Nicholas Kovats

Superb and fascinating 35mm machines.

Understood, David. But you might be surprised by the hardcore. Rental has deeper pockets but there are a few well heeled Super 8 filmmakers out there. But just look at the number of buyers for current Arri cameras. Where there is a will there is financing. :)

Congratulations, David! Looks fantastic. And interest in expanding beyond a few cameras?

Although not a handheld gimble example per-se check out the incredible shots from a Bolex (model unidentified) mounted on a 3-axis gimble/drone shot on V3 50D color neg. They also mounted the 3-axis gimble on a car, i.e. https://www.youtube.com/watch?v=lsRexSiCx20. What is the upper capacity if a DJI Ronin? There exists a special security Bolex stripped down to it's essentials. M5?

I concur with Don. I must say that experimental filmmakers that I have talked too would love to replicate this effect but cannot do so easily or at all. :)

Do not deny yourself the pleasure of operating the superlative Aaton XTR designed by JP. Outstanding. Sooooo quiet and intuitive. Rock solid image. My neg was held very flat at the gate absent any perf light leaks.

Willem, Jean-Louis Seguin can help you.

Jame, Jean-Louis Seguin re-manufactured the Bolex DS8 model to shoot a non-anamorphic 3.1 aspect ratio w/o a non-centered Standard 16mm lens mount. Did you not read the prior posts from 2016? I shot this with that camera and a non-centered 10mm C-mount Tevidon. Although the width is greater than Super 16, the image exposed wonderfully, i.e. https://tinyurl.com/y8v2yzz9 The exact frame dimensions can be found on my UltraPan8 Facebook page, i.e. "The second adaptation utilizes the full 16mm width of 2 perf Double Super 8 film (DS8) in conjunction with a Super 8 pulldown cycle. It is known as UltraPan8 3.1 DS8 and debuted in 2012. The 3.1 designation refers to it's aspect ratio with an actual frame size of 13.00mm x 4.22mm. Note that the actual frame width is greater than Super 16. Also note that the Super 8 perforation is smaller dimensionally than Regular 8 /16mm which allows more of the 16mm film width to be used. Magazine run time is also doubled as there are 80x UltraPan8 frames per 16mm foot as opposed to 40. The imaging area is 34% greater than the smaller Super 8 format (SMPTE camera aperture), "

Thank you, Luigi.

The title of my new Super 8 film "Gitpu" is Mi'kmaq for eagle. My cousin Lorne's spiritual connection with nature did not prepare me for his passing, i.e. password = bolex Beaulieu 6008Pro w/ Schneider 6-70mm, V3 50D/200T, scan by Frame Discrete re: Lasergraphics 4.2K 10bit DPX

Well put, Dom. Enjoy the Regular 16mm cameras out there. But I must admit I lent my new unused K3 to an associate a few years ago and well, I have lost track of it. Oh, well. Finders keepers. :) I shot this with a Bolex Regular 16mm camera, i.e. Password = bolex.

One does not need double perf 16mm in your K3. There are multiple options for single perf 16mm stock.

Those are potentially very lucky rental houses. A new compact 16mm camera as per your proposed Y16 project is a fantastic idea. Is your Jan 21 posting in fact a snapshot of the Y16 cam? Are your designing interoperability between Y8 and Y18 camera projects? e.g. optical viewfinder?

Great to see your posting, David! I do not have an answer to your question, However, your CAD appears to display a PL Mount cut out. Is this correct? Are you attempting to accommodate the widest angle PL mount lens possible in your design regarding the farthest rear element? Have you considered the cheaper R16 format Angenieux 5.9mm in Arriflex Bayonet in your testing? It might be one of the cheaper ultrawide R16 format lens available at a fair price for your targeted users. Not quite the same idea but I utilize the 5.9mm in conjunction with a Cameflex/Bolex Bayonet adapter with my Bolex H16/H8 ultrawide screen hybrid camera which utilizes the full 16mm width of the R8 film format (special R16 perfs) with the classic 8mm pulldown. In other words I shoot the optical center of standard 16mm optics such as the Angenieux 5.9mm, e.g. But note that there will a slight magnification using R16 optics with a Super 8 camera. And i would be fine with that as a potential user of your camera. How goes your prototype testing?

Do not remove and respool. Reverse footage with lens capped and expose a 2nd pass. Process and scan edge to edge to reveal perfs. Watch for frameline and perf jitter.

Nice job. You did not reference the originating format. Super 16?

I love my stock Bolex 13x viewfinder. Great contrast, bright and easy to focus. It has been customized and frames the 1:2.8 aspect ratio of UltraPan8.

The impeccable Les Bosher in the UK still makes his surperb PL-ACL adapter, ie http://www.lesbosher.co.uk/Eclair%20ACL%20Page.html

I was fiddling with my English 200ft ACL mag and dreaming of complimenting it with an actual camera head. Beautiful workmanship. All mag spindles still rotate smoothly. I would love to modify the 16mm sprockets and pulldown.

Why is it a rip off?

Justin, My post was not meant to be flippant but was a gut reaction whilst on my commute that day. The slick static visuals ground the music nicely but the tone or audience are not my cup of tea. There is no credible angst nor soul to this music. A complete absence of passion. I want to see possible warts, mistakes and happy accidents. More working class hero than uber slick conservative studio polish. I am picky I guess but I respect your passion for the artist and may you find additional sonic supplicant. Cheers! Nicholas

Jon, While the desired S16 2.35 crop is admirable there is a working alternative called Bolex UltraPan8 2.8 which is essentially a native 2.8 aspect ratio which could then be cropped digitally to 2:35 if need me. It utilizes the full 16mm of Regular 8 stock (unslit) and doubles the run time of a 100ft roll. Edward Nowill in the UK will reperforate acetate 16mm or 35mm into the required 100ft rolls. I shot this on his reperfed V3 200T color negative, e.g. The Bolex DS8 alternative is called Bolex UltraPan8 3.1 and is wider than the Super 16mm frame, .e.g. Cheers!

Your kidding right?

Great oppurtunity and conversations. Do you actually reside in Toronto? I cant believe I missed a film print of the Red Shoes.

Photosonics made the fastest intermittent pin registered HS 16mm up to 1000fps. Here is my PAM500 being tested at 500fps with a dummy roll. Takes harder to find 2 perf 16mm film. The filmmaker Cherry Kino ended up shooting at 200fps, i.e. https://tinyurl.com/y7ka6ssc I have a handheld kit but I am in the process of developing a more portable power supply. I have a new PAMM500 colleague who is actually converting his to single perf 16mm film which tops out at approximately 360fps.But he maintains he will be shooting conservatively at 300fps. The PAM500 was used extensively by NFL Films for decades regarding their famous slow-motion highlight reels. There are faster 16mm cams utilizing rotary prisms which blend frames continuously but they are not as sharp and tend to weave. Did you not come across Photo-Sonics in your research? It was also the dominant high speed 35mm intermittent transport camera for special effects in major films including Christopher Nolan's Inception.