Samuel Berger

Well there's the answer. If you shoot on film, you're a cinematographer. If you shoot on video, you're a videographer. Uh oh here come the arrows.

Jon, Send an email to this address: bolexcce AT ellijay DOT com Make sure to put BOLEX QUESTION on the subject line and ask them all you want about Bolexes. On some items they will give you exorbitant prices, but you'll ignore that and write down the model numbers so you can find the items cheaper somewhere else. If the price seems fine, buy it from them, that business needs to stay in business. Although you are in Brisbane so shipping might be dear.

It depends on the state of the filter and the slot. Keeping the slide in should be enough but I would add gaffer tape over that as well just for peace of mind. Also in Reflex models, make sure you close the viewfinder whenever your eye isn't pressed against the rubber eyecup.

Yeah that happened to me on my first roll too, decades ago. I actually kept the film but I never forgot afterwards.

Did you remember to cover the filter slot?

Hi Gregg , I ended up getting a Peter Lisand JR-A-74. The seller used to have an O'Connor head on it. http://whitehouseaudiovisual.com/single_item_tripod4.html Thanks for the help, everyone!

The answer is, it was shot on 3D. I love love LOVE that movie but for purely nostalgic reasons. Also, it uses the same soundtrack, crew and cast members as DUNGEONMASTER. It's just a plain fun film, it doesn't matter if it isn't STAR WARS. I'd love to go see it in a movie theater with a crowd!

Look for an EIKI SSL-2. (the SSL-0 and SSL-1 do optical only). Try emailing Richard Patchett, his site is at http://www.rcsclassic16mm.com/projectors.htm. I think the site might not be up to date, but he's a very qualified projector specialist. If he doesn't have an SSL-2 he might help you find someone who has. Do you have magnetic sound films like Scopitones? If not, the magnetic track feature might not be needed. I forgot to mention that Mike Williamson is trying to sell his ELMO Xenon CX-350 which is also both optical and magnetic, but he wants $1500. The Elmo 16-CL ETC 24 is cheaper. Edit: There's one on eBay right now. http://www.ebay.com/itm/Elmo-16-CL-ETC-24-Projector-With-Optical-and-Magnetic-Sound-With-Cover-MINT-/322601663667

You should post some pictures. Are there any scratches, haze, "cleaning marks" or fungus?

Thanks, man, nice of ya to offer. Hey maybe you can sell me your LTR, hehe.

I can't agree with you this time, Tyler. The other dude over in Sweden was selling for about the same price and had killer glass to go with it, like $2000 worth of glass. Hey man what do you think of the S16 LTR? I see those for $2000 from time to time. You mentioned them above, but what's your opinion?

I can suggest several here in America. Do you mind it if the seller isn't in Italy?

See? You Euros don't even believe in freedom of speech. ;-) Anyway, no, it's not bad form to say "Hey, this price is ridiculous, man, maybe over there in your neck of the woods it makes sense but not here." As a Jew it's my right to haggle, stop being anti-semitic. I hear it's illegal over there.

The Herman guy in Europe says the XTR Prod kit he's selling is going for 5300 Euros ($6250) which is completely insane. I'm glad I don't live over there. If anyone's selling an XTR around $3000 let me know.

How much did you end up paying? Congrats.

That dude is still trying to sell it. Unfortunately he wants crazy money just because of the Canon 8-64mm f2.4 MkII that comes with it. That zoom was used for The Hurt Locker but vignettes in some digital camera sensors. Anyway, waiting to see if anyone wants to sell an XTR. Are you using yours, Tyler?

Hey what was that movie that had an orange and blue poster? ;-)

Reversal has a little less latitude than negative, which COULD make it resemble more closely the prints of the era. I also remember that Spike Lee shot one of his features on reversal for that reason. I think it was CLOCKERS that he shot on 5239 and had it cross processed.

I wonder if shooting reversal would help?

Thanks Tyler, this seems to be in line with what my research has brought up. I don't really find the Arris very attractive and if I own a camera, I want to have an emotional attachment to it. I'm not saying I can't warm up to them if I own one but they're not my first choice. There was one fellow on here selling his PROD and the price wasn't bad but he's in the Eastern Bloc somewhere and I think another guy has one in Peru. Too much can go wrong. There's one in Sweden that you pointed out the other day going for an astronomical price which only makes sense in Sweden where everything is expensive anyway since they have all those welfare programs to support with their tax money. ;-) In the end I guess it's a matter of waiting, there have been several XTR Prod packages from sale over here and I was never in the market for one until now. Many of those sold at a very reasonable, fair price. I just wish there was one out now.

I just feel there's less wear on the threading if I use a plastic lens cap. If no one thinks that's a bad idea I guess I'll go ahead and do it. I see people doing it all the time on the K-3.

Doug, Unfortunately in 2017 (if you are reading this from the future I hope things have improved) the choices of color filmstock in 16mm are severely limited. You got 50D, 250D, 200T and 500T and that's it. I think Fuji stopped producing motion picture stock. I BELIEVE IN UNICORNS was Super 16 shot on expired Fuji stock but they were aiming for pushing the medium to the limits as an experiment. I would like to see what Wittnerchrome reversal looks like in 16mm. There's a few samples online but they are ruined by improper compression. But thank you for expressing your opinion on U16, I agree.

If anyone else replies, please make sure to post your asking price so we don't waste each other's time. Thank you.

David, That's going to be hard to find on a CA-1 mount, but I do have an Arri-to-Cameflex adapter. I wonder what's the sharpest zoom I can get for that. Ok, so to recap: If you are shooting 16mm, use sharp lenses, 7203 film (Vision3 50D), push process by one stop? And if you have an actual Techniscope camera and are shooting 35, use 25-250mm Angenieux, shoot 7213 (Vision3 200T) stopped down? I'm using these stocks as suggestions because most stocks mentioned in this thread are dead. It's still possible to find some 7248 in people's freezers but that's iffy.

Thanks Stuart, I'm happy to hear it! The Aatons do look a bit more ergonomic but I know very little about the Arri SR3s