Arri Sr2

[D_and_G]

It's been awhile since I've been in the market, but what does an ArriSR2 go for today?
By itself, or as a package?

I checked ebay, but didn't see any reccent auctions, and some preliminary research just gets me rental prices. Any help, or experience with the camera would be appreciated.


PS- How do you think it compares to the Aaton A minima?

[D_and_G]

Oops. I just checked rosestars - www.thepowerbroker.com - link in the 35mm post.
It has some used Arrisr2 packages for around $19,000. So that's one question answered.


If anyone has a comparison between the Arrisr2 and Aaton Aminima, please tell.. :)

[baquajim]

check out visualproducts.com

[PDX_DVX]

Isn't the a minima alot smaller than the srII?

[taubkin]

And probably a lot more expensive. But I thought the A-Minima was a 35mm cam...

EDIT- But I was way off, it's super 16...

[D_and_G]

check out visualproducts.comThanks for the link.

The only thing that bothers me about the A - minima is the specialized loads, and film designed for it, and it alone. What if kodak stopped supporting it?

At least with the Arri, you could go to Fuji, and I expect super16 to be around for a while so I doubt you'd be worrying about market forces predicating abandoning the format. Especially since there is renewed interest in using super16 for indie movies, with a decent budget ("Never Die Alone", and "She's gotta Have it", for example).

I've heard good things about the A-Minima, but there are questions and concerns.
As far as I know the ArriSR2 is bullet proof. The SR3 is so sexy it's a crime.:)

[PDX_DVX]

I have seen SR2's used in some harsh climates- like in the snow filming skiing, in the woods filming biking. So no doubt they are bomb proof. Watch any of the newer warren miller ski films, and you are destined to see one somewhere.....

[Rosestar]

There really is no comparing the SR2 to the A-Minima. The A-Minima is a specialty camera, great for 2nd unit shots or for where a low profile is needed. The SR2 is (can be, with the right accessories) a full blown synce sound prodution camera. There is a wide variety of lenses available as well as every accessory you can imagine. I love the SR2 and if I had the cash, would buy one in a heart-beat.

[taubkin]

Besides, the Arri SR are the best looking cameras around. No contest on that.

[PDX_DVX]

Oh yea, if you're holding one or even standing by one on a tripod you are bad ass for sure.

[Scott_Spears]

The Arri SR line are built like tanks and are very reliable. I own an SR I and it's been great for me. Although, I'm about to sell it because I picked up an Eclair ACL converted to Super-16 off Ebay for cheap.

SR II go for between $11,000-$20,000 depending on the lenses and accesories that come with them.

As somebody else said, check out www.visualproducts.com

Scott

[Rosestar]

Besides, the Arri SR are the best looking cameras around. No contest on that.

I have a personal affinity for a fully tricked out Arri 35 BL-4 as far as looks are concerned (even compared to the Panavision cams, I like the co-ax mags), but you have to give the 16 SR series their due. I tip my hat to the original German designers, who obviously have Bauhaus roots. The original design parameters for the SR was for a silent 16mm production camera that could fit in to an airline carry-on case... they met that brilliantly.

[abalex]

you guys are funny!!

[Rosestar]

you guys are funny!!

Hey, I dig good industrial design... If you've got a minute, I will describe the Art Deco influences of the 1937 Electrolux cannister vaccum cleaner....

Wow, I need to get out more......

[J.R. Hudson]

It is a damn good looking vacuum cleaner :thumbsup: :shocked:

http://www.tekniskamuseet.se/arkivbilder/M/DIG236_M.jpg

[David G. Smith]

Now who needs to get out more?!! :thumbsup:

[Erik Olson]

This is how I roll...

http://www.panavision.com/publish/2004/05/18/16mm.jpg

I love Elaine. Love her. Zeiss UltraSpeeds
Cookes and Panavision Primos. Rent, shoot
and love Elaine when need Super 16mm -
why buy when you can rent the best?

e

[monte]

Exactly!

Btw - what camera is that exactly - it's specifically for 16mm?

[Erik Olson]

Elaine. That is Elaine. Google Elaine and you'll get this...

http://www.makeupbyjulie.com/images/Home/ELAINE%20SWIMSUIT%2072%20DPI%20PHOTO%20BY%20DAVID% 20NATIONS.jpg

Nice, but not the Elaine I was looking for... here she is...

http://www.panavision.com/publish/2004/05/18/16mm.jpg

This is Panavision's 16mm / S16mm (http://images.google.com/imgres?imgurl=http://www.panavision.com/publish/2004/05/18/16mm.jpg&imgrefurl=http://www.panavision.com/product_detail.php%3Fmaincat%3D1%26cat%3D72%26id%3 D28%26node%3Dc0,c154,c155,c156&h=262&w=262&sz=14&tbnid=xmzphc-XaXUJ:&tbnh=107&tbnw=107&hl=en&start=1&prev=/images%3Fq%3Dpanavision%2B16mm%26svnum%3D10%26hl%3 Den%26lr%3D%26safe%3Doff%26rls%3DGGLD,GGLD:2004-43,GGLD:en%26sa%3DN) reflex
system, commonly referred to simply as "Elaine".
Like I said, I have a somewhat naughty relationship
with this camera and the wonderful glass you
can stick on the front of her.

e

[Pointand Shoot]

Wow, I haven't seen that camera in a while.

I had the opportunity to use one from Panavision in Wilmington on a shoot (before they shut down). It was kind of like duck hunting with main gun on a Abrams tank. I guess if you never want to hand hold, or have a getish for gear-head tripods, she's great. I think cameras which are more stealthy are much more practical. I'd take the A-Minima and a set of Zeiss primes over that beast anyday - but that's just me. The Elaine (and all the bells and whistles from Panavision) can make some beautiful pictures.

I guess I'll go ahead and be a trouble-maker in this thread. I think the SR series are some of the most overrated cameras in filmmaking. Sure they are built like tanks, but most lack features included in the Eclair NPR or ACL (which pre-date them), and they are ridiculously overpriced. I say this having owned one. Like someone mentioned above, I sold it and replaced it with an S16 Eclair for about 1/4 of the price. The Eclair is just as quiet (maybe more), offers more speeds, an adjustable shutter, and is comfortable to hand-hold. Why anyone would spend $20K for an SR2 package, is beyond my reasoning.

The A-minima is a specialty camera, but you can do anything with it. It's quiet, and fine for any sound production. It offers all the amenities of any fully loaded production camera. Anyone who says otherwise hasn't used one. I guess the big drawback is the fact that the mags take special loads (not all stocks are available), are only 200', and are slow to replace and thread.

[j]

Not to mention the non-orientable viewfinder.

-j

[taubkin]

Sure they are built like tanks, but most lack features included in the Eclair NPR or ACL (which pre-date them), and they are ridiculously overpriced.

Yeah, but, c'mon, the eclair is horrible as a goat!

All I want is to look good... Film is too expensive anyway... :cheesy:

:beer:

[Mike Parker]

If I ever win the lottery or manage to get my color printer to turn out perfect $100 replicas, I'm going to buy an aaton XTR Prod. I really think the aaton's are THE sexiest 16mm cameras out there and have been in love with them ever since I put a LTR 7 on my shoulder back in the early '70's.

What would I do with it? I'd walk around South Beach and let it be a babe-magnet. When I wasn't doing that, I'd mount it on a pedestal in my living room with mini spotlights on it.

Sigh...

[taubkin]

I'd mount it on a pedestal in my living room with mini spotlights on it.

Do I hear HMI Dedolights?

The Aatons really do look great!

[CharlesPapert]

Overlandfilms, you'd probably be dead jealous of the original Elaine poster that I have framed in my office--bought it in the mid-80's from Panavision; it's signed to me from Elaine herself (not that I knew her) and it's got great graphics. And no, ya can't have it!

I do have to say--it was a clever piece of gear in its time, and the Pana-engineers were able to use the advancements within in their next effort, the Platinum--but other than that historical tidbit, I can't call myself a fan in this day and age. I find the viewing optics undersized and dark, the camera itself is a real pig for handholding or Steadicam (I've hauled 'em around on episodic series, but not for a while), and in light of the SR3 and the XTR Prod, it's hard to make a case for it...especially since you can mount up some great modern glass on those cameras (Ultra primes? S4's? etc). But listen, to each his own.

If I had to pick between Arri and Aaton, I think I'd probably give the nod to the SR3 (I don't have any beef with the SR2, it's kind of nice and simple, but it better have a late-model video tap on it or else). The Aaton is a solid camera but the accessories can be a bit finicky and funky. The fiber-optic viewfinder is great for handheld but once you start to get into the longer eyepieces, it starts to lose some charm--the long eyepiece is actually the one from the Aaton 35-3 and it will eventually trash the bayonet mount under its own weight. (I spent 2 years with the XTR Prod on "Scrubs"). So for me, for a big handheld show I'd go XTR, but for a mixed or primarily studio-style shoot I'd go SR3.