American Cinematographer - July 1990 - 52

Used Cine Specials!
Arriflex Bay

Mt. Lenses
Angenieux 12-120m T2.5
Angenieux 9.5-57mm T1.9
Angenieux 10-150mm T2.3

950.00
1,295.00
3,500.00

Arriflex Std. Mt. Lenses

Angeniuex 5.9mm T2.0
Kinoptik 5.7mm fl.8
Kinoptik 9mm T1.8
Kinoptik 12.5mm
Kinoptik 18mm T2.5
Kinoptik 25mm T2.5
Kinoptik 35mm T2.5
Kinoptik 50mm T2.5
Kinoptik 75mm T2.5
Kinoptik 40mm T2.5

995.00
950.00
595.00
495.00
450.00
295.00
450.00
550.00
450.00
325.00

C Mt. Lenses
Switar 10mm fl.6
Yvar 150mm
Yvar 100mm

350.00
300.00
249.00

167-805m

Angenieux 15mm fl.3
Angenieux 25mm f0.95
Angenieux 25mm fl.4
Angenieux 50mm fl .5
Angenieux 75mm f2.5
Angenieux 17-68mm f2.2
w/side finder

350.00
495.00
375.00
450.00
295.00
695.00

Pan Gnor 25-100mm f3.4

w/side finder

350.00

Berthiot 25mm

175.00

Miscellaneous Mt. Lenses

Angenieux 12-120mm Rex mt

995.00

Switar POE 16-100mm Bolex

bay mt
Angenieux 10-150mm T2.3
NPRmt

950.00
3500.00

Bodies & Accessories
Eclair NPR body (As Is)
Bolex EBM w/POE16-100mm
Arriflex SB body
Arriflex 16BL w/Angenieux

12-120mm, 400' magazine

Bolex SBM w/POE 16-100mm
Beaulieu RB16 PZ body w/
17-68mm
Bolex H16S w/Pan Cinor
& side finder
Arriflex SB w/Angenieux
12-120mm
Beaulieu 5008-S w/Schneider
6-70mm
Eclair ACL w/Angenieux

12-120mm, 400' magazine

Arriflex SB body (As Is)
Arriflex SBG body
Arriflex 400' magazine f/BL
Bolex 400' magazine
Arriflex 400' magazine f/S
CP 400' magazine
Arriflex 1200' magazine f/BL
Arriflex torque motor f/S
Bolex torque motor
Bolex EM motor w/AC power

supply
Bolex EM motor only (As Is)
Arriflex 35 constant speed
motor

Arriflex 16BL AC sync

motor

2000.00
1995.00

1950.00

6000.00
900.00
1500.00
900.00

Chicago, Illinois 60607

so

312/CAMERAS ext. 151
Toll Free: 800/33-HEUX
Fax: 312/421-1586

I've lit in

5247. So the decision

light source. This was the set that
gave me the biggest problems
thinking about it and it turned
long time. Suddenly I
nightmares, I could
sleep well again."
had

a

no more

If fluorescents

were

Va-

cano's sedative, then Arriflex
cameras were the caffeine he

2500.00

repeatable, that whatever camera
was available, we put it some¬

compromising quality, and you
can
stay at very low light levels.

where. 'Oh, there's another

But when

space, can we put a camera
there?"'
And why shouldn't Vacano be an Arriflex fan? "After

optical coming up things are
going to change dramatically.
"The key to blue screen is
that everything from the fore¬
ground to the background has to
stay in focus or you can't pull

count. We had so many

and

scenes

scenes

that

action

all," he says, "you have this guy
who grew up in Munich a few
blocks away from the Arri factory
of course he has always shot
with Arris! For many years there
were no Panavison cameras
available in Germany. Of course,
now there are many places to rent
Panavision. I'm a fan of Arri
cameras because if you work all

life with

special
of you.
And by the way, I own several of

your

a very

it becomes part

Vacano found that there

pieces of camera equip¬
ment that increased his ability to
respond to Verhoeven's call for a
moving camera - the Pee Wee
were

two

and Panther dollies. Vacano had
access to the new Panther dolly
for a full six months in Mexico

and grew to love
and down with a

it. "It goes up
finger tip," he

explains "even the camera opera¬
tor

can

control it. Positions and

be preset and stored.

an

down, but instead, you have to
a

much slower stock.

You have to

compensate two
stops for the slow negative, an¬
other for the longer lens, and two
more to
get the increased depth of
focus. That's five stops alto¬
gether, which means you have to
increase your

normal light level
by a factor of 32! On a blue screen
shot you wind up putting in ev¬
ery light you can find space for -
wherever there is a generator
with a few amps left - to try and

get a little depth of focus. I used

speed

47 for

filmstocks. "Whenever you

start

that the

film

pro¬

also

July 1990

have

have a fast stock to work with in
this situation so you can stop

It's smaller and more compact so
it can be used in especially tight
locations."
Not too surprisingly,
Total Recall was shot on Kodak
a new

we

have to have much more
depth of focus than you would
normally. With VistaVision you
need a longer focal length to get
the same angle of view. And with
that long lens, you have much
less depth of focus. You want to

595.00

thinking about

know

mattes off it. Which means that

400.00

can

we

you

switch to

850.00

149.00
50.00

very

though Kodak has
developed the 5295 stock espe¬
cially for blue screen. As it turned
out there were problems with 95,
so the lowspeed 47 had to be used
easy even

were un¬

that sometimes I lost

cameras

them."

5000.00
900.00
4500.00
550.00
450.00
350.00
200.00
900.00
325.00
425.00

was

for all the effects sequences.
"It's a bit of a strange
situation. The high speed stocks
are so wonderful now that
you
can use it on interiors without

needed to keep going and get the
job done. "We used so many

camera,

subject to your approval and prior sale.

310 South Racine Avenue

out to be one of the easiest sets

ject," Vacano allows, "you think
that maybe it would be a good
time to try a new filmstock.
Maybe you can get a new look for
your film. But then, of course,
whenever there are optical ef¬
fects, even just a few effects, the
optical houses insist on Eastman

-

Shipping & handling not included. Used equipment
sold

boxes so we had the height and
we could control all these nice
reflections. It seemed to continue
for miles and you didn't miss the

complete sequences with a
lot of special effects. The rest of
the time, I used 95 because 96 was
not available yet."
It's not surprising to find
cameraman

from Munich

prefers Zeiss lenses. Al¬
American Cinematographer - July 1990

Table of Contents for the Digital Edition of American Cinematographer - July 1990
