16MM advice - Arriflex, CP 16R etc.

Stuart C · March 3, 2005

Hi All,

I'm planning on shooting a 6min short later this year and it will be the first time I've worked with film (with the exception of quite a bit of Super 8 over the years). I'm hoping to get some advice from you all in coming weeks. I am coproducing / directing the film and will have a separate DOP. I will eventually discuss all of the below with him/her but just seeking a few answers in the interim.

I have access to either an Arriflex 16BL or a CP 16R. I am unfamiliar with the BL but have viewed quite a bit of vision that was shot on a CP, care of the news footage library where I work.

I've looked at other posts on this site, discussing the diffculty of loading these two cameras. And the weight of the BL seems to be an issue.

So my question is- if you had the choice between these two cameras for a shoot which would you pick?????

A bit about the film. I expect we'll shoot 100% on tungsten stock. For one shot i want to film an actor riding a pushbike, and plan on doing an MCU tracking shot looking back as he rides along (I'm hoping to modify another pushbike to allow a camera operator to sit in a seat on the back of the bike and film facing backwards- if this makes sense). There will also be some handheld work ( i suspect the BL may be a problem for this).

Also, any tips regarding unused film stock. Let's say we've finished shooting for the day and there's still 100ft of film left in the mag. Is it ok to leave until the following day and resume shooting? The following week? What if the production is finished? Do I need to use up the roll or is there a method of separating the exposed from the unexposed? Is it better to buy 100ft rolls instead ? Am i right to assume you can put a 100ft roll in a 400ft mag?

One last question- how long does a battery usually last for one of these cameras ? (I appreciate there is variation due to age, wear etc. but roughly how many batteries would be required to shoot one 400ft roll?)

As a means of reducing a film budget- what are your thoughts on using a non sync camera (eg. a Bolex) to shoot scenes not requiring sync sound and a different sync sound camera (eg. an Arri SR II) to shoot scenes that do require sync sound? Is this done very often? Will the footage look incredibly different or can it be adjusted in post to match? In short, is it a bad idea?

Also keen to hear from any DOPs in Sydney, Australia who may be interested in being a part of this film.

Thanks,

Stuart

Rik Andino · March 4, 2005

I answered this in the 16mm forum.

You should only post one thread in the site...

This just confuses people.

Justin Marx · March 8, 2005

Your DP should answer the question about the camera.. It seems you know more about he CP-16R, so go with what you know. It's a good handheld camera. It's no ARRI 235, but for it's age, and your choices, it's probably your best bet.

Loading the mags for the camera are not hard if you take your time to learn what you are doing.. Threading the camera is the same, if you take your time and know what you are doing you will be fine.. If you have never done it before, see if you can get a dummy roll of film (a small roll of exposed or old film) and practice threading the camera and the magizine with that.. If you cant do that, you should quit while you are ahead and hire someone who can..

Tungsten Filmstock: Make sure if you are shooting outside and in bright daylight that you have an 85 filter and a set of ND FILTERS (. 3,. 6,. 9., 1.2). You can also get 85ND filters if you don't have the space in your matte box for more than a few filters.. Get yourself a POLARIZER too..

FILM ROLL SIZE:

Yes you can keep unexposed film in the magizine overnight. Exposed film should be canned out at rap. (IN your darkroom or TENT)

You can also take the unexposed film out of the magazine and put it in a spare can/bag (make sure you do this in your darkroom or tent) and save it for months and even a year or so..

Good luck..

- - Justin

Jeremy · March 8, 2005

The BL is a tank, but you can do handheld work with it... just make sure your DP agrees to it beforehand.

March 8, 2005

I was watching the DVD of Christopher Nolan's "FOLLOWING" (a great no-budget movie) last night and listening to the director's comments track. He shot all of his sync scenes using a BL, and mentioned specifically that the noise of the camera was a problem, and that they had to electronically filter the camera noise for those scenes.

I have a CP/R and think it's a quiet camera as long as it has good belts and is in good tune. However, what noise this camera does make shoots right out the lens. I have a lead-lined blimp for the camera body and mag but it does nothing to reduce the noise escaping from the lens.

Ed Nyankori · March 9, 2005

Id say between the two cameras the cp is more user friendly; if you aren't to heavy on experience but the question Id ask as the dp if posed the question is what lens(es) are available for each camera. Personally i hate the Angeniuex lens that came with the cp-16 (12-120mm) but i work with a dp that has a prime set for his and its been converted to super 16 so Id pick that before a SR1 with a crappy lens. Really its about the lens and to be honest Ive never shot the BL but Ive gaffed and key gripped for it and I think its superior to the cp-16, "out of the box".

Anyone have an opinion on the BL vs CP lens issue?