Tim Carroll

This might be helpful: http://www.analogcams.com/Arri16S1.htm Best, -Tim

Like a bad penny, you just can't get rid of this little camera's web site. I've reposted what used to be the Arri16S.com web site. I no longer own the domain name, so the new web address is as below: http://www.analogcams.com/Arri16S1.htm The video clips of all the different lenses available for the camera no longer work, as the Sorenson Pro 3 codec from 2006 is no longer compatible with the current internet, that may someday get fixed, but for now it's not working. All the other information, including the user manuals for the cameras, and information about barney's, motors, blimps, etc. can all be found on the site. Best, -Tim

The old Arri16S.com website has been re-published. I no longer own the www.Arri16S.com domain name (and the current owners want thousands of dollars to sell it back to me, which ain't happening) so the new address for the site is as posted below: http://www.analogcams.com/Arri16S1.htm The video links are not active, as the video that I created for the original site back in 2006 are no longer compatible with the current internet. Someday that might get fixed, but for now I just wanted to have the other information available for anyone who is still interested in these great little cameras. Best, -Tim

Dom, The site is up and running again. No longer own the www.Arri16S.com domain name so the new address is: http://www.analogcams.com/Arri16S1.htm Most of the original content is there, save for the film clips of the popular lenses from back in the day, the Cookes, Schneiders, Zeiss and Angenieux. And the manuals are up on the site as well. A couple of links no longer link to their original web sites as the companies are no longer in business. Best, -Tim

I think I still have an ARRI to Aaton adapter. Let me know if you still need one. Best, -Tim

Hey Charlie, Glad to see you're still around here as well. I haven't looked at a 16BL in many years and really can't remember how the mirror came standard. But in my many years of servicing the 16S series cameras, I saw all breeds with painted mirrors and unpainted mirrors. I think, from the factory all the early 16S, 16M, 16S/B etc. came with mirrors with the stripe you are referring to. But not sure the latest cameras had the stripe, or maybe replacement mirrors did not all have the stripe, really not sure, but I definitely saw cameras come through my shop with mirrors that lacked that stripe. Best, -Tim

The early Cooke Kinetal 16mm lenses will work with N16 (regular 16) and Super 16, all except the 9mm one. So you're good to go with the 12.5mm, 17.5mm, 25mm, 37.5mm, 50mm, and 75mm. Some of the early Zeiss, and Schneider lenses, especially anything below 25mm, will vignette on Super 16. Best, -Tim

You're right Brendan, I was wrong. I confused the G/S with the APEC door version. Sorry. If your camera is as you described, it sounds like it is a G/S model. The user manual I linked to above has info about the G/S model and how it is used. Best, -Tim

Sorry Brendan, screw up on my part. This is the camera with the Apec door. Not necessarily a G/S. As pictured below: See my modified post above for more info on the G/S. Best, -Tim

My bad, serious mind fart. I was confusing the G/S model with the model that came out with the APEC door. The G/S has the sound sync module on the back. It's a square shaped box on the back side of the camera. If you could post a pic of the back side of the camera, that would help. Also, you can read more about the camera, in particular the G/S part, in the camera manual posted here: http://artsites.ucsc.edu/faculty/gustafson/FILM%20200C/Arri_S.pdf Best, -Tim

Hey Dom, Been looking for a way to put the Arri16S.com web site back up, but running into a few issues. One is that whomever owns the domain name wants a few thousand dollars for me to buy it back, so that ain't happening, and the other is, since I took the site down, the way video is posted on the internet now has changed, and the dozens of sample videos I had on the old site no longer work on the internet. So it's on the back burner for now. But in the meantime, about the Arriflex 16M. It's a decent camera. The one issue I always found with it is that the film isn't held as steady and flat as it goes through the gate with the 16M when compared to the 16S & 16S/B. I think it has something to do with that extra drive sprocket before and after the film goes through the gate on the 16S cameras. Otherwise, it's a fine machine. They had 400ft and 200ft mags for the 16M, and they weren't interchangeable with the 16BL. The 200ft mags were adorably cute, but they don't really sell 200ft loads of 16mm film anymore, so they're a bit impractical. Here's a link to the PDF Arriflex 16M manual I made that was posted on the old www.Arri16S.com web site: http://www.timcarrollphotography.com/Forums/Arriflex16M.pdf I'll leave this up until the end of May for anyone who wants to download it, then I'll be taking it down, as it's a pretty big file. Best, -Tim PS: Almost forgot, there was also a 1200ft mag for the Arriflex 16M, you could shoot all day with that sucker.

This still amazes me. Not that many years ago, when the SR3 was still in production, 30K for a good one wasn't out of the question. Now they're almost free. ;-) Best, -Tim

We used to do this with Regular 16mm Arriflex cameras, including SR & SR II. Tape the top and bottom of the fibre optics screen to indicate where a 16:9 crop would be taken out of the middle of the Regular 16mm image, as an aide for framing, knowing we were going to grab a 16:9 image off the final film in telecine. Remove the screen with a Hirschman forceps and carefully peel off the tape. You may need to use some rubbing alcohol or an fresh piece of tape to remove the residue that will probably be left behind when you peel the old tape. Good luck. Best, -Tim

What happened to the old days when you could just upload a Quicktime movie (.mov) and everyone could view it? When did that go away, and why? Best, -Tim

<video width="560" controls> <source src="videos/myvideo.mp4" type="video/mp4"> </video> The code above got it to work on Safari. Now to figure out how to make it work on Firefox. Best, -Tim

I've been trying to make the H.264 MP4 work, but so far, no luck. I'm using a web editing software, Adobe Dreamweaver CS6, and it doesn't even have a selection for embedding MP4 video, all their choices are variations of Flash and SWF. Can anyone post the embed code for embedding an M.264 MP4 video on the web? Best, -Tim

Years ago I hosted a web site dealing with the Arriflex 16S cameras (www.Arri16S.com). I have another web site now that I would like to piggyback the pages from the original site onto, as I still get folks asking for the information. Problem is, the original site had dozens of videos (showing how different lenses; Cooke, Schneider, Zeiss, Angenieux, rendered), and they were all Quicktime 7 videos compressed with Sorenson Video Pro 3. The tests I've done so far lead me to believe that none of these videos will play anymore on the web. I keep getting "Missing Plug-in" when I try to view them. What format are people using these days to embed video clips into their web sites? I see Vimeo and YouTube on a number of people's web pages. Is there a simple method (not a web designer) to convert these Quicktime 7 videos into something that folks can view on the web? Thanks. Best, -Tim

Micheall, There are two issues with taking apart and re-assembling a motion picture camera. The one issue you dealt with when you took apart your turret, re-assembling the parts in different places from where they came off the camera. The more serious issue is when you start taking apart the "movement" of the camera. That is the whole mechanism that advances and registers the film through the camera, and sets the distance from the lens mount flange to the film gate. We had many specialty tools and fixtures that were needed to reassemble the camera movement. Tools and gauges that made sure the advanced was timed perfectly, that the registration pin was advancing the film by a very exact amount, and that the flange focal distance was set properly. To give you a reference, if the flange focal distance is off by more than .005 mm, the image on the film will be out of focus. .005 mm is one tenth the diameter of a human hair. If the registration pin is set improperly, you will get an image that is jumping up and down when you try to project it or telecine it. If the side rail is set too tight, you'll build up film on the rail and jam up the camera, if it is set too loose, the image on the film will weave back and forth as it is projected or telecined. Professional motion picture cameras are incredible machines, but to get the best from them, they need to be serviced by trained professionals. Best, -Tim

Scratching does occur, and you need to turn down the rollers as well as cut back the film guides. Will every un-converted mag scratch every roll of film? Definitely not. But do you want to take a chance that the one spectacular take you got on that one shot, ends up being scratched when you process and scan the film? Probably not.

You can probably get your Arriflex 16S apart, but getting it back together again and working properly will be an entirely different thing. The Arriflex 16S was made back in a time when each camera was hand made, hand fitted, and hand adjusted by technicians who knew the design and tolerances intimately. It's not like the later ARRI cameras where parts were mass produced and assembled on assembly lines. There are SO MANY things you can screw up when putting an Arriflex 16S camera back together again, things that will throw off registration, film weave, ground glass focus, flange focal distance, film advance timing, registration timing, not to mention the multiple specialty lubricants that are needed for each different sub assembly of the camera. The Arriflex 16S is a wet lube camera, so when the entire camera is disassembled, everything has to be ultrasonically cleaned to remove the old dried up/gummy lubricants before re-lubing and re-assembly. Not really a camera that lends itself to self-service. Best, -Tim

Not to be a killjoy but I think you have those WAY overpriced. Sold practically that same set seven years ago when people were still using the Arriflex 16S cameras, for $1500. Those lenses were designed for the Arriflex 16S and 16M cameras. They also worked on 16mm Aaton LTR and XTR cameras if you can find the right adapter. The depth those lenses protrude past the lens flange into the camera causes them to hit the spinning mirror on most other 16mm cameras.

Something a potential buyer might want to know, the front blimp glass originally from ARRI slowly hazed in the forty some years that it was owned by Rochester, so I had Schneider custom make a new front glass element for the blimp. It is crystal clear and optically perfect. Best, -Tim

Hey Richard, haven't been on here in years. I see you still have this gear, and I see you are now an Industry Rep, who you working for? Sent you a PM about the motor and the Franken-16S. Best, -Tim

Bump. Good luck with the sale. Sorry that you must part with it. Best, -Tim

I've got a Harrison Pup that I used for years with my SR-1 mags. Sure, you can go with a bigger tent, but then you need more room to set it up. I never had any problems with the "Pup" with SR mags, 2C mags, 16S/B mags, 16M mags and Anton 16mm mags. Best, -Tim