Arriflex 16BL

[Thatcher Kelley]

I came across an old arriflex 16BL with the standard original motor.

first of all, does it do super 16 film or just 16.

 

also i assume that it cant really do sound because the motor isnt crystal sync. are motors still made or available for this camera that are crystal sync and can do sound?

 

What other suggestions would you have for fixing this camera up to use for 16mm productions?

 

-thatcher

[Chance Shirley]

As far as I know, 16BL cameras are very difficult to convert to Super 16, and I don't think any were built for Super 16 at the factory.

 

As for the sync issue, Tobin makes a really snazzy sync controller you can read about here:

 

http://www.cinematechnic.com/products/tcs/tcs_txm-27.html

 

I believe this Tobin unit works with most existing BL motors.

 

My first 16mm camera was a BL, and I loved it. Other than the non-Super 16 issue (and the weight -- they're a little heavy), I had no problems with my BL.

 

As for upgrades, you might want to consider getting one of the newer Zeiss zoom lenses if your BL has an Angenieux or an older Zeiss. There's some info. on the available lenses here:

 

http://www.cinematechnic.com/resources/arri_16bl.html

 

Good luck, and happy shooting...

 

- - - - - - - - - -

 

Chance Shirley

Birmingham, Alabama

Edited January 18, 2005 by chance

[John Sprung]

also i assume that it cant really do sound because the motor isnt crystal sync.  are motors still made or available for this camera that are crystal sync and can do sound?

<{POST_SNAPBACK}>

I'm surprised you found one without a crystal motor. When I was shooting with rental 16 BL's in the 1970's they were all crystal.

 

 

 

-- J.S.

[Nathan Milford]

As for upgrades, you might want to consider getting one of the newer Zeiss zoom lenses if your BL has an Angenieux or an older Zeiss.  There's some info. on the available lenses here:

<{POST_SNAPBACK}>

 

Good luck finding a blimp housing for newer zooms.

 

In my humble opinion the Arri 16BL is a pig. Get an Eclair NPR or better yet an ACL or save a bit and get an Arri SR or an Aaton 54LTR. These are more elegant and user-friendly cameras which come in S16 and are more easily convertable.

 

- nathan

[Thatcher Kelley]

the camera is actually one that I found at our film school. our school doesnt have many resources for film. its one of two film cameras that we have. we cant afford a new one, but I'd like to make this one work for a shoot that I am planning on in early summer. cost is the primary reason for using this camera. Id like to rent, however we will save a lot of money by fixing this camera up.

 

if anyone has any more suggestions for me, let me know

 

thanks,

Thatcher

[Patrick Neary]

they are pigs, but they're good pigs.

 

I had a "swan viewfinder" or whatever it was called (an extension that moved the stock finder up a little higher) and an Arri shoulder stock that made hand-holding much easier.

 

Also, practice loading the mags in daylight. The loops have to be pretty exact. And when you thread it, make REALLY sure the top loop doesn't push up against the top of the chamber (above the gate) during the exposure cycle, it can put two scratches right in the center of every frame.....Don't ask how I know that....

 

good luck with it!

[Frank DiBugnara]

I ran into someone once who said they owend a converted Super16 16BL. He mentioned that there were seven converted by the same person....so it can be done, but probably not cost effective. Also, I echo the idea of upgrading the lens...perhaps the most important thing you can do to improve the basic camera package. Even the old Zeiss is MUCH better than the old Angenieux.

Edited January 22, 2005 by FrankDiBugnara

[Rik Andino]

I echo the sentiment that you shouldn't purchase a 16BL

The investment is too costly for a camera that isn't S16 or easily convertable

And is not that popular or desirable in productions.

You're lucky if people will borrow your camera for free.

 

However if you like shooting standard 16

(And you have no plans of blowing up to 35mm)

The 16BL is great.

 

I like it better than an Eclair NPR,

it's more straight forward and sturdier

And provides fewer problems than the NPR.

 

It's also way better than a CP16

The threading is straight-foward and the system functions like all other Arris.

 

Loading the mags can be a bitch though

It takes skill and time and most important patience

But once you've master the technique it's a snap...well usually :rolleyes:

 

But anyways a camera is a camera

And besides the question of aspect ratio (16mm or S16mm)

and other than whether it runs properly

The two most important variants for your image quality are...

The film stock and the lens

So whichever camera you have doesn't matter

As much as what film you use and what lens

 

Even a pig of a camera (like the 16BL) can provide beautiful footage.

 

(I use copyright that sentence :) )

 

 

 

 

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