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Mitchell BNCR Camera


PeterJacobsen

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I am a still photographer who's been shooting and lighting for 35mm still film for about seven years. I want to make a transition to cinematography by purchasing quality equipment that I can use on small projects to learn what I need to know to eventually work on feature film projects, big or small. I saw an ad for a silent running Mitchell BNCR camera with 6-1000' magazines, crystal motor, CCD flicker-free video assist, 20-120mm Angenieux zoom lens, matte box, follow-focus, lens light, Worrall geared-head and battery for $9,900.

 

Is this a good deal, and should someone at my level be purchasing this kind of equipment? I realize this is a loaded question. I am always committed to the best quality possible and realize that shooting 35mm can get expensive. I also know that this camera is heavy compared to newer models and has certain drawbacks in that regard. My budget for new equipment is no more than $10,000. I would appreciate any advice I can get.

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I never used a Mitchell BNCR, maybe someone else here did.

 

One thing you should know off the bat is that it weighs about 120 lbs, plus lenses. This is an old camera that is based on a 1930's original design (which was changed in the 60's to accomodate reflex viewing). I personally can't imagine working with a camera like that unless I had a decent sized crew to work with -although I've toyed with the idea just for fun (I mean, those cameras do look awesome - I just wish the ones Visual Products has weren't painted that ugly blue color).

 

In still photography you're expected to own your own gear, that's not the case with MP work (partially because the equipment is much more expensive, and it's used in short blocks of time that make renting more financially feasible).

 

You really should start with 16mm, it's what most cinematographers start out doing. The filmstock is cheaper, yet you get the look of film. Buy a silent camera like an Arri S or a Bolex if you want to practice and have your own package.

 

If you want to shoot jobs with your own gear, sync sound cameras like an Arri SR, CP-16R, Eclair NPR/ACL, or Aaton (modified for Super 16) is what most DP's invest in if they want to get hired with a package. But most people usually choose to rent, because you can get the latest and greatest and don't need the headache of owning your own equipment (maintanance, insurance, etc).

 

If you want to work with 35mm sync cameras, you could concievably get a used Arri BL 1 for 10 grand (decent lenses would bump it up higher though). If you buy "short ends" of 35mm film you can pay just a shade above the prices of new 16mm filmstock, so it might work out. But I say stick with 16 for starters.

 

- G.

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Adding to what George said, the Mitchell packages that Visual Products is selling came from Paramount, where up until about two years ago they were happily plugging away shooting sitcoms on soundstages. With a big push from Panavision, almost all the new sitcoms switched over to 24p HD, and Paramount sold everything en masse to Visual Products. These are very old cameras that hardly ever moved, yet Paramount had a repair room that did nothing but maintain these old bests, sometimes having to fabricate new parts because replacements were no longer available. If I were shooting in a studio situation only and were only going to video with the product then I would possibly consider these machines, but otherwise they are unsuitable for modern production. Stupid heavy, rather finicky in their old age, and difficult to repair. An the lens on them is not very good--acceptable for video finish only.

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Hi,

 

> Buy a silent camera like an Arri S

 

Pardon? Sorry, I'm not sure I heard you correctly - there's an Arri S running around here somewhere.

 

Phil

I think he meant a camera that is only tro be used without sound being recorded. The only silent Arri S is one that isn't running.

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