Tim Carroll

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

He really was an inspiration. His work on "Manhattan" has influence my still photography as well. A great artist. He will be missed.

SOLD!!

SOLD!!

SOLD!!

SOLD!!

SOLD!!

Now that I'm no longer running the www.Arri16S.com website and not really shooting motion pictures, I am cleaning out the last of my motion picture glass. To that end I'm offering this mechanically and optically superb Carl Zeiss 8mm f2 T* Distagon motion picture camera lens in Arriflex Standard Mount. I’ve used this lens over the years with 16mm, and Super 16 motion picture cameras, as well as digital video. It has the Zeiss patented T* coating and produces incredible images. It's also a great compliment to the equally impressive Carl Zeiss 10-100 f2 T* zoom lens, giving a wider field of view. This lens does have a tendency to vignette with Super 16. Cosmetically this might not be my first choice for a lens to set on the shelf and look at, but if you plan on actually shooting motion pictures with this lens , you’d be hard pressed to find one that is optically or mechanically superior. Again, this lens covers 16mm, some Super 16, and many formats of digital video. You can view the auction at this link: http://www.ebay.com/itm/181382262982?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Thanks for looking. Best, -Tim

Now that I'm no longer running the www.Arri16S.com website and not really shooting motion pictures, I am cleaning out the last of my motion picture glass. To that end I'm offering this mechanically and optically excellent Arriflex Schneider Cinegon 16mm f2 motion picture camera lens. I’ve used this lens over the years with 16mm and Super 16 as well as digital video. It produces beautiful images. Cosmetically this might not be my first choice for a lens to set on the shelf and look at, but if you plan on actually shooting motion pictures with this lens, you will find this to be an optically and mechanically sound lens. Again, this lens covers 16mm, Super 16, and many formats of digital video. You can view the auction at this link: http://www.ebay.com/itm/181382253180?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Thanks for looking. Best, -Tim

Now that I'm no longer running the www.Arri16S.com website and not really shooting motion pictures, I am cleaning out the last of my motion picture glass. To that end I'm offering this mechanically and optically excellent Arriflex Schneider Cine Xenon 25mm f1.4 motion picture camera lens. I’ve used this lens over the years with 16mm and Super 16 as well as digital video. It produces beautiful images. Cosmetically this might not be my first choice for a lens to set on the shelf and look at, but if you plan on actually shooting motion pictures with this lens, you will find this to be an optically and mechanically sound lens. Again, this lens covers 16mm, Super 16, and many formats of digital video. You can view the auction at this link: http://www.ebay.com/itm/181382248683?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Thanks for looking. Best, -Tim

Now that I'm no longer running the www.Arri16S.com website and not really shooting motion pictures, I am cleaning out the last of my motion picture glass. To that end I'm offering this mechanically and optically excellent Arriflex Schneider Cine Xenon 50mm f2 motion picture camera lens. I’ve used this lens over the years with 16mm, Super 16, and 35mm motion picture cameras, as well as digital video. It produces beautiful images. Cosmetically this might not be my first choice for a lens to set on the shelf and look at, but if you plan on actually shooting motion pictures with this lens, you’d be hard pressed to find one that was optically or mechanically superior. One thing to note for "full disclosure", the lens has two tiny nicks in the front element. I had to angle the light just right in Pic 2 so they would show up, they are not easy to see with the naked eye. (Look in the dark area of the lens in Pic 2 and you can see them) They've been there the eight years I have owned this lens and have not shown up on any of the footage I have shot with the lens, including 16mm, Super 16, 35mm and digital video. But they are there, and if that would make you uncomfortable, then please don't bid on this lens. Again, this lens covers 16mm, Super 16, 35mm, and most full frame digital formats. You can view the auction at this link: http://www.ebay.com/itm/181382242558?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Thanks for looking. Best, -Tim

Now that I'm no longer running the www.Arri16S.com website and not really shooting motion pictures, I am cleaning out the last of my motion picture glass. To that end I'm offering this mechanically and optically superb Arriflex Schneider Cine Xenon 75mm f2 motion picture camera lens. I’ve used this lens over the years with 16mm, Super 16, and 35mm motion picture cameras, as well as digital video. It produces beautiful images. Cosmetically this might not be my first choice for a lens to set on the shelf and look at, but if you plan on actually shooting motion pictures with this lens, you’d be hard pressed to find one that was optically or mechanically superior. Again, this lens covers 16mm, Super 16, 35mm, and most full frame digital formats. You can view the auction at this link: http://www.ebay.com/itm/181382230928?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Thanks for looking. Best, -Tim