Posted by anargyro on 06/13/06 04:54

A SUMMERY OF THE ADVANTAGES OF TECHNISCOPE ARE AS FOLLOWS;

1) The cost of the camera negative is halved, and therefore, the
processing costs are also
halved.

2) The ease and efficiency of shooting "a 'scope picture" but with
normal spherical lenses.
A wide range of high-quality, spherical prime and zoom lenses, can
be utilized. These are
generally much lighter and faster than anamorphic lenses, and are
more readily available.

3) A better standard of image sharpness, and greater depth of field,
is achieved through
the use of lenses of shorter focal length.

4) It is possible to film for twice as long without reloading.
Negative wastage is also
reduced because 'short ends' are longer and hence more 'useable'.

5) Camera noise is reduced due to the fact that less film is moved
through the transport
mechanism.

6) A saving on the extra cost of hiring anamorphic lenses.

7) Techniscope allows for the extraction of a variety of 35mm and 16mm
prints in both
standard and anamorphic formats. The most common are: [A] the
standard 2:1
squeezed anamorphic print with a 235:1 aspect ratio; [B] standard
masked prints
1.66:1, 1.75:1, and 1.85:1; [C] 16mm prints and HDTV.
_____________________________________________________


Our company has for sale an entire Techniscope production and
post-production package dedicated to wide-screen film making

Now that Eastman Kodak has developed a whole new line of super
fine-grain
(but very pricey) emulsions, a number of knowledgeable filmmakers
are
taking another look at the savings inherent in Techniscope half-
frame production techniques. With this lightweight equipment, a
producer
can undertake wide-screen
projects and generate considerable savings at both production and
post-production stages.

The package our company is selling is in mint condition and
contains other
money saving innovations such as 35mm Moviola for editing
Techniscope in
half-frame work-print and a double-system projector to screen it in
the
same mode. Once picture is locked, one can look to make a 35mm
four-perforation duplicate negative that can be either in the
1.85:1
spherical format or the very wide 2.35:1 anamorphic format of
Cinemascope.
Even the most discerning professional eye most likely will miss
that
origination was executed in the economical half-frame mode of
Techniscope,
not in the common and costly manner of four-perf. production.

Be assured that the price of this package is well below what it
would cost
to duplicate in today's market.

This Teckniscope package is located in central California. If you
have any
questions regarding the Techniscope process or wish to make an
arangement
to examine the equipment, please email: anargyro@mbay.net


Sincerely,

A.H. Cominos

____________________________________________

F O R S A L E

35mm ARRIFLEX II-C Techniscope Camera Package and Assorted
Equipment


This entire camera package is in mint condition, having
been used
only for some special-photographic effects
footage on two commercial productions:



1 Special 35mm Arriflex II-C Techniscope camera
manufactured
by Arnold & Richer K.G. of Munich. It is equipped with
three-
lens turret, variable shutter, synchronous
(governor-controlled)
12 volt D.C. motor and two power cable, orientable
view-finder
(with extra ground-glass etched in 2.35:l Cinemascope aspect

ratio), a leather-bellows matte box with filter slots,
plus a leather
shoulder strap used for hand-held shooting or carrying
camera. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>$9,500

1 12V D.C. variable (0-50 fps) motor with two battery-power
cables. >>> $1,290

5 35mm Arriflex IIC film magazines (400 ft. film capacity) @
1,450 each> $7,250

8 Prime lenses with Arriflex mountings and filter rings.
They are a matched set that ensures image acuity and color
control under every lighting situation.



Techniscope negative destined for blow-up to four-perf. dupe
negative.

18mm T/2.2 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>> $1,100
25mm T/2.2 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>> $ 850
32mm T/2.3 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>> $ 850
40mm T/2.3 Taylor Hobson Coode lens
>>>>>>>>>>>>>>>>>>>>>$ 975
50mm T/2.3 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>>> $ 975
75mm T/2.3 Taylor Hobson Cooke lens >>>>>>>>>>>>>>>>>>>>> $1,250
100mm T/2.8 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>>>>$1,400
152nn T/2.8 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>>>> $1,675


2 These special Kilfitt lenses are primarily used in
controlled macro-cinematography
on locations and in studios.

40mm F/2.8 Kilfitt Macro-Kilar lens
>>>>>>>>>>>>>>>>>>>>>>>> $ 875
90mm F/2.8 Kilfitt Macro-Kilar lens
>>>>>>>>>>>>>>>>>>>>>>>> $1,150


2 Novoflex telephoto lenses with instant, pistol-grip
focusing...these lenses
have long been favored by cinematographers doing
documentaries and
nature films having fast moving subjects. Both lenses have
Arri and Nikon
interchangeable mounts.

400mm F/8.0 Novoflex telephoto lens
>>>>>>>>>>>>>>>>>>> $ 900
600mm F/11.0 Novoflex telephoto lens
>>>>>>>>>>>>>>>>>>> $1,175


1 135mm F/4.0 Zeiss Sonnar lens
>>>>>>>>>>>>>>>>>>>>>>>> $ 400


9 Assorted series of Wratten 85 dis filter for use with
above lenses >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
NC

1 Angenieux 25mm/250mm zoom lens with Cinema Products zoom
motor, joy stick, mounting bracket,and Angenieux 2X

extender that increses this lens to 50mm/500mm focal
lengths, plus
Arriflex and BNCR Mounts for above lens
>>>>>>>>>>>>>>>>>>>>>>>> $2,500


1 Arriflex lens cradle for the 25/250mm zoom lens that
provides a stable,
balanced platform on the tripod and can be extended for
longer focal-length lenses.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> $ 600

1 Heavy-duty Ronford fluid head and tripod with double-plex
metal lengs and carrying boot
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> $1,450


1 Double-plex Baby legs for above Ronford fluid
head. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
$ 400


1 Arriflex high-hat for mounting Arriflex IIC camera to any
tripod >> $ 200


1 35mm Moviola picture/sound editing machine, modified to
edit half-frame
Techniscope footage, thereby saving costs on full-frame
work print blow-ups
and other post-production steps.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> $3,400

1 35mm A.V.E. (Shinkyo) double-system picture/sound
projector for running
dailies and work-
prints at various stages of post-production work.
Projector is on rollers,
employs incandescent light source, and has 2,000-foot
reel
capacity for both picture and sound.
>>>>>>>>>>>>>>>>>>>>>>>>>>>> $2,700




A SUMMERY OF THE ADVANTAGES OF TECHNISCOPE ARE AS FOLLOWS;

1) The cost of the camera negative is halved, and therefore, the
processing costs are also
halved.

2) The ease and efficiency of shooting "a 'scope picture" but with
normal spherical lenses.
A wide range of high-quality, spherical prime and zoom lenses, can
be utilized. These are
generally much lighter and faster than anamorphic lenses, and are
more readily available.

3) A better standard of image sharpness, and greater depth of field,
is achieved through
the use of lenses of shorter focal length.

4) It is possible to film for twice as long without reloading.
Negative wastage is also
reduced because 'short ends' are longer and hence more 'useable'.

5) Camera noise is reduced due to the fact that less film is moved
through the transport
mechanism.

6) A saving on the extra cost of hiring anamorphic lenses.

7) Techniscope allows for the extraction of a variety of 35mm and 16mm
prints in both
standard and anamorphic formats. The most common are: [A] the
standard 2:1
squeezed anamorphic print with a 235:1 aspect ratio; [B] standard
masked prints
1.66:1, 1.75:1, and 1.85:1; [C] 16mm prints and HDTV.
_____________________________________________________


Our company has for sale an entire Techniscope production and
post-production package dedicated to wide-screen film making

Now that Eastman Kodak has developed a whole new line of super
fine-grain
(but very pricey) emulsions, a number of knowledgeable filmmakers
are
taking another look at the savings inherent in Techniscope half-
frame production techniques. With this lightweight equipment, a
producer
can undertake wide-screen
projects and generate considerable savings at both production and
post-production stages.

The package our company is selling is in mint condition and
contains other
money saving innovations such as 35mm Moviola for editing
Techniscope in
half-frame work-print and a double-system projector to screen it in
the
same mode. Once picture is locked, one can look to make a 35mm
four-perforation duplicate negative that can be either in the
1.85:1
spherical format or the very wide 2.35:1 anamorphic format of
Cinemascope.
Even the most discerning professional eye most likely will miss
that
origination was executed in the economical half-frame mode of
Techniscope,
not in the common and costly manner of four-perf. production.

Be assured that the price of this package is well below what it
would cost
to duplicate in today's market.

This Teckniscope package is located in central California. If you
have any
questions regarding the Techniscope process or wish to make an
arangement
to examine the equipment, please email: anargyro@mbay.net


Sincerely,

A.H. Cominos

____________________________________________

F O R S A L E

35mm ARRIFLEX II-C Techniscope Camera Package and Assorted
Equipment


This entire camera package is in mint condition, having
been used
only for some special-photographic effects
footage on two commercial productions:



1 Special 35mm Arriflex II-C Techniscope camera
manufactured
by Arnold & Richer K.G. of Munich. It is equipped with
three-
lens turret, variable shutter, synchronous
(governor-controlled)
12 volt D.C. motor and two power cable, orientable
view-finder
(with extra ground-glass etched in 2.35:l Cinemascope aspect

ratio), a leather-bellows matte box with filter slots,
plus a leather
shoulder strap used for hand-held shooting or carrying
camera. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>$9,500

1 12V D.C. variable (0-50 fps) motor with two battery-power
cables. >>> $1,290

5 35mm Arriflex IIC film magazines (400 ft. film capacity) @
1,450 each> $7,250

8 Prime lenses with Arriflex mountings and filter rings.
They are a matched set that ensures image acuity and color
control under every lighting situation.



Techniscope negative destined for blow-up to four-perf. dupe
negative.

18mm T/2.2 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>> $1,100
25mm T/2.2 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>> $ 850
32mm T/2.3 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>> $ 850
40mm T/2.3 Taylor Hobson Coode lens
>>>>>>>>>>>>>>>>>>>>>$ 975
50mm T/2.3 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>>> $ 975
75mm T/2.3 Taylor Hobson Cooke lens >>>>>>>>>>>>>>>>>>>>> $1,250
100mm T/2.8 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>>>>$1,400
152nn T/2.8 Taylor Hobson Cooke lens
>>>>>>>>>>>>>>>>>>>>>> $1,675


2 These special Kilfitt lenses are primarily used in
controlled macro-cinematography
on locations and in studios.

40mm F/2.8 Kilfitt Macro-Kilar lens
>>>>>>>>>>>>>>>>>>>>>>>> $ 875
90mm F/2.8 Kilfitt Macro-Kilar lens
>>>>>>>>>>>>>>>>>>>>>>>> $1,150


2 Novoflex telephoto lenses with instant, pistol-grip
focusing...these lenses
have long been favored by cinematographers doing
documentaries and
nature films having fast moving subjects. Both lenses have
Arri and Nikon
interchangeable mounts.

400mm F/8.0 Novoflex telephoto lens
>>>>>>>>>>>>>>>>>>> $ 900
600mm F/11.0 Novoflex telephoto lens
>>>>>>>>>>>>>>>>>>> $1,175


1 135mm F/4.0 Zeiss Sonnar lens
>>>>>>>>>>>>>>>>>>>>>>>> $ 400


9 Assorted series of Wratten 85 dis filter for use with
above lenses >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
NC

1 Angenieux 25mm/250mm zoom lens with Cinema Products zoom
motor, joy stick, mounting bracket,and Angenieux 2X

extender that increses this lens to 50mm/500mm focal
lengths, plus
Arriflex and BNCR Mounts for above lens
>>>>>>>>>>>>>>>>>>>>>>>> $2,500


1 Arriflex lens cradle for the 25/250mm zoom lens that
provides a stable,
balanced platform on the tripod and can be extended for
longer focal-length lenses.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> $ 600

1 Heavy-duty Ronford fluid head and tripod with double-plex
metal lengs and carrying boot
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> $1,450


1 Double-plex Baby legs for above Ronford fluid
head. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
$ 400


1 Arriflex high-hat for mounting Arriflex IIC camera to any
tripod >> $ 200


1 35mm Moviola picture/sound editing machine, modified to
edit half-frame
Techniscope footage, thereby saving costs on full-frame
work print blow-ups
and other post-production steps.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> $3,400

1 35mm A.V.E. (Shinkyo) double-system picture/sound
projector for running
dailies and work-
prints at various stages of post-production work.
Projector is on rollers,
employs incandescent light source, and has 2,000-foot
reel
capacity for both picture and sound.
>>>>>>>>>>>>>>>>>>>>>>>>>>>> $2,700

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