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Thank you both for the reply and thank you very much Dom for all this great insight. It's very helpful. Could it be that my lens needs service? There is a ring just below the visifocus dial but it does not budge at all. Not even slightly. This B8 was in mint condition but in storage for decades. It needed a CLA to get the motor working again. I see multiple screws on the lens ring indicated below. 3 very small and 1 larger screw. This camera isn't a reflex camera so I'm not even sure how I would go about adjusting the focus without being able to see the results through the view finder. My Bolex P3 Zoom Reflex is definitely better when it comes to getting an accurate focus. I just love this B8 and really want to use this 36mm lens.

I've been cleaning out 60gb of 'stuff' squirreled away for the last 7 years. Almost done organizing it. Tonight I found this photo of Chuck Close in his studio by Lenore Seroka in the hoard . I first became aware of the late Chuck Close ages ago when I saw him on an early PBS show called Art:21. He was a very talented artist working in the photo realist style. Even after he became crippled up he would still produce fantastic stuff, maybe producing more art crippled than not crippled, don't know for sure. But sadly, TFPTB put him on the sht list after he told one of his models she had a delicious looking "privates." Well, after that Close was cancelled. Poor Close couldn't admire a gals privates and comment on how good they looked from his wheelchair. Now the art world debated whether to take his art down and they cancelled some of his upcoming shows. Close was very prolific...do a Google image search of his art if interested.

Hey Derick, Is this camera still available? If so I would love to purchase it from you. Can you send pictures?

Sounds reasonable. Depends what sort of time of day you might end up shooting. If you have the resources to fully tent the windows, great.

Hello... I want to selll my Alexa Mini LF that I bought in March 2021. I use for test only. The camera has only 39h. Contact: Pierre Sansoucy Email: pierresansoucy@yahoo.com So, I offer you between 4 packages: Package 1: Price: $49,000USD Link for picures: https://drive.google.com/drive/folders/1CcdDU5xn7skKhAz7ZgziEK2-V0lhobSk?usp=sharing Package 2: Price: $50,000USD Link: https://drive.google.com/drive/folders/1Zyhu_wrR1Xa-5gEUQp2TU15jNQLBH8Mg?usp=sharing Package 3: Price: $15,000USD Link: https://drive.google.com/drive/folders/1eoUbhHYPlthGQ2FBlGzf5c42M_hI21YP?usp=sharing Package 4: Price: $64,000USD Link: https://drive.google.com/drive/folders/1aOsMYO2RkPWpouwXTltmvmAgea-4rGM7?usp=sharing Alexa 01 ALEXA info

I mean if you shoot fine grain, nobody is going to notice. I punched in on the actual scan, rather than in post. It's also a 4k scan, what you're seeing is a 1:1 output from the 4k scan to 4k YouTube. Super 16 negative only hits around 2.5k of resolution, but 50D is a lot crisper than 250D. A LOT. If you want us to scan your film, that's what we do. We can do exactly what we did on ours. 🙂

Yeah, it's not like he grabbed a prop cell phone and handed it to an actor just to keep things moving. It's mothertrucking gun. It's heavy, deadly, gun. You're right, it seems like common sense was tossed out the window.

What Todd said. The take up spindle should automatically turn when you run the camera, but it has a clutch that allows it to slip as the film winds on and the diameter of the take up increases. If the lubricants in the spindle have dried out or gone gummy the spindle clutch will just slip constantly without turning. I’ve also come across cameras where graphite flakes from the motor have leaked into the mechanism and caused the drive belts to slip too easily. Either way, the camera needs a service. Sometimes a drop of oil around the spindle base can help a little, but it’s much better to pull the camera apart, clean it and relubricate it properly.

Most of the Kern D mount lenses for 8mm have focus rings as well as aperture rings, definitely the 36mm lenses do. The Visifocus scale is just a guide to help you work out your depth of field, but you need to set the focus to the correct distance. The only fixed focus lenses, from memory are a 5.5mm Pizar (which will have very deep depth of field because it’s such a wide angle) and a couple of Yvars in the normal range around 12.5mm. Fixed focus lenses are usually set to around 8 ft, with depth of field for a 12.5mm wide open giving you a focus range of maybe 6ft to 12 ft (I’d need to look up a DOF chart to be accurate). The more you stop down the more you can get some sort of focus on closer and further objects. But obviously you can only stop down if you have enough light, and with movie cameras you don’t have the luxury of adjusting shutter speed as a variable (without changing the filming speed which is usually not an option). A variable shutter only gives you a stop of adjustment. One thing you can do is unscrew a fixed focus lens from the mount (say half a turn) to make the lens focus closer. Or place a thin shim between the lens mount and camera mount (0.02mm to 0.05mm is all you need) to jack the lens out a bit but still have it securely screwed in. It’s possible some fixed focus lenses are not properly adjusted, if you find the focus isn’t set to mid-range distances. A lens tech can adjust them for you. If you want more focus control, then it’s probably best to invest in focussing lenses.

Ohh...Kay... Whelp, this is a weird one. It looks like you have the 120v synchronous AC motor. Again, I'm working from memory, but I seem to recall that this camera came with either the 12v governor motor or, as an option, a AC line voltage motor, and it looks like you have one of the later. That's not totally weird, since an AC motor was a fairly common option for both 16 and 35 mm cameras that were used in a studio setting in the 60's and 70's, since they gave better speed regulation and removed the need for batteries in an era when batteries kinda sucked. That being said, someone has clearly modified things after the fact, since that is definitely not OEM Arri wiring. I have no idea how the power is hooked up. My BL and every other one I've seen had a 9 pin connector mounted just aft of the motor housing. It's hard to tell from the photos whether your camera had this removed and the hole plugged, or whether there was never one there in the first place (although that right-angle piece on the rear plate looks suspiciously like the part that was used to mount the connector). Somebody has apparently bypassed all this, maybe to install a preferred connector I am pretty much at a loss here. I am unfamiliar with the 120V motor, but if it works, then maybe you can find someone to clean up the wiring and you can operate it off line voltage. You probably don't want to go experimenting with this motor until you get a more solid ID on it. You especially don't want to try putting DC voltage on it unless you know what specific kind of motor it is. Many types of AC motors don't have enough coil resistance to properly limit the current that flows through them. These motors instead rely on the inductance of the windings interacting with the line frequency to limit current to a safe level, and this scheme doesn't work with DC. Conversely, some motors are fine with either flavor, and are just as happy to run on AC as 120v DC. I have no idea which kind Arri used, but to me "synchronous" implies frequency dependent because universal motors tend to have a lot of phase slip. Also, just for reference, the preferred way to remove and reattach the motor in this camera is to remove the spur gear first. I don't know if it's just an urban myth, but Arri advised that the gear was less likely to be damaged that way. I honestly don't remember how I did it with my camera. To remove the gear you take out the screw in the shaft. Obviously, this means that you have to pull off the little plexiglass gear window. Be very Very, VERY careful when you put the window screws back in, it's really easy to crack the little mounting ears with excessive screw pressure. I cracked one of mine that way.

It’s being reported that the loaded gun was placed on an open cart where the First AD, Dave Halls, picked it up without either checking with the amourer if it was ok to take it or checking if the gun was loaded or empty. If true, he needs to be thrown out of the DGA and prevented from working in our industry again for violating the basic protocols of gun safety on set that he is directly responsible for. Also, the amourer needs to be disciplined for leaving a loaded gun out in the open where Halls was able to retrieve it unsupervised. It should have been unloaded in a locked gun box til it was time to use with all parties aware of the gun’s status including the actor who shares this irresponsibility. I mean really! Who in their right mind would ever point a gun at someone and pull the trigger if you hadn’t confirmed whether the gun was empty or not?? My God! This is common sense! Alec Baldwin absolutely shares the responsibility of Halyna’s death. G

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I'm looking for advice on shooting a conversation scene that takes place in the early dawn hours, when the sun is still behind the horizon and the exterior has a bluish look to it. The room it will be shot in has windows, so my initial thought was to put curtains on the windows to obscure the outside and then tent them from the outside. Inside the tent would be a daylight balanced soft box to make the curtain windows glow just enough to suggest that particular bluish light of dawn. The camera white balance would be set at around 3200. Is this a feasible and realistic lighting design, or are there other low budget techniques that would look better?

My lightmeter is telling me to set the fstop to 2.8 to get the correct exposure. If I set it to 20 feet away then I should be setting the fstop to F22 according to the Visifocus dial on the lens. I would assume my scene would be very under exposed if I did that.

Visoflex is just like any other depth of field scale, if your subject is 20 feet away aren't you setting the focus at 20ft?

Simply needs service

Hi Tyler, thank you for your response and for sharing this example. 1:85 is my favorite! So basically -- it's totally passable -- but what about technically? Do you not think the IQ is determined more by negative size rather than scan resolution? Like you are just enlarging grains once you reach the resolution limit?

Another shot of Klaw after he 'moved up' in size. Selection from Klaw artist's book by D.D.Teoli Jr. A.C.

You will never see the difference, especially with fine grain stocks. I've done a lot of testing cropping 16mm to super 16mm frame size and it's really not a big deal. The beginning of this is standard 16mm cropped to 1.85:1. You'd never know!

CAMERA ARRIFLEX + SCHNEIDER CINE-KREUZNACH SET aSKING PRICE : 6000 Euros / Location : Paris, France THIS KIT IS TESTED AND READY TO ROLL. The camera number shows it is one of the latest model, the body and the mags are in perfect condition, so as the lenses. This kit contains : - 1x Camera body ARRIFLEX 16 s + Matteboxe - 4x lenses + focal extender x2 : 16, 25, 50 & 75 - 2x 300ft Magazine (122 meter) - 1x 8 volt Battery + case - 2x Motors (1x 25fps motor & 1x Variable speed motor from 8 to 48 fps) - 1x Viewfinder extension - 2x Flycase All the material are like new, no sign of use (NO SCRATCH, NO TECHNICAL PROBLEM). The photo tripod in the pictures is not included in the kit. Here is some pictures of the hole kit, and multiple footage that i shot with it, it includes an audio sync shot with the 25fps motor : https://drive.google.com/drive/folders/15O28olFOoT8RYyXCPoNKTD2SjgrYUTBi?usp=sharing Here is the ebay link to the offer : https://www.ebay.fr/itm/144256898217

Hi everyone, What is the general consensus on quality loss when cropping 4:3 standard 16 to 1:66 but then scanning in 4k? Compared to shooting super 16? (in that case normally I just do 2k and output 1080 anyway)

Irving Klaw was the Pinup King and Bettie Page (sitting) was the Pinup Queen...of the 1950's. Selection from Daniel D. Teoli Jr. Burlesque & Stripper Archive

Hello everyone, First time posting on the forum. Thank you all for taking the time to read this. I've been experimenting and testing various standard 8mm cameras for the past 2+ years now. I recently acquired a Bolex B8 equipped with 2 lenses. One of these lenses has the Visifocus depth of field scale. I'm having a hard time understanding how to shoot these types of lenses because up until now all of my other cameras have had fixed focus lenses. I've come to realize I still have lots to learn on how to shoot and focus successfully with analogue motion picture cameras, especially with subjects moving towards the camera. I use a lightmeter app on my phone to calculate the proper exposure depending on the shooting speed and this has greatly improved my results over the years. My question is, if I'm shooting at 24 fps and the lightmeter app says i need an F-Stop of 2.8, but the Visifocus reading indicates the 'zone of sharp focus' is under 7 feet at 2.8, how am I going to focus on a subject that is 20 feet away? If i adjust the Visifocus dial on the lens to F22, zone of focus says 4-30 feet, then wouldn't the scene be under exposed? I give this example because thats exactly what happened to my footage. All of the scenes I shot with the 36mm lens at 2.8 are extremely out of focus but the exposure is correct. All the footage i shot with the other lens on the B8 looks ok. That lens is the Yvar 12.5mm f/2.5 fixed focus lens. Any tips on how to shoot and expose correctly with these lenses would be greatly appreciated. Thank you! Chris

Hey there, I recently purchased a bolex h16. Upon going to load some film I have found that the take up reel does not spin. I'm pretty sure I am doing everything correctly, but would like to ask the forum if someone has some knowledge of if I am doing something wrong, or how I can fix this. I have, what I believe is one of the 1st released of the h16 reflexes. Any advice would be appreciated.