Thanasis Diamantopoulos

i guess you mena set the aperture to it’s widest setting and then use ND, otherwise if u minimize exposure n use ND, u ll get pretty much sth looking black. no?

I mean that when you minimize the exposure you minimize the dof. But if you need a lot of dof i thing that with a 1/3 ccd video camera just shut with wide lenses and alot of light and everything will be clear from US

to europe.

Hi

The camera is a cp 16r for sure is not a GSMO. I know the camera as a 16mm camera from the film school,

we had about 4 of them. The zeiss is 10-100 not converted to super 16 and i thing that groundglass is for

16mm. The door is super 16. iwas told that is an aaton door. I am testing the camera shooting some footage today.But i thing that the camera is a piece of junk. I will post some images tomorow.

BTW none does convertions for cp cameras in europe the owner did it himself.

Hi

Iam about to shoot a project in s16. I own a super 16 eclair camera. For some shooting the produser wants

to use two cameras and brought to me a cp super 16 camera . I have never seen in my life a cp super 16.

I am about to do a test in two days but i am asking if any one ever seen any. The door of the camera is an aaton door. It has a zeiss 10-100 vario sonnar. He din't pay for the camera and he does not know about the convertion.

I was watching LOST, and I was amazed by the depth of field, i saw in many shots.

 

Do you think it is viable to get such an effect using an HDV camera?

 

And if so, how to go on about achieving such an effect, if you dont have an interchangeable lens or adapter.

 

thank u in advance

Hi

for no long dof use neutral filters and minimize exposure.

Hi

Try in glidecam

and on ebay. New it cost a few bucks. I am not sure how they work. I had used one with my dvx 100 and was good not perfect but good . Its easy to use it . But works only with wide lenses and needs steady hand.

New question for anyone in the know:

 

Will the lens mount on the Arri 16BL (the bayonet mount) take Arri "standard" lenses as well as bayonet lenses?

 

I read something online that led me to believe so. The excerpt is this: "...The Bayonet mount is backwards compatible, for mounting ARRI Standard mount lenses..." This leads one to believe that the bayonet mount is engineered to accept lenses built for an Arri "standard" mount. Or am I way off here?

HI

I own an arriflex bl super 16 bayonet mount.I use an zeiss 10 - 100 bayonet a 16mm distagon bayonet and a 25mm distagon bayonet In standard mount lenses i use zeiss planar 32mm and 59mm and a zeiss sonar 85mm from my 2c camera. There is a list of witch standard lenses fits on the camera. Try www.cinematechnic.com\resources\arri_16bl.

NOT ALL STANDARD LENSES FITS ON CAMERA WHEN I WAS STUDENT I DESTROYED A BL 16 USING A SCHNEIDER LENS AND THE MIROR DESTROYED.

Sorry for my English :unsure:

Hi

I shoot my latest project using 500 d reala. A short film super 16 .At the exteriors the shots where perfect

the project was low badget and had alot of handheld shots using 16- 25mm lenses, the stock gives about 16-22 f stop exposure witch is perfect for handheld. But i dint like the "video look" of the depth of fild.I agree that it has lower contrast but is not very bad especialy with the sun here in Greece. The light is very hard and i choose generaly faster films. Some stock i used it for interiors after the externa 250 finished. The colors where very cold. I used ony tungsten fresnels arri and dedos. The blow up was very good. But a close up under exposed blow the grain out. At the past i liked this stock because i thing that it gives a "sezan look".

sorry for my English :blink:

Hi

Thanks for the replays

I am asking if there is any sales company that sales spares for arri 2c with some quarantie for the item

and the money . Ebay is like gampling allthe time.

So, I was let into a festival with the promise that they screened "everything, D5, HDCAM, whatever you've got." I shot my short 35mm, and mastered it to HDCAM and D5.

 

Now they are telling me they only screen HDV.

 

My question: Should I output my HD version from Final Cut to an HDV camera, and project that, or should I show my Digi-Beta? I'm personally leaning towards showing the digi-beta, for the color space, but I would appreciate any feedback you have.

 

thanks,

Charles Haine

Hi

I dont realy understand if they are only screening hdv do they acceptet digibeta?

BTW even if i like digibetas colors vs hdvs you must thing that the screening system in the festival

must be "calibrated" to hdv, sking for it.

I am shooting a short film on 7217 with the Arri SR2 super 16. The director would like to go back to 16, and I was curious as to whether there are any techniques or tips that could be implemented to facilitate a better print.

 

Thanks,

ANB

HI

you mean tha tha some of the movie wil be super 16 and some std 16?

if all the project is going to be on std16 just change the groundglass. If you are planing to prind on 35mm

digitize on 2k and then prind.

HI

you mean tha tha some of the movie wil be super 16 and some std 16?

if all the project is going to be on std16 just change the groundglass. If you are planing to prind on 35mm

digitize on 2k and then prind.

sorry for the second replay

now if all the project is on super 16 just prind on super 16 with no sound and peter than the blow up artifacts

you can also digitize on 2k and crop the image (nightmare) ;) anthe prind on std 16 with sound.

Hi i own a arriflex 2c but i also have a few bayonet lenses . I have seen on an arri st (with the tree lenses turet) that the one position was bayonet. My 2c also has the std mount touret and iam thinking if anyone knows where can i make the convertion. I dont want to convert the camera to pl. The camera works only in small projects anymore and the pl lenses are expensive for it

thanks.

Currently I have a JVC GY-HD101E and I'm about to make a feature that hopefully will be transfered to film for theatrical distribution. I wonder if my JVC will produce enough good quality for the cinemas.

Other options would be the Sony XDCAM HD PDW-330, 350 or Panasonic AJ-HDX900.

 

My questions are:

1. Will the JVC lower recording quality be an obstacle for the theatrical distribution?

2. Will the quality difference of the superior cameras justify the extra expense?

(The 330 costs around $16,000. The Panasonic and Sony around $26,000)

Hi

I also own a jvc hd101 i have done the past tree monts two short films wich trensfered to film 35mm

the image quality was perfect both. I don realy know the kind of the project you are planning to shoot,

mine where low badget short films. There are a few setting on the camera that you can use for.

I have tested the camera and compare it with all the others in her kind and realy was the best. BUT the

panasonic hdx900 has alot more money and sure better image quality. Bigger ccd better compretion.

BTW my films were projected on big screen in national festival and realy where perfect. The critics for the image qualy was super. I am planig no to shoot a feature film and a short using jvc.

Hi

There are a lot of cameras that you can by for that money.

The best choises for a new cinematographer MY OPINION

are for no sync 16mm arri st

for sync 16mm arri bl or an eclair npr.

if you can find an cheap acl also a very good camera.

My personal advice is to look at ebay and about 2000 or 2500 $ you cand find a super 16 camera.

S16 cameras are close to 16-9 for tv, you can prind to 35mm and the eclair cameras are not expencive at all

Which camera returns the most value for my money if I had $2000 to invest in a camera?

HI

You mean a film camera or a video camera? For what projects ?

Hi,

 

I was told that this camera no 25 is s16 camera came out from Arri factory. But I still doubt whether it is a converted one. If it belongs to the same lot then may be a direct s16 out.

 

regards,

Hi deepak

Sorry for the delay i was at the national short film festival here in greece.

You are right this camera also, came out of the factory as a super 16 camera. It is not converted.

One such super bls is in Nepal previously owned by a German Cinematographer marked with no 25 might suggest that Arri made more than 20, guess it is 25th.

 

regards,

[/quote

 

HI Deepak

 

An otheR cinematographer from Spain claims that there are about 25 or 30 bl s16 made by arri factory.

Ithing that those cameras and mine are not standar 16 converted but came out from the factory as s16.

BTW my camera is marked with no 24 a little older from germans :)

i have heard that Angenieux 12-120mm zoom vignettes when used for super 16, but the 15-150mm zoom works (because it was originally designed for a largish video chip). does your 12-120mm lens cover the entire super 16mm area?

Hi zachary

Yes the 12 - 120 does not cover s16 but that happens between 20-35mm i can use plannars from my 2c on the prime blimb. Also my distagon 10-100mm does the vignettes. When shuting exteriors or music videos or any noy sync sound i can uses any type of bayonet or arri standar lenses without the blimb the image is perfect. Sometimes look like old fasion.

I have read that Arri only made 20 super 16bls. Thats amazing for you to own one of them.

HI oscar. I reved a mail from a produce who wants to buy this camera as callectable. Bat it is not for sale i love it even it dosn't works so much . I prefer working with my npr s16.

Hey Thanasis, did you convert the camera yourself or through someone? Care to elaborate on how you made your Arri BL 16 a SUPER 16 unit? I know Aranda Group in Melbourne do it, but i have never actually seen one convereted. Being that I own one, i am quite curious.

 

Cheers,

I am telling the story of this camera in "16 mm subforoum" BTW i never bought this camera, was given to me as super 16 camera. The story of the camera is that this camera came out from arri as a super 16 camera. For the trouth i have never ask "arri germany" about that. By the side of the cameras body there is a mark sculpted not prinded witch wrights "arri bl super 16".

I am trying to pout a picture of the camera that shows the arri mark of super 16 but i can't. How can i do it?

What lens does it have?

hi it has an agenieux 12-120 f 2.1 a zeiss distagon 10- 100 t 3.5 zoom lenses with blimb

i also have a blimb for primes and i use distagons - planar - sonnar primes from my 2c

Hi except of the lense test you must test the door and the magazin for film scratchind the batteries and cameras motor if running properly you must shoot at least 60 sec of film .

Hi i have done last year tree projects using fx1. All the projects transfered to film 35 mm. I had used 50i not cf25 witch looks very bad on the big screen. CF is good for dvds. I transfered the project to 25 frames 35mm film not 24.( europe - pal). Picture sharpnes 3 , cinegamma on the first on but on the other two of and the resalts looks better. color phase closer to green and i thing color gain 5 or 6 depents from the scene. I have done a lot of test and the resalts dint make me happy.

The tests from progressive cameras like panny and jvc looks alot better for transfer to film.BTW Dont be afraid of the color during the shooting or the post, hdv cameras (411 or 420) are loosing alot while transfering to film. I agree that you must get exposure in the dark shadows. In some scenes of the first project i gained up 3 and 6db and the noise was making the image very soft. Try that lighting and not by the gain.

Hi i have done last year tree projects using fx1. All the projects transfered to film 35 mm. I had used 50i not cf25 witch looks very bad on the big screen. CF is good for dvds. I transfered the project to 25 frames 35mm film not 24.( europe - pal). Picture sharpnes 3 , cinegamma on the first on but on the other two of and the resalts looks better. color phase closer to green and i thing color gain 5 or 6 depents from the scene. I have done a lot of test and the resalts dint make me happy.

The tests from progressive cameras like panny and jvc looks alot better for transfer to film.BTW Dont be afraid of the color during the shooting or the post, hdv cameras (411 or 420) are loosing alot while transfering to film. I agree that you must get exposure in the dark shadows. In some scenes of the first project i gained up 3 and 6db and the noise was making the image very soft. Try that lighting and not by the gain.

Hi

I own an arri 2c 35mm camera, an arri bl super 16 camera, an eclair npr super 16 camera a sony dxc d30p

with dvcam deck camcorder a sony fx1 camera and a jvc gy hd 111 .

this makes me working in any kind of projects tv spots feature films short films documentaries events

also makes alot of bucks from rentals. At the past i owned other cameras like dvx 100 panny and 537 + ppv 3 betasp but i sold them out when techonogie goes by. I am sure that there is not need to bying a lot of camera but the clients want always what ever is easy for them. If there is not sure that the equipment bring money i thing just a small personal camera is perfect or the most a cheap super 16 and anew hdv cam.

sorry for my english :blink:

I agree that i have never seen any other bl super 16 before but i said this camera has a mark at the side wich it is printed the word "ARRIFLEX BL S16" BTW i thing that the throught the vf opion is most easy to convert. Any hall on the cameras body might destroy the blimb. Thanks for the help.

The camera works perfectly i have done alot of projects and this is a camera wichs i rend it to students very offten.

sorry for my english :blink: