battery Adapter S/N: 9615 Arri 15mm Clip-on Mini Rods Mag Port Cover Lens Port Cover 2qty. 24v Y Cable (Camera Power) 12" 24v 3pin to 3pin Cable (Eyepiece Heater) Backup Fuse For Camera 3qty. Arri 400' SR3 Magazine S/N: 3130, 1564, 2102 3qty. 400' SR3 Magazine Throat Cover Custom flight Case For Camera Body Flight Case For 2qty. 400' Magazines Full SR3 Package - $4,695 Also Available: On-Board SR3 Batteries (New re-cell at time of purchase) $295/ech - 3x Available 24v SR3 Battery Charger (Built Into Case) $250 Located in Hollywood, CA. Happy to demo the camera in person. Willing to ship at purchasers expense.

Hi, I've got for sale my trusted Super16 camera kit. I've bought it in fall of 2010 from Mr. David Odd. as his personal camera. He had it converted to Super16 by P+S Technik in 2008 and had installed color video tap by Visual Products, inc. Since 2010 I've shot with this camera about 10x 400 ft of film. Here is footage What's in kit: Arri SR1 Super16 camera, 180 degree fixed shutter - HDTV 1:1,78 gate (brighter, from SR3) - Visual Products color video tap PAL - PL mount - wideangle PS Technik eyepiece (made by Voigtlander) 3x super16 magazine 1x spare magazine (not converted to super16) 1x SR3 magazine (with TC) LWS 15mm support rods (2x) Arri BP-7 base plate (for 15mm studio) CE - Precision Speed Control 2 (for other frame rates than 24 fps) Arri VSU - variable speed unit (not as exact as CE) 2x 12V old batteries (as spare, needs recelling) 12V NiCd charger 12V discharger handle, incl. remote switch --------- I live in Bratislava, Slovak Republic. Shipping only in EU. Price is 1700 € + 150 € for shipping --------- PHOTOS

Simple Questions, to begin with, Do you shoot in FILM or VIDEO? IF FILM or VIDEO, why? Do you believe that FILM costs more to use that VIDEO? Do you seek out Motion Pictures, (i.e., The Hateful Eight) shot on film? And if so, Do you seek out film-recorded Motion Pictures, such at The Hateful Eight, to see the PROJECTED on film? I am beginning a new production company and would like industry feedback. I will also post, throughout this discussion, facts such as... According to MPAA, in 2014, there were 14,526 ANALOG or Film projected screens in the World, 62,784 Digital NON 3D screens and 64.905 Digital 3D screens in the World. In the US alone, it 1,747 Analog, 25.372 Digital NON 3D and 16,146 Digital 3D screens. (http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf) I am of the opinion, contrary that it may be that film is NOT dead, certainly not as a medium for Recording Motion Pictures. But I must agree that its most likely no longer a widely used medium for Projecting Motion Pictures. FYI, I shoot on 35MM and 120 FILM photography, as well as AD on 16MM & 35MM, and I would like to continue to use Film as my recording Medium. I don't believe its dead, just as OIL paints didn't 'die' when ACRYLIC paints arrived. Different mediums for different artists. I look forward to hearing for you. jGb

Does anyone know what has happened to orwona.com? All of the b&w cinematography films on the website are 'currently unavailable' and 'please check back again at a later stage.' It's been like this since the beginning of the year. It's been a very nice resource being able to order stocks from their website and I hope this isn't the beginning of the end?

$1,000 Or Best Offer. This item is currently located with a friend in North Hollywood, CA. I'm based in Brooklyn, NY. For sale is this very rare Arri 3C Crystal Pistolgrip Motor. It's in very good condition for it's age. 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 4-pin port is for connecting a speed controller for getting crystal sync at other speeds. Runs forwards or reverse (via switch). Powers from 12V 4-pin XLR connector. No power cable included. The motor has captive screws for attaching to your 2C or 3C. Needed phenolic gear is also included. Photos: https://flic.kr/s/aHskUsmaU7 Thanks, Rich

Any advice as to where I can get a roll of dummy 16mm film? Or do any of you own a spare roll that could send it to Maryland this week if I pay for shipping? Need it by the weekend. Thanks!

$500, Or Best Offer. A set of two very rare 400' Fromm Shoulder Mags. For Arri 35mm 2C or 3C. Previously owned by Ron Dexter (see pics). I didn't buy them from Ron, but from an Operator in Los Angeles in 2009 as part of a 3C kit which has just sold. Tested/checked out by a technician when I bought them but have not been used. Comes with two spare drive belts and one shoulder bracket that attaches under the mag. NO CASE included. Will not sell one, only selling as a set of two. These are currently in Secaucus, NJ. May be able to meet a buyer with them in Brooklyn or Manhattan to exchange for cash if you don't want to go to Jersey.

For sale TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s and 16-M Cameras Bought from Du-All Cameras 3 years ago. Used a couple of times and tested recently. Works flawlessly. Item is in great Condition, with only minimum scratches here and there, barely seen. Serial number 9440 Paid US$ 995.00 (see price label on picture). It's on eBay at US$ 800, but open to Make Offer: http://www.ebay.co.uk/itm/TOBIN-TXM-22A-CRYSTAL-MOTOR-FOR-ARRI16S-and-ARRI-16-M-CAMERAS-/172541639598? Feel free to contact me with any questions.

Hello cinematography.com friends! I just finished up my latest short film and I wanted to share it with you guys. Shot entirely on vision 3 super 8 stock (50D,500t) This was my first attempt at creating a narrative on actual film. The camera used was a Sankyo 40s xl and the process/2k scan was performed by Pro8mm in Burbank. Thanks! Happy New Years. - Hunter <iframe src="https://player.vimeo.com/video/197584631"width="640" height="486" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>

Hi all. I bought a truckload of lighting gear and am selling the surplus. Make me a (realistic) offer. NEW : Brand new, in boxes, FilmGear & Ianiro tungsten studio Fresnel and LED lamps with barn doors and bulbs. TUNGSTEN : 1 x 150w fresnel 1 x 300w fresnel 1 x 650w fresnel 1 x 2kw fresnel LED: 1 x PowerLED 240w, daylight balanced, with Filter Frame 1 x Ianiro Solaris LED fresnel 150w (1000w equivalent), daylight balanced, with barn door. USED : Set of Dedolights, tungsten Aspherics2 – 4 lamps x 100w. With DT12-4 ballast, cables, barn doors, filter frames and new OSRAM bulbs. Fully checked by Munich-certified technician and in great shape. I have 4 sets for sale. These guys are bombproof, super portable, very low heat (for tungsten) and put out the equivalent of a regular 300w fresnel.

Ben Affleck's latest film, adapted from Dennis Lehane's Live By Night, taking place at first during the prohibition, and then over several decades if I'm correct. Shot by Robert Richardson mainly on the Alexa 65 (and Super Panavision 70 lenses) it seems, but I remember reading they used film & digital (some guy said that he saw them prepping film and digital cameras at Panavision), anyone close to the production knows anything about this? The first shot in the trailer definitely looks like film to me, and maybe a few other shots in the trailer. Looks beautiful. http://movietrailers.apple.com/movies/wb/live-by-night/live-by-night-trailer-1_h1080p.mov

In the middle of Feb. I will be DP'ing my first feature film. I will be providing my personally owned lighting and grip equipment as well as a RED Dragon cam. I will be lighting the scenes,camera operating, and providing directorial advice to the director. Shooting is scheduled for 3-4 weeks. There is a budget for me to be paid an (ok) rate in installments over the course of those 3-4 weeks. The film will be submitted to bigger studios/reps/investors for consideration of being picked up or bought and being produced on a bigger scale with bigger budgets. In the event that our version does actually get picked up, I assume the the producer/production team is compensated for it correct? How exactly does it work? Is it one payment or is it like royalties? I'm currently typing up a contract that is due in 24 hours to define the terms of work and payments for the project and I want to make sure that if there is backend compensation from getting picked up, that I get covered and receive a piece of that compensation. How should I word this in the contract? Any advice would be greatly appreciated?

So I am heavy into interviews and music videos and but I just finished up my short film. I am wondering what type of work people look for on a reel that pleases there eye. Do you guys have any examples or your reel you could share with me? I'll been making my self busy trying different kinds of video work to get better looking stuff.

Hi, everyone It's my first time posting here :) I've received my first test roll (Kodak 200T) from the lab, shot with my K-3 and the 17mm-69mm Zenit. Loaded carefully in semi-darkness and unloaded in total darkness. Camera was covered with plastic tape when filming (except the meter counter). I found two issues: There are light leaks all over the footage. Not following a constant pattern, some shots are more affected than others but always with the same shape. I've attached two stills of them. I set the speed at 24fps but the footage is in fast motion with the telecine at 24fps. It looks as it was filmed between 12fps or 14fps. I made two shots at 48fps additionally and that ones are running at the correct speed to me. Is it possible that the fps dial is not matching the actual speed? Thank you very much everyone, Marcos

First post on this forum. I must say, having never actually worked with film before, I'm glad I found this website. Very informative. DISCLAIMER: Never having worked with film, my knowledge comes entirely from the internet, no hands on experience. So if I say anything that sounds absurd, just let me know. Having always used digital cameras, I want to shoot a movie on Super 16mm film, and have it finished on 35mm film. I've been trying to work out the workflow to get from the exposed negatives to that final print. I want to have it photochemically color timed, preferably without ever having a Digital Intermediate. Now, if I were shooting on 35mm, I would simply color time, make the inter negative, and make copies from there, all analog. But with super 16, there is the sticky problem of having to blow it up to 35mm, and from what I've read, there are many ways to go about this. There are several discussions already on this forum, but most of them are over 10 years old, and the technology seems to have changed rather significantly since then. I have an idea for some possible workflows, but I don't know if they would actually work the way I want them to or not. One of them is to edit the 16mm film together, have it color timed, then optically blown up to 35mm, but I'm not sure if the colors would translate well (I've read conflicting statements, but some say that an optical printer can't reliably transmit the colors, meaning it might have to be retimed.) If that were the case, I could have it edited, optically blown up to 35mm, then color timed, but that adds the cost of working with more 35mm in the process. For another option, and I wouldn't really mind this as long as I didn't have to digitally alter the colors, but I could edit the 16mm film, color time it, then data scan it at 4k(Not that much more expensive than 2k) then downscale it to 2k(or not, if printing 4k weren't much more expensive, but I don't know.) and have it printed to 35mm film. The problems with that, however, after it was scanned, I don't know if you would have to digitally alter the colors, or if the direct scan can be printed back without any processing. If it were the case that I would have to mess with the colors digitally anyway, then another thought was that I could edit the 16mm film, scan it without color timing, print it back to 35mm film, then photochemically color time that copy. But, that might be absurd. I don't really know, but I feel like after it was scanned, then printed, there might be some information taken from the film that makes photochemical color timing less effective, since you're just working with what a digital printer put on it, not the original analog goodness. That's a bit of a book, so I'll summarize my specific questions: 1. Assuming both processes were done properly, which would be less expensive, optical blow up, or scanning then printing back to film? (I have no reference for cost for digital printing or optical blow up. As far as I know, in this day and age, one could be far cheaper than another.) 2. Assuming both those processes were done properly, which do you think would give the best results? (Knowing that I want a photochemical timing done.) 3. Will an optical printer transfer the timed colors properly, or would it have to be timed again? 4. Will a scan of an already color timed print properly transfer the colors when printed back to film? Or would the colors still have to be digitally altered before printing. 5. Can and untimed scan that has been printed back to film still be photochemically color timed, or is that absurd? 6. Sort of related to the first question, but any reference as to how much printing 2k and 4k digital to film would cost? I can't find any information on the cost like you can with scanning. Also, specific costs of the optical blowup. I feel like some people are going to ask, "Why not just use a digital intermediate, instead of photochemically color timing? it would give you much better results, and be cheaper", and they're probably right, but it's just a hands on artistic thing. I'm relatively young, and grew up in a world that is entirely digital. Watching actual 35mm films at a theater is like a distant childhood memory, as most theaters have long been digital. And making movies with digital cameras is all I have ever done, but quite frankly, I'm at a point where I would like to create movies the same way my favorite movies from decades past were created, even if it slightly compromises visual clarity.

New member here. I have been given an old Hanimex Super 8 Zoom projector, but cannot understand how the film is actually supposed to be projected, the spools are not in the right place for the film to pass between the light and the lens... Please see the photos below... Also, if anyone spots anything else I've done wrong, please let me know! (I know the film is loose in most of the shots, I just put it there for show)

Hey everyone, I'm looking to rent an anamorphic viewfinder for my Moviecam Compact MKII. I've been asking around but can't seem to find one! I believe the Arricam viewfinder extensions work with the Compact MKII as well. If you have access to one or know where to rent one, I would love to know. Thanks!

For Sale: 2 cartridges of Kodak Super 8 Ektachrome 100D film. Has been kept in freezer since purchased from Kodak. Asking $120.00 US plus shipping.