3d printed first draft, the final motor body will be cnc machined aluminium with aluminium control panel.

Price 650usd without mounting parts (but cad files for Kinor and ACL mounting parts are included) or 850usd with one set of mounting parts for either Kinor or ACL camera. Let me know in April2025 if wanting to order these, I will make one batch in May2025 to use the rest of the parts I have in stock and likely these won't be available later. DM here on the forum or on Instagram (aaplet14).

I’m running into a problem with very strong halation/blooming around bright artificial light sources like spotlights, practicals, headlights, etc. The glow can get pretty extreme. Since I’m a complete beginner, I’m not sure if this is normal for the lens/film combination, if something could be wrong with the lens coating, or if I’m doing something incorrectly.

Does anyone have tips on how to reduce it a bit?
Would using a different lens help, or is this mostly just the nature of the older Angenieux zooms? I’ve heard people recommend the Zeiss 10-100mm — would that make a noticeable difference?

Any advice would be greatly appreciated. Thanks!

Daniel

https://youtu.be/OvLNRM5aZ2g?si=KWB88pB5iqPtFOTi

This is completely anecdotal and hopefully not something that is widespread.

I lost one 2.8m segment of my shooting (the entire roll basically) on 500T AHU, but with the new plastic spools.

What happened was that the film "spaggethied" inside the camera (K3).

From my experience this usually happens (assuming loading is correct and without errors) when the take-up spool is not taking the film in the right way for some reason, some obstruction, or generally something preventing the smooth movement of the take-up system.

After doing approximately twenty tests with multiple daylight spools, both using the metal and older plastic ones, the culprit was the construction of the plastic spool itself and more specifically its straightness and how easy it was to release or take film - It kept "catching" on the outer edges of the spool. I tested with same film stock and all other variables were excluded,

This manifested with erratic "load out" when it was full with film stock. I know because the camera sounded weird when it was being used and clearly visible on my tests and a guaranteed blockage (spaghetti) when used as a take-up spool. I pulled the outer edges with a lot power and that seemed to mitigate the effect a little, but still this spool needs to go the garbage can.

The other thing that I have noticed is that the spool requires alot more force to insert and that means you need to be more careful, but at the very least this is not a real problem.

I've already used 400' of the new plastic ones without issue so, I hope it was a one-off.

I sent my report to Kodak reps in Europe.

Thankfully I was able to re-shoot the interview parts that were lost.

Recently picked up a CP-16R for a decent price here locally

I'm trying to remove the viewfinder optics housing (The one that is inside the body of the camera). It would appear that there are two socket-cap screws that hold it in place. I've removed both but it doesn't seem to free it from the body? 

I'm wondering if anyone has advice as i'd like to remove the haze on the internal surface of the optical flat that's there.

I'm finishing up a below-micro-budget, non-SAG feature that we've been shooting on Super-16 on and off for a couple of years, and we're down to our last production days. We're shooting the final weekends in New Orleans at the end of July and beginning of August.

I'm trying to track down a Super-16mm camera to rent in the New Orleans area for that window. I've shot S16 on an Aaton XTR Prod before and am comfortable on that body, but I'm open to any working S16 package — Aaton, Arri SR3, etc.

Does anyone know of rental houses, owner-operators, or fellow shooters in the Gulf South who might have a Super-16 body available (or who'd rent one out)? Reasonable rates appreciated given the budget. Happy to take it to DMs.
 

A week ago, I bought a 12V voltage regulator and tested the camera with three different V-Locks. The camera turned on and showed signs of life; sometimes the test sequence started, but the motor wouldn’t start.

I then went to test different 12V power plates, including one that runs on AC power. The technician managed to start the camera by manually turning the inch knob and then pressing start. In any case, it is extremely noisy, and you can tell it’s struggling.

When I contacted the seller, I received additional videos dated three days before the inspection was performed, in which everything worked perfectly but an original Gold Mount battery was being used. I am now trying to get in touch with the technician who specifically performed the test at the rental shop to ask for further explanation.

Could anyone help me with this? I can privately send videos showing how it operates in both situations. Is it possible that an Arriflex SR2 S16 HS, if modified years ago, would struggle with a standard regulator? Has anyone ever experienced something like this?

Thank you very much

These are NOT meant to individuals who only need one or two easy-to-install crystal motors as "out-of-the-box" solution. These are targeted for people who are designing their own line of camera accessories and want to integrate a readily available crystal controller module to ease the design process a lot and save a year or more of time and thousands of bucks on costs. The controller is integrated to the backside of the panel and one runs wires from it to a separately purchased factory made bldc board which runs the brushless motor drive. The controller uses 0-5V control line to adjust the motor speed. These are meant to be used with 14.4V batteries but 11V to 20V does work fine. I want to concentrate on making these controllers only but can help with arranging bldc boards and motor drives if needed, for example similar ones than my 4-speed motors use. 

Minimum order is 5 pieces of controllers at a time but preferably I would sell the controllers 10 at a time to get better pricing and can calculate good pricing for decent size batches. If wanting a ballpark of the pricing, these cost under 200usd a piece even if bought 5 at a time but one can negotiate a deal when knowing how many needed and when. 

Estimating the first ones could ship in September-October 2026 depending on if there is orders. I should be able to make these in 2027 too if there is demand but same minimum order amounts apply.

A bit of a background on how the whole thing started:

I have said this elsewhere in the forums, but I've been shooting digitally with various systems since the early naughts, film was always the preferred but the absolutely impossible for me choice - came close many-many years ago but not close enough.

Had a super 8mm Agfa camera lying around for quite some time till I pulled the plug last year and loaded basically all Kodak stocks except the b&w and the reversal ones. Results came out great but that only grew my desire to work on 16mm.

Unfortunately this is not 2017 where you could find an SR for three thousand euros.

So, I decided on a K3 with with an EF mount and an Ultra16 gate which arrived having the wrong flange focal distance, non polished gate, completely mistimed shutter and pieces of foam lying around. In retrospect, a Bolex EBM electric might have been a better choice.

Two wasted rolls (plus development and scanning) later, I fixed the camera, did a temporary inaccurate-idiotically-made flange myself and used other pieces of another run-down K3 I found for cheap, plus another catch-all gate that does both Ultra 16 and Super 16, I polished that one myself as well to be safe, a member of this forum helped me out on my initial journey, so thank you for this precious bits of initial help.

But...using a spring-loaded twenty-second-run camera with no sync-sound is nice within a very small confine of things I wanted (and still want) to do.

Fast forward a few months later, my Crystal sync K3 CLA'd and prepared by non-other than Monsieur Aapo Leitinen himself arrived in the mail.

The concept for my documentary has been building up for more than a year but the moving pieces starting falling into place the past summer. My initial intent was to shoot with my fuji XT-3 plus external recorder for ProRes in log, plus its own rig for its supporting functions etc. But in my mind it was, what if I could do the most irrational thing ever and just shoot with what I always wanted to shoot with: 16mm

But it would have to be with the K3 and sound should be live, the question was: Is this possible? 

Obviously the answer is no, but whatever...

My aim was to:

• Examine 50D for morning and evening shots when/where applicable.
• Examine utilisation of 250D FOR 60-70% of interviews plus b-roll.
• Examine 500T for some interior and all night shots
• 200T I tested prior to camera conversion to crystal sync and it didn't do it for me.
• Test Wolfen NC400 for a select few shots that would cover a specific context-based portion of the documentary
• The test for NC200 is already posted here separately but that stock is not formally available so it's unclear
• Test the new Verita Film stock if I can get my hands on it in the next two months.
• Test a few lens combinations:
  • Tokina ATX-PRO 24-80 2.8 F mount
  • Tokina 11-16 Cine T3 EF mount
  • Meike 25mm T2.5 EF mount
  • Nikon ED 80-200 F mount
• Test audio capture using both Lav and NTG mikes from Rode recording float32 audio.
• How loud is the sound in actuality and can I work with it? (Answer in part two)
• Check various configurations of the camera rig
• Make sure I can work nicely in handheld and tripod and switch quickly between the two
• Establish quick load/unload process and do it the same every time
• Shoot at least 1000' feet of film in a short period to establish consistency in operation.
• Explain why I haven't completely lost my mind to everyone around me.

Since we're keen on trains in this forum for some weird reason, here is a test of 50D with AHU backing on a Nikon F mount-based plus EF conversion mount on the Tokina ATX-PRO 24-80 2.8 with an ND16 at 35mm - stopped at  F5.6: Sound is live and synced.

I was actually surprised to find that 50D handled underexposure better than expected - (not in this clip) but I didn't  particularly like how that Tokina handles objects not in focus, and bokeh when present was unpleasing to me.

This is the camera plus configuration during shooting at different iteration levels:

I'm a film student in Manchester England who just bought at Pathe Webo Super 16 off eBay (1958?). It speeds and functions great, only thing missing is the beam splitter that goes in front of the film gate which allows the viewfinder to see through the lens. I am confident I can buy a replacement element, but I am concerned about the disassembly process and getting the right size splitter. There are only 4 screws to detach the front plate, but I have to go through the pressure plate and shutter to reach the beam splitter slot, and I don't want to misalign anything. Does anyone know where I can find the service manual for this camera so I can know what I'm getting into? The instruction manual is online but doesn't have precise info on the splitter dimensions or servicing steps. 

If anyone knows people in England who might now how to work on a camera like this please let me know too!

Thanks,

Anson Bickerstaff

Google Drive Folder - https://drive.google.com/drive/folders/10UOEQgLJGP1071jv8iN7Xb8R5MJtjcxz?usp=sharing

I was wondering if I could take a contact-printed 16mm colour positive (print stock) and blow it up to 35mm BW negative/ IN?

Contrast build-up aside, It should be possible right? The camera side of the Oxberry is seeing a colour image, just like if the same BW negative stock was in a film camera seeing a colour scene?

@Dirk DeJonghe@Robert Houllahandid either of you ever do something like this in your respective labs?

Apologies if this is the wrong place to post but I am looking for any leads on a reliable technician who is able to convert a Cinema Products CP-16R to Ultra 16mm.

I haven't had much luck Googling and scouring the forums as yet - most of the information is not current and many of the recommended technicians seem to have either retired or are no longer with us.

So far I have reached out to Du-All who don't offer this service, Visual Products who have not yet responded and a few others around Australia (where I am located) who are no longer doing these conversions.

Any information anyone might have would be greatly appreciated.

Thank you.

I have a question about my arri SR/SR2 magazine. I’m wondering what these white spots are. The inside where the film runs is clean.

The white spots only appear in the area shown in the photo. Could this be part of the paint? Or could it be mold or some kind of contamination?

Since I’m not sure what it is but if it’s not a serious problem, I’d like to use it.

Does anyone know what this might be?

Thank you!

I am currently working with a Bolex H16 reflex for a short film in my production class. My professor has told us that it has a 135 degree angle variable shutter and that we can use this to create in camera fade-ins and fade-outs, however, I was wondering if this particular technique (when the variable shutter knob is closed 1/4 or half way) would affect the motion blur of the image - making it more strobe-like. Or does it just cut out light? Let me know. Thanks!

I’ve finally managed to find a replacement display glass for my sr3- does anyone know how it’s held in? I assume glue? Anyone know the type or correct way to get it out and the replacement in? Thanks in advance

Will make a batch of these motors in October2026, it is already possible to order them and early preorders will get good discounts. Normal price is 850usd with shipping and dtap cable. camera specific mounting part kits sold separately or one can make them from the included cad files. all the 4-speed compatible mounting parts work with this new motor. 

Reference photos with temporary paper control panel. I am sending the black aluminium control panels to manufacturing later this month and will post more photos when receiving them back. 

This 50-speed design is kind of a hybrid of my 10-speed motor's footage counter and the crystal sync generator of my cp16r45speed system with the advanced crystal sync code of my 4speedV2 motor I am finishing next month. 

The control panel can be turned upside down and the rotation direction changed for using with different camera models. So it can be mounted to the left side of camera for ACL and to the right side for most other camera models. 

Works with 14.4v vlock batteries via dtap cable and up to 18v battery can be used if needed. Top speed will likely be 75fps 

photo-output.heic

I have a mint condition century 1.9mm fisheye that i would be willing to let go for the right price,

This lens is extremely rare

the issue is the take up knob is spinning slow and then quick, like its out of sync