Click here to see the auction. Currently $5600.00.
This production Super-16 camera package is totally complete, in flawless condition and you only need film stock to start shooting your movie. This camera was always personally owned and has never been rented. It is a very late model SR-1 with SR-2 electronics so that it has twin Fischer power ports on the rear of the camera base. This camera was last overhauled by Axel Broda and a short while ago it was used to shoot a Zac Efron film in Georgia, The Derby Stallion. The quality of originally shooting in the 1.85:1 aspect ratio on Super-16 film stock and then posting via a digital intermediate yields more than ample screen quality for 35mm theatrical release prints, a direct to DVD release or 16X9 HDTV. This Super-16 camera package is smaller, lighter weight and far more robust than a Red camera and has none of the digital quirks that quite often lead to delays when shooting with a Red. Red’s sensor is limited to the native 320 ASA and gets very noise at low-light levels. With film, if you want to shoot in low-light, just use a faster film stock for glorious results! I have many more detailed photos so please ask and I'll email them to you. Please ask any & all questions!!! I will consider valid offers; let me know! I will ship for free within the 48 contiguous states although the buyer is resposible for insurance coverage. Payment is to be via bank transfer or bank check and the camera will ship upon clearance. I will sell world-wide but the buyer is then totally responsible for out-of-US shipment costs and any/all customs requirements! This beautiful and complete camera is packaged in 5 flight cases which include: Camera Case SR Super-16 camera body Two 400-foot Super-16 magazines Long eyepiece tube Wide-angle Rodenstock eyepiece, (a necessity for Super-16) Sony XC-999 color video tap Two cables for the video tap Cinema Electronics, Precision Speed Control to crank the camera from 2-75 frames-per-second for accelerated or beautiful slow motion effects Left and right handgrips. Right grip has camera on/off button Additional Fischer plug-in accessory box On-board battery adapter Three recently re-celled on-board batteries. Two battery chargers Coiled battery cable Lens Case Zeiss/Optex T* Vario Sonnar 12-120mm, T2.4 Super-16 zoom lens On-lens zoom motor mount Heden M26T zoom drive motor Microforce zoom control with leather pouch 2 Microforce cables Lens support Lens donut Accessory Case Camera base-plate and sliding dovetail tripod plate Two 17” long stainless steel 15mm rods Arri follow focus unit with left and right focus knobs Arri 4X4 swing-away matte box with two 4x4 filter trays and 4,1/2-inch round filter holder Set of 5 hard mattes for the matte box Arri mini shoulder mount with quick-release plate Matte box adjustable eyebrow Follow focus speed crank, long whip with 2 knobs Filter Case Kinoptik Tegea 5.7mm T1.8 wide-angle lens upgraded to an Arri bayonet mount instead of the Arri standard mount Various video BNC adapters Microforce reversing cable 2X2 filters: 85, 85n.3, 85n.6, 1A Skylight Series 9 filters: Clear, Polarizer, ½, 1, 2-Diopter, 85, 85n.3, 85n.6 4X4 filters: Clear, 85, 85n.3, 85n.6, 85n.9, LLD, ND.6, ND.9, Tobacco 1, 2 4 ½”-round filters: Supa Frost set: 00, 00+, 0, 0+, 1, 1+, 2 Block Battery Case High amp/hour gel cell battery pack recently recelled On Mar-20-10 at 16:33:27 PDT, seller added the following information: In response to a number of questions: The Super-16 conversion was done by the Aranda Group in Australia. http://www.arandafilm.com.au/ Their conversion re-centered the lens mount to Super-16 (which I believe is a 1mm offset) and re-centered the camera’s base plate by the same offset so the matte box and all rod-mounted accessories would center on the new lens axis. The Super-16 ground glass was, of course, new and is marked for 1.85, 1.78 and 1.33 aspect ratios. Their modification was done in 2002, so the camera has been successfully shooting Super-16 for eight years. In 2005, Axel Broda went through the camera, thoroughly cleaned and lubricated it, verified flange/focal depth and checked everything else. The Super-16 Optex conversion to the Zeiss zoom lens was done by ZCG in New York in 2005. The 5.7mm prime lens was collimated by Stuart Rabin at Focus Optics in LA following the mount modification.
