Stephen Smith

Both tests look really great. Think i'm happy with my super 16 npr for now, i doubt any labs in england will rush out to adapt their machines for this, which is a shame. How does the conversion cost compare to S16? i'd have thought it would be cheaper if only the gate has to be widened, unless you have a different lens mount added. Anyone know if getting the GG out of the NPR is easily done? i am tempted to send it to have the laser brighten thing done to it.

yes, i have seen super 8 cartridges + processing for about £24 in the uk, but i guess your paying for the turn around time, for instance i thought there was a 500t minimum at soho film lab for 16mm, so being able to get such a short amoung of super 8 is good. all of the slide/positive film is sent to a germany?? lab for processing so takes about two weeks with widescreen etc

I had a quick look at this yesterday. Was wondering why cesar charlone is quoted as saying "city of god was my first fully digital feature film" as i was pretty sure it was s16 and 35mm???

hi, Could anyone recommend somewhere i could buy a couple of c stands in Britain? either used or new. i was gong to get them here http://www.videogear.co.uk/index.php?act=v...p;productId=484 but they are out of stock till end of april. Being in birmingham, renting isnt really an option as there doesnt seem to be a rental house close, and by the time i had driven to get them and paid for the rental buying just seems cheaper. Dont want to have them shipped from the US either duty to ridiculous customs charges and taxes. Thanks

i took the front off mine a while back with the intention of milling the gate for super 16 but didn't get any further than that yet. here are a few pics with the front off, the engineering that must go into designing something clockwork is mindblowing. I'm not sure how you'd get access to all the clockwork, but i dont think id attemt it unless i had a manual or knew what i was doing. the photo isn't great, due to a poor digital camera and it being quite a hard place to get any light in to see without then casting a shadow when i take a photo.

thought i'd post a few pictures of what i made for my eclair based on kevins original idea. Mine is offset for super 16, im pretty happy with it, with some decent handgrips on the rods handholding the nps is about 100 times easier. based on the arri sr rods and support, i got off ebay pretty cheap. a 15mm brass rod is wedged in the nprs original rod mount, with an offset hole drilled into it. a second piece of brass rod fits into this with the support bolted to the end, i tapped into the 15mm rod from the bottom and put a bolt up through the original npr rod mount. another smaller bolt goes through the bottom of the SR rod support piece to stop any rotation. I've kept the SR support untampered so i can put it back together and sell it as an SR support bracket if i ever get fed up with it. Hopefully this explanation makes sense, also the pictures probably are a better explanation. just to say thanks kevin for sharing your original idea.

thanks for the reply david. I will shoot some tests with some 1/4 cts.

hi, i hope this isn't too obvious a question. I'm going to light an interior and was hoping to get a yellowish cast from the lights, to mimic low wattage practicals. I know the obvious answer is to do a test but i was hoping someone could give some indication before i buy some new gels. if i use say a pale gold gel over tungsten lights using daylight film will this give the yellow cast or will it just enhance the orange of the lights?? If on the other hand i used a 1/2 or 1/4 ctb over the lights would this increase the 3200k tungsten to a more yellowish tone? again using daylight balanced film. thanks

my uni bolex had the filter holder missing when i first used it so burnt out the whole side of the fil mi put through, maybe you could try a bolex without the filter holder and blank it off at first then gradually let more light go in through it? would save opening the camera mag. Depends what you have available though i suppose.

thanks for the replies. It was really just a test to see how the film looked so i dont think i'll spend anything having someone remove the scratch. Although i dont think as a student the best light mini dv transfer wasnt the greatest idea for seeing how the film looks, i get the impression everythings done on older machines and by trainees? but at the same time i didn't want to pay for a HD transfer if the film came out terrible. The image i posted isn't actually cropped (well not by me anyway). I will have a look at this "virtualdub" thing you speak of phil, just incase it happens in future, i suppose at least i have some scratched film to practice on.

Here is a pic of the scratch.

not so long ago i shot on two out of date 16mm stocks. EXR 100t and vision 200T. The EXR came back with an intermittent scratch on one side. The 200t was totally fine. Does the emulsion being older make it more prone to scratch?? it was shot on an s16 eclair NPR, modified recently by les bosher. I know Les says there is no need to modify the magazines for super 16 shooting, but i have seen other places advertise the need to do this. I was wondering whether the problem is down to the old stock or the un modified mag? thanks.

hi, i have for sale 3 cooke kinetals 12.5mm, 17.5mm and 100mm for sale on ebay UK item numbers... 170297250531 170297248970 170297247099 Also a Canon wd-58 wide angle convertor 170297243585 just incase anyones interested. Thanks

Thanks for the reply kevin. Looks like someone has drilled out the thread on my npr rod mount, i'll take a picture when i get a chance. This may be a stupid question, with the rod support interface on the npr, will using an arri mattebox or similar work or will it be too high/too low and not centred for the lens, or are all matteboxs pretty standard? thanks

Does anyone know where i can get a rubber eyecup for the kinoptik viewfinder for the npr? Thanks

Hi, actually managed to get the front of the camera off last night, just screws, so can now look at the areas that will need to be enlarged. Haven't explored removing the rollers yes, I'm hoping i won't need any of the bolex specialist tools. Thanks for the link to that website, although my whole reason for wanting to do this diy is i have little money to spend on such a conversion, after having my NPR converted last year my bank balance hasn't really recovered yet. I tried to sell the bolex a few times, but i guess the non reflex puts people off, so i figure if i can convert it to super 16 i can use it for time lapse to cut in with stuff shot on the npr rather than it sitting on a shelf getting dusty. Looking at the camera i think re centreing the lens mount for super might be a bit tricky, so im hoping using nikon slr lenses they should cover the super 16 appeture in the standard 16 position?? thanks

hello does anyone know where i can get a service manual for a bolex non reflex? i'm planning on a diy super16 conversion, thinking this should be quite easy to do, just enlarging the gate and lathing down where the sound strip is supported on the rollers so the film isnt scratched. Has anyone else tried this? I'd have thought its easyish once i know how to take the camera apart as it wont require any modification to the viewfinder or anything, just have to be aware of the enlarged frame when composing shots. Shoudl say my reason for doing this is solely to use for timelapse photography. thanks

What size bolt did you use? someone seems to have already tried doing some sort of modification to the rod support interface on my npr so im not sure if there will be enough material left once i've tapped a thread in it for it to have any strength left. Does the micro lens support already have a largish hole? Do you think it would be possible to offset slightly for use on a s16 npr?? Thanks.

I am in the UK and recieved the january issue a few days ago, i am a new subscriber though so dont know if that makes a difference.

its a double post, also in students and first time filmmakers

Hi I was looking for a zoom for super 16 and came across the Angenieux 17.5-70mm being sold on ebay as new old stock, i was wondering if anyone had any experience using this lens? grame grabs or anything?? I'm trying to decide whether to sell my angenieux 10-150 bayonet mount and get the smaller lens or splash out on a bayonet to pl mount adaptor. thanks for your time

thanks for the reply, i see what you mean about the lengths of the shots now, i think i may have started to edit it to the music rather than thinking about just showing the best bits of stuff. I will have a go at re cutting it. thanks

Hi, I've just cut my first reel together and would like to get some serious views on it. It seems to have got a bit lighter from the compression. Should i maybe include more shots, especially close ups?? Thanks for your time. http://www.vimeo.com/1139380

Ah well today i borrowed some old 16mm film off someone to try loading it with and it went through fine, so i think it was a combination of the practice film i was using and just not being used to load the camera, thanks for the replies.

The Practice film looked alright afterwards. I've checked that the motor/reflex levrer was in the correct position. I tried loading it again, but with some old processed 16mm film. I went through ok so im wandering if the leader i'd been practicing with was too thin and the loop was being lost or something by the camera not being able to find the sprockets on it properly, maybe it was just being dragged through? anyway it seems to be ok now, thanks for the replies.