Tim Carroll

If you can purchase an ARRI 16S that has been serviced by a reliable service technician, I would highly recommend going that route. Finding good service technicians for these cameras is getting more and more difficult. Many folks who claim they can service the cameras don't have the experience and the proper equipment to service the movement properly, set the timing properly, set the FFD of the film plane, and of the eyepiece properly. So if you can find a camera that has been recently serviced by someone with that experience and equipment, I think that would be a smart move. Best, -Tim

I have the notes and sketches I made when I was doing my apprenticeship twenty years ago with Axel, but I'm not aware of printed documentation on how to perform the adjustment. The Arriflex 16S was created and developed at a time in Germany when training was done thru apprenticeship. The master taught the apprentice step by step. It wasn't written down in books. Best, -Tim

You can call it whatever you like, but a true registration pin "registers" the film on each frame, and registering the film means moving it into the exact same position each frame, frame to frame. So the pulldown claw moves the film on an Arriflex 16S from one frame to the next and after the pulldown claw moves the film to the new frame, and stops, the registration pin, which has a curved surface front and back, slides up into the perf, and moves the film slightly (fractions of a millimeter) forward, which registers it in the same exact position, frame after frame, and then the shutter opens, exposing the film. I am no expert on other 16mm camera systems, though I have worked on quite a few, but I am an expert on the Arriflex 16S series of cameras, and I am absolutely sure how the registration pin system works on an Arriflex 16S. Best, -Tim

With all due respect Simon, you're wrong. The Arriflex 16S registration pin "registers" the 16mm film by advancing it by fractions of a millimeter on each frame. I know this because I was trained by the top ARRI service technician in the United States, Axel Broda, to service these cameras. You might have an Arriflex 16S camera that doesn't advance the film by fractions of a millimeter on each frame, but that is just because it is out of adjustment and needs to be serviced. Best, -Tim

I apologize, I was confused (a senior moment), having serviced on a number of different 16mm motion picture cameras back in the day, (some of them decades ago). The Arriflex 16S registration pin does not move the film backwards by fractions of a millimeter, it actually moves the film forward (in the direction of travel) by fractions of a millimeter. Again, this "registers" the film. Sorry for the confusion. Best, -Tim

Haven't seen any of the Aaton XTR literature in quite some time. I did own an Aaton XTR for a number of years, thought it was a great camera. Best, -Tim

There are a ton of electronics in an Aaton XTR XC. It is a very nice 16mm camera, and usually good for sync sound recording (if it is properly serviced). And that Cooke Variokinetal 9-50mm is one of my favorite 16mm zooms. Nice set up you have. And it has that "cat on the shoulder" design which makes it quite comfortable to shoot with. Best, -Tim

A real registration pin movement has a registration pin that runs separately from the film advance claw. The advance claw moves the film forward one frame, then the registration pin moves it back by fractions of a millimeter, thereby "registering" it. This movement is VERY precise and is one of the things we had to set up each time we serviced the cameras. Many 16mm cameras had only the advance claw, and others had a "pin" that would enter the sprocket hole and supposedly steady the frame, but they were not nearly as precise or effective as a real registration pin movement. Best, -Tim

I completely disagree. The Eclair NPR is not a bad camera, and it's certainly closer to a sound sync camera than the Arriflex 16S. But the Arriflex 16S is one of the few, if not only, 16mm motion picture cameras with a true registration pin incorporated into the camera movement, which, when set up properly, along with the spring loaded side rail, will give you rock steady images, something the Eclair NPR can't claim. The Arriflex 16S and its siblings were the best (as far as image quality and precision) 16mm MOS motion picture cameras probably ever sold. Teamed with Zeiss or Cooke glass, footage from these cameras were a staple in Hollywood, as well as many Walt Disney Company productions. Best, -Tim PS: That said, they're still way over priced right now on the auction site.

Good Morning, Old guy here, used to run the Arri16S.com website. Trained Arriflex 16mm camera service technician. Been away for quite a while. Just visited this morning and am shocked by the plethora of misinformation and the ridiculous prices people are asking for this equipment. I hate to see people getting taken advantage of or ripped off. First off, there is an individual making a new crystal sync motor for the Arriflex 16S, S/B, M and M/B line of cameras. I applaud this and hope he is successful. But his website states the motor will work on the Arriflex 16S and the Arriflex 16BL. This is not true. The Arriflex 16BL uses a completely different motor system than the 16S and M line of cameras. Second, the prices people are asking for the Arriflex 16S line of cameras on the auction site are INSANE. An Arriflex 16S, in decent condition, with no lenses and no 400ft mag & torque motor should go for from about $900 to $1250 US dollars. Because remember, these cameras can only go four years maximum without service because they are wet lube cameras (which means the lubrications in them dry up every few years). And this camera is a precision machine, and if not set up properly, and maintained, the output will be choppy motion, blurry images, and possibly damaged film stock. Also remember, regardless of what sellers are stating on the auction site, the Arri 16S is an MOS camera. It is not anywhere close to silent. If you want to shoot sync sound, you need a crystal controlled motor for the camera and a blimp. The Arriflex 16S, without torque motor or 400ft magazine, is a great run-&-gun 16mm motion picture camera. It is lightweight, easy to handle, and when properly serviced, with decent Cooke or Zeiss lenses, it can create some really impressive footage. So buyer beware, study those images on the auction site carefully, and ask sellers questions. Again, they're great little cameras, but an unserviced one is not worth anything near the $2500 - $7000 people are asking for them on the auction site. Best, -Tim

Looks a lot like the one ARRI made: The ARRI Single Frame Motor with Control Console (Cat. No. 339 337) is the latest version of the single frame motor for the Arriflex 16S. From the ARRI catalog, "The Single Frame Motor has every essential capability required for single frame operation. The Motor may be programmed so that one frame cycle is completed on a single pulse. Exposure times of 1/8, 1/4, or 1/2 second may be selected. The Motor may also be programmed to go through one-half cycle on one pulse, stopping with the camera shutter open, and to complete the cycle on a second pulse, stopping with the camera shutter closed again. This capability makes possible extended time exposures. Features include: Contacts for strobe flash synchronization; frame counter; forward and reverse operation; stop motion or continuous operation; remote control via a programmed intervalometer."

Hi Mike, I'm sorry but I don't have any Arriflex 16M parts inventory anymore. Hi Peter, I must apologize, I don't know the TCS-TXM-17 motor. From the one pic I could find online, it looks like it might be similar to the TCS-TXM-22 motor. If memory serves, Clive Tobin put heat shrink wrap on the ball end shafts for his motors, because at the time he was selling them, most Arriflex 16S, 16S/B, 16M cameras had worn, dry rotted rubber couplings, and the extra width of the shrink wrap gave the motor a good enough contact with the rubber coupling. Unfortunately it also stretched the rubber coupling, causing the issue you have now. I haven't had any of the rubber couplings in stock for over a decade. They were super expensive, even back in 2009 (like over $100). You might want to contact ARRI in New York or Los Angeles and see if they have any left. Also I'd try searching online, as I remember someone was making replacements out of rubber fuel hose or something like that. Been a while. Best, -Tim

The late Iohan Gueorguiev, world bicycle traveler, was a master of cinematography. I don't know if he studied it or if it just came naturally to him. But this, one of his last videos, has just some spectacular footage, not because of it's remote locations, but because of it's camera angles, lighting, camera movement, etc. Everything that makes beautiful cinematography. Winter Bikepacking in Canada: Take Me Home Country Roads Make sure to watch past the introductory scene. And from my understanding, this was all done with a simple GoPro and a drone. A great artist, taken too soon. May he Rest In Peace. Best, -Tim

Hi All, I know when I was writing and directing short films back in the early 2000's, I was always looking for festivals that honored short films. For all you short film directors and producers, the PRIDEARTS FILM FEST is looking for submissions of short, LGBTQ+ themed films. The deadline is September 1st, 2021. https://filmfreeway.com/PrideArtsShorts I've seen all the submissions in the last two fests, it's a good organization and they get some very good submissions. I hope some of you find this of interest. Best, -Tim

The ARRI Lightweight Rods, LWS-2 have been sold, these items are still available: - Van Diemen 4x4 Matte Box (with 15mm rod mount), 2 Stage, both Stages rotate, with 4 donuts for different sized lenses. Asking $250 - Schneider #85 4x4 Filter, used once. Asking $99 - Tiffen #25 Red 4x4 Filter, never used. Asking $125 Best, -Tim