Lens Arri
Why are film camera lenses supported on metal runners?
Cameras like the Arri (for shooting celluloid) or Sony’s Cine Alta and other video cameras adapted for cinema (vs. TV) have what look like two metal bars that run under the length of the camera and lens. Is it just because film lenses are heavy and need extra support? And what is the contraption called?
Yes, they support adjustable lens shades and matte boxes.
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LOMO OCK 100 Arri Bayonet Bount movie camera arriflex 35mm lens $122.50 |
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Zodiak-8 3.5/30mm Fish Eye lens for Kiev 6C 60 Pentacon six adapt ARRI ARRIFLEX $420.00 |
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Arri Arriflex Zeiss Distagon Lens 70 to 80mm front step up ring for filter hood $99.90 |
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ANGENIEUX zoom 15-150mm f/1.9 T2 Super 16 C mount Cine Movie lens / ARRI RED $1,490.00 |
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KERN Vario switar Zoom 12.5-100mm f : 2 Lens for bolex EL Arriflex – Arri – RED $770.00 |
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Arri Arriflex Colcine 2X 35mm adaptor cine movie Lens for 35mm / PL RED $473.00 |
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80-200mm f2.8 zoom lens in ARRI PL mount RED Arriflex $790.00 |
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80-200mm f2.8 zoom lens in ARRI PL mount RED Arriflex $790.00 |
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80-200mm f2.8 zoom lens in ARRI PL mount RED Arriflex $730.00 |
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80-200mm f2.8 zoom lens in ARRI PL mount RED Arriflex $730.00 |
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80-200mm f2.8 zoom lens in ARRI PL mount RED Arriflex $690.00 |
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INNOVISION 16mm/Video PROBE 1 SNORKEL LENS SYSTEM – 2/3 Video, Arri, Nikon $2.25 |
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New Century Clairmont Swing Shift Lens System 4 Lenses Support Interface Arri $25,000.00 |
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Carl Zeiss 16mm 10-100 zoom Lens F2.8, arri aaton red one scarlet 2K PL adapter $488.00 |
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CARL ZEISS 16mm 10-100 1.8 Lens Arri Red One Scarlet PL mount adapter bundle $1,499.00 |
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LOMO Foton zoom lens for PL Arri Red $1,300.00 |
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Angenieux Cooke ARRI PL to Canon EOS C300 5D 1D 7D 60D T2i 60D lens adapter $130.00 |
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Lens Caps – Lot of 70 – for ARRI “B” Mount Lenses $129.00 |
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Arri 2C 35mm Camera and Extensive Lens Package $4,000.00 |
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Arri Bayonet Mount Lens to PL POSITIVE LOCK Adapter $149.00 |
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Arri Bayonet Mount Lens to PL POSITIVE LOCK Adapter $149.00 |
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LOMO F=22mm F2.8 Prime Cine Lens OCT-18 (Konvas 1M, ARRI, RED, Canon 5D, Lumix) $305.00 |
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Arri PL Mount Lens to Micro 4/3 M43 Adaptor GH2 GF2 EP2 $320.00 |
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Super fast Carl Zeiss Planar T* 50mm f/1.2 for Arri Arriflex 35mm PL mount $3,250.00 |
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Sup Fast Carl Zeiss Distagon T* 25mm f/1.2 for Arri Arriflex 16mm, 35mm PL mount $1,825.00 |
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OKS4-28-1 RUSSIAN LENS 2/28 NEAR ARRI PL MOUNT 35MM MOVIE CAMERAS $300.00 |
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OKC1-100-1 F=100 1:2 OKS LOMO MOVIE CINE LENS NEAR ARRI PL MOUNT FOR 35MM FILM $880.00 |
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OKC1-18-1 F=18 1:2,8 OKS LOMO WIDE ANGLE MOVIE LENS NEAR ARRI PL MOUNT 35MM FILM $400.00 |
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OKS1-200-1 RUSSIAN LENS 2,8/200 NEAR ARRI PL MOUNT 35MM MOVIE CAMERAS $380.00 |
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OKS1-300-1 RUSSIAN LENS 3,5/300 NEAR ARRI PL MOUNT 35MM MOVIE CAMERAS $480.00 |
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Cooke Speed Panchro 40mm f2 Ser II Arri-Std Arriflex standard mount $1,199.00 |
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COOKE 50mm LENS f1.8 ARRI RED EPIC ALEXA GH1 GH2 CANON SONY 4/3 LEICA PANASONIC $799.99 |
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Schneider-Kreuznach Arriflex Lens Set F1.4 16mm Wide Angle lens for DLSR ARRI $299.99 |
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LOMO 2/22mm T/2.3 lens OKS3-22-1 #800148, Arri PL mount for RED, Alexa, EOS etc. $499.00 |
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138mm Retaining Ring Lens Hood Tiffen & Cinema Products Lens GEAR ARRI EPIC RED $79.99 |
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ANGENIEUX zoom 15-150mm f/1.9 T2 Super 16 C mount Cine Movie lens / ARRI RED $950.00 |
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ARRI Arriflex Prime Lens Mattebox for 16mm S S/B Camera Schneider Zeiss Cooke $23.25 |
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BIOMETAR 2.8/120mm Carl Zeiss Jena lens for ARRI Red One Arriflex PL, EXC. $355.00 |
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Arri Arrisun 575w HMI PAR Lens Set with Case – Fantastic Condition! $102.50 |
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Vega-12 2.8/90mm Russian lens for ARRI Red One Arriflex PL EXC! $215.00 |
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8 Tiffen 4 1/2 4.5 85 Lens filter Arri Arriflex Aaton Red One Scarlet camera $149.00 |
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PL mount Biotar lens copy 58mm f2.0 for Redone,Arri film cameras and Sony F3 $389.00 |
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PL mount Biotar lens copy 58mm f2.0 for Redone,Arri film cameras and Sony F3 $389.00 |
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Adapter MICRO 4/3 Mount G1 GH1 GH2 GF3 G3 PEN – ARRI Arriflex PL Lens w/ TRIPOD $225.00 |
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@ CARL ZEISS Jena FLEKTOGON 65mm f/2.8 [Pentacon Six 65 50 ARRI Arriflex NEX] @ $279.00 |
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@ Canon FD 55mm f/1.2 S.S.C. [55 50 1.2 5d 7d GF3 G3 G1 GH2 NEX ARRI FS100 F3] @ $479.00 |
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@ CARL ZEISS Jena FLEKTOGON 50mm f/4 [Pentacon Six 50 NEX ARRI 5d 7d 60d 600d] @ $225.00 |
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@ Carl Zeiss SONNAR MC 180 180mm f/2.8 w/ ARRI Arriflex PL Mount F3 RED ALEXA @ $799.00 |
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@ Adapter MICRO 4/3 G3 GH2 GF3 GH1 G1 – ARRI Arriflex PL Lens w/ RODS SUPPORT @ $249.00 |
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@ *RARE* HELIOS 85mm f/1.5 [CYCLOP 85 1.5 M42 5d 7d 60d ARRI FS100 F3 NEX GH2] @ $499.00 |
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@ CARL ZEISS Jena FLEKTOGON MC 50mm f/4 w/ ARRI Arriflex Mount [F3 RED ALEXA] @ $579.00 |
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ELITE 2.8/100mm T/3.2 MACRO lens in Arri PL mount $2,750.00 |
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LOMO 2/100mm lens OKS1-100-1 in Arri PL mount, FF gear $950.00 |
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LOMO KINOR KONVAS 50MM OCT-19 MT ARRI RED PL 35MM MOVIE DIGITAL CINEMA LENS EXC! $400.00 |
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Carl Zeiss 10-100mm 1.8 Mark II T* Vario-Sonnar Macro Zoom lens in Arri bayonett $450.00 |
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Mir-26 3.5/45mm ARSAT lens for ARRI Red One Arriflex PL movie camera, EXC! $235.00 |
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ANGENIEUX ZOOM F 12-240mm 1:3.5 TYPE 20X12B ARRI LENS $549.99 |
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TAYLOR HOBSON COOKE KINETAL 25mm T2 f1.8 ARRIFLEX LENS FOR DSLR RED SCARLET ARRI $349.99 |
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Anamorphic Lomo Lens Adapter Attachment OST 18 to PL mount Arri Red One $219.99 |
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ARRI lens Support for 15mm Studio (100mmSp) for Matte box RED Scarlet Alexa EPIC $69.99 |
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ARRI lens Support for 15mm Studio (100mmSp) ROD Matte box RED Scarlet Alexa EPIC $69.99 |
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75MM SCHNEIDER ARRIFLEX CINE XENON F2 LENS ARRI Red Scarlet Epic DSLR $499.99 |
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25MM SCHNEIDER ARRIFLEX CINE XENON F1.4 LENS ARRI Red Scarlet Epic DSLR $299.99 |
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10MM SCHNEIDER ARRIFLEX CINE XENON F1.8 LENS ARRI Red Scarlet Epic DSLR $299.99 |
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ARRI ARRIFLEX CAMERA LENS SUPPORT GERMANY MINTY RARE $349.00 |
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ZEISS 8MM PRIME LENS FOR 16MM ARRI MOUNT ARRIFLEX LOW PRICE $1,195.00 |
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Arriflex 16bl 16mm Movie Camera 12-120mm Blimped Angenieux Lens $500.00 |
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Arri 650 Plus Fresnel Replacement Lens Part L4.79404.E $69.88 |
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OKC1-50-6 F2 50mm LOMO lens OCT-18 fr KONVAS 35mm camera & RED ARRI or dSLR 1980 $188.88 |
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SONNAR 4/300mm Carl Zeiss Jena lens – ARRI Red One Arriflex PL – EXC. $540.00 |
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*EX+* Arri Arriflex Zeiss Distagon T* 16mm f/1.2 Modified Sony NEX mount 16/F1.2 $1,800.00 |
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Canon FD 300mm F5.6 Lens For PL Mount Arri, Red $500.00 |
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ARRI 15mm Long Lens Support Rods NR ARRIFLEX $40.00 |
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CARL ZEISS DISTAGON 8MM FAST LENS ARRI RED / LOOK $2,950.00 |
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SLIDING CAMERA LENS SUPPORT BASE ACCEPTS 15MM RODS 60MM DSLR 5D GH2 ARRI RARE $295.00 |
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CARL ZEISS SONNAR 135MM PORTRAIT LENS ARRI GH1 PEN RED $1,095.00 |
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LONG CAMERA / LENS SUPPORT WITH HANDLES BROADCAST TV ARRI VINTEN SACHTLER LOOK $2,495.00 |
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LENS / CAMERA SUPPORT BRACKET 15MM RODS ARRI VINTEN SACHTLER / LOOK $198.55 |
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KILFITT GERMANY 135MM PRIME LENS 35MM FORMAT ARRI MOUNT GH2 PEN RED DSLR ZEISS / $1,325.25 |
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KILAR MACRO ZOOMAR 300MM LENS ARRI MOUNT GERMANY LUMIX PEN EOS RED DSLR LOOK! $1,895.25 |
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ANGENIEUX LENS SUPPORT RING ARRI GH1 PEN RED $129.00 |
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LENS / CAMERA SUPPORT BRACKET 15MM RODS 100MM ARRI VINTEN SACHTLER / LOOK $129.00 |
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VERY RARE ARRI MOUNT ADAPTER KILFITT LENSES LOOK $129.00 |
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RODENSTOCK HELIGON PRIME LENS 83MM F2 MADE IN GERMANY FOR ARRI 35MM VERY RARE $1,995.00 |
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Schneider Arriflex 18-90mm f/2 Variogon cine movie lens C mount 16mm Arri RED $552.00 |
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Brand New Zeiss Arri 180mm Ultra Prime Lens Feet Scale PL Mount Primes Lenses $20,000.00 |
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Angenieux Movie Zoom Type 15×10B 10mm-150mm F2-2.8 16mm Arri?Mount $854.99 |
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6 PL Mount Lens Covers for Arri Arriflex Alexa, Epic, Red One Camera $72.00 |
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Lens block LOMO OKC11-35-1 camera KONVAS kinor arri red $139.00 |
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Zoom Tokina F = 11-16/2.8 , full rehoused , PL mount ,ARRI ,Cine style $3,999.00 |
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Full Set of Optar Illumina Superspeed S16 lenses in Arri PL mount, used, exc $5,300.00 |
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ARRI Shift & Tilt Lens System Professional 35mm Cine Lenses PL Mnt – Used $65,900.00 |
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MC ZODIAK-8 3.5/30mm Fish-Eye ARSAT lens for ARRI Red One Arriflex PL camera EXC $495.00 |
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VAN DIEMEN 50mm T 1.4 Zeiss Distagon SUPER SPEED PL MOUNT ARRI LENS EPIC SCARLET $2,499.99 |
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ANGENIEUX zoom 20-120mm f/2.6 Type 6X20 L2 Arri Mount Cine lens 35mm Format RED $2,599.99 |
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LOMO 22mm CINEMA LENS PL MOUNT F2.3 RED ONE EPIC SCARLET ARRI – USA SELLER $499.99 |
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Tiffen Professional 4 1/2 Adapter & Wide Angle Lens Shade Hood Arri Red Epic $49.99 |
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Macro Adapter for ARRI Shift & Tilt Lens System – Used $450.00 |
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B4 Adapter for ARRI Shift & Tilt Lens System – Used $450.00 |
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16mm Zeiss MKIII Super 16 Lens Set MK3 Arri 4 Lenses $30,000.00 |
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Designer Contact Lens Case $7.29 Designer contact lens case – great gift idea. Case holds sturdy screw-top lens case and mirror. |
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Pet Contact Lens Cases $7.29 Amcon Pet Contact Lens Case is an animal lover’s dream lens case. The Pet Contact Lens Case features an image of your favorite animal, and is a durable case suited for travel. It features a screw-top lens holder on the interior along with a mirror for lens application. |
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Leather Contact Lens Cases $8.95 Amcon Leather Contact Lens Case is a stylish alternative to traditionally bland contact lens cases. Ideal for travel, the Leather Contact Lens Case is durable enough to carry around without worrying about spilling, and even comes with an interior mirror for lens application. |
Pulling Focus on Indian Kenyan Cinematographer Rajeev Jain ICS, WICA
Pulling Focus on Indian Kenyan Cinematographer Rajeev Jain ICS, WICA
Rajiv Jain decided he wanted to be a cinematographer at the age of 20 when he got the job as trainee under Late K K Mahajan. A college course in drama in Bhartendu Natya Academy, Lucknow fuelled that passion and now established as one of India’s most influential filmmaking exports. I caught up with the Indian Kenyan Cinematographer to talk about the pitfalls of creative partnerships, cat-like cameras and shooting Kalpvriksh – The Wishing Tree.
Finishing his college course Rajiv left Lucknow following the realisation – that “people in Mumbai would pay me for making films which I had been doing for free in Lucknow”. His breakthrough came as a result of a partnership with Late Mukul S Anand with whom he made several commercials including feature ‘Trimurti’, which is one of Rajiv’s rare Indian–shot projects.
Currently preparing for his fourth collaboration with director Manika Sharma; Rhombus Films’ ‘Kalpvriksh – The Wish tree’, the pair’s most recent collaborative effort brought about ‘Ayyo Paji’ which received huge critical acclaim. The duo has also worked together previously on the shorts’, Commercials and Music Videos. So what does Rajiv put the good partnership down to? “Friendship,” comes his reply. “If you get on with somebody and you both have common interests as far as visuals or storytelling are concerned then you tend to not want to look further a field because everything works for you both. Manika in particular is really loyal to the people she works with – as far as I know all of the HoDs she did ‘Kalpvriksh – The Wish tree’ with are still working with her today so she’s really into keeping people she respects and sort of trusts.”
That said Rajiv is aware of the possible downfalls of such loyalty in his business: “I’m sure Manika maybe would be keen to try another sort of Cinematographer to see how that would work out but sometimes it’s just pure comfort. I’m aware that loyalty is a dangerous thing in film making because you know you can sometimes get a little bit hurt if someone goes for somebody else – it’s very difficult for directors. And vice versa, it can be tricky in cases when I’m not available but would actually love to work with a certain director. It all comes down to the fact that there are fragile egos out there!”
The aforementioned ‘Kalpvriksh – The Wish tree’ belies Rajiv’s experimental, albeit naturalistic approach to cinematography. He strove to give the film a photo chemical look and shot the feature in 1:85:1. Unfortunately, very few people got to see that version as the film had to be reduced to 2.35:1, as Rajiv explains. “Most Indian Cinemas (Hindi Features) don’t project in 1:85:1 which is a pity because we really wanted that rectangular, almost television-like look. So basically we had to go through a digital process to reduce it to 2.35:1. It was funny because we ended up going through a whole digital process when all we wanted was to go the traditional way.”
This desire for a non-digital approach reflects a strong feeling for the time honoured method of shooting on film. When asked, rather rhetorically, if he prefers film or digital an expected reply issues forth, “Oh, I’m very much sort of a filmophile really. I’m struggling with the changeover to digital to be honest with you.” The reason? “I find it just a bit different – it’s not as satisfying to see the instant results from digital. You have to process it and really know your technology and I don’t have much interest, sort of knowledge, I guess.” A pause, “It seems we are all re-designing the wheel. I think Harris Savides put it very well in an interview after making ‘Zodiac’ – he was asked what it was like shooting on digital and he said it was like being one of the Wright Brothers and looking at your first plane flying and in the next field a jumbo jet landed and that was film because we are basically having to learn it all over again. There is no harm, I am a big fan of learning, but it’s just a bit of a shame that film is becoming a specialised medium, you know?”
Moving away from the theoretical side of things to the practical, what camera is he using at the moment? “I’ve come around to Panavision for when I’m shooting 35mm. It doesn’t really matter about the camera, I think, it’s more about the lens and Panavision lens are the best lens. They have cameras that are a little bit like an old American Chevy in that they are a bit big and are not the most ergonomic sort of cameras, but the lenses are fantastic and unbeatable in my opinion.” And when he’s not shooting 35mm? “16mm,” he tells us. “I see films and film and films …….. Panavision make beautiful cameras for operating whereas Panavision come from a studio system which isn’t totally geared towards operating. So for hand held operations Arri’s psychology is that their cameras are like having a cat on your shoulders, and that’s what they pride themselves on. They have come out with some very clever cameras and they’ve come up with the first camera that will be a 35mm camera and a digital camera at the same time.”
Alongside his preparation for ‘Kalpvriksh – The Wish tree’ Rajiv finished work on a “Carry on Pandu ” feature in January. The project is based on a real story about a Mumbai cop who ends up as a servant but who ultimately escapes. The crew couldn’t get into build sets to shoot the feature so they had to shoot in Mumbai locations instead which added an additional challenge. The eclectic mix of projects is rounded off by the news that last month saw him shoot a new music video for Indian Singer. “It was a good craic,” Rajiv tells us, “he’s in an old people’s home and he turns it into a disco so it was quite enjoyable actually.”
As to the rapidly evolving art of cinematography? “It’s a huge revolution at the minute,” he says, “I’ve just done my first work with a Canon D7 – everybody is shooting on those now which is quite a scary future in a way. I mean, it’s good scary, but at the same time it’s such a small camera it’s like an SLR, a little digital SLR camera.”
Rajiv Jain is one of India’s leading cinematographers. He shot his first feature Army in 1996 and his subsequent list of feature film credits include Pyar Mein Kabhi Kabhi, Badhaai Ho Badhaai, Kadachit, Meerabai Not Out, Aiyyo Paji, Rasstar, Kalp …
About the Author
Jude Ibinge is co-editor of Senses of Cinema’s SpecialIssue, film reviewer for The Melbourne Timesand ABC Radio, 774 Melbourne, and a freelance writer on film.
Handy "Sony" PMW-F3 Super 35mm camcorder announced, still not charged when Sony announced it was working on an "affordable" professional level 35 mm camera, knew it would be a very relative term. Now the company has finally unveiled the thing, but apparently still has not decided what it will be affordable. A price not yet set, said to be low enough to "indie" filmmakers and others who lack significant funding production house, but we have other details …