Tim Carroll

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

I had a IIC for years and had a problem with focusing it. It was a PL mount IIC and it still had the light baffles in place. The ground glass on a IIC is part of the camera body and not the door, so whether you use a Fellini door, a Jurgen's door, or the stock door, the focusing issue I had remains the same. I talked with a number of camera operators who used the IIC camera extensively in the 1960's and 1970's and they all said it was a "quirk" of the IIC camera optics design. The way the ground glass is designed, when you are focusing the camera from any viewfinder (Fellini, Jurgen's, Stock, etc.) you had to have your eye exactly in the center of the viewfinder to get accurate focus. It used to drive me nuts as I was used to working with Arriflex 16SR, SRII, 16S and Aaton cameras, all of which don't have this issue. Even tried all the different ARRI eyepieces, Stock, Wide, Super Wide, nothing helped enough to make me enjoy shooting with the camera. So I eventually sold it. The way the Arriflex III ground glass/fibre optics screen is set up is completely different than the way it is done on the IIC. I had no problems focusing an Arriflex III. Best, -Tim

The first thing I would do is have the Flange Focal Distance checked on the camera and have the Ground Glass checked. Those both have to match EXACTLY for the images on your film to be in focus. If both of those are spot on, then experiment with different doors/viewfinders/eyepieces. I struggled with focusing my IIC and it is one of the reasons I finally sold it. The old timers were good a focusing those cameras and it has something to do with having your eye exactly in the center of the viewfinder/eyepiece. Good luck. Best, -Tim

Are you referring to Cinematographer Robert E. Collins, who shot "On Any Sunday"? And do you have any documentation that shows this was his personal camera? Thanks. Best, -Tim

I think any 16mm motion picture camera is going to need service at about the same intervals. Anywhere from two to four years, depending on how it is used. Having serviced both ARRI and Aaton cameras, I think it's pretty much a wash as to which is "easier" to service. Both need specific training and specialty tools to maintain so neither are really user-servicable cameras. You will probably find more folks who can service the ARRI SR line of cameras, but few do it the way the factory actually prescribes. You can probably still get ARRI in New York to service an SR3, and Axel Broda may still be servicing SR and SRII cameras. Those are the two sources I know who do the service as per ARRI factory spec. Best, -Tim

Yes, you can convert an Arriflex 16S to 16S/B by putting an S/B turret on an S. But it really needs to be fitted by a technician who has the tools to set the FFD and the ground glass on the camera after the swap, otherwise the images you capture on the film may be out of focus.

I'm in agreement with Jean-Louis, the shorter the focal length of the lens, the more critical the FFD. I would have someone with the proper equipment (collimator) set the lens up for PL mount, then you should be good to go.

Never actually saw one of those gates in person when I used to service the SR line of cameras. In theory I can understand the concept, but I would be more concerned that with the gate pictured above you would not get a clean frame line on the top and bottom of each image, possibly causing bleed between the images on your strip of film.

The sapphire rollers in the SR3 Advanced gate can give you a steadier image (not as much weave, which sometimes plagues the SR line of cameras) but they can be a bit noisier than the SR3 gate.

That's interesting because they tell me it will work on the SR3 and their website says it will work on the SR3. You just need to make sure your SR3 has their Single Frame Kit installed, as I mentioned above. Best, -Tim

Hi Aaron, In my freezer I've got three 100' rolls of Kodak Vision 3 500T/7219, been frozen since purchased new from Kodak in 2009, and four 100' rolls of Kodak Vision 3 250D/7207, also frozen since purchased new from Kodak in 2009. Let me know if you want it and if so, make me an offer. Best, -Tim

François, It might work but it wouldn't be a good idea. It will put quite a bit of extra load on the torque motor (and remember, those things are anywhere from 30 to 60 years old) and you may bind the film in the magazine. I would recommend not doing that and waiting until you can acquire a 2" core. Wherever you are having your film developed, they will have spare cores, call them and ask them, they will probably give you some for free (that's what they used to do "back in the day"). Best, -Tim

You just missed a great deal on the evil auction site. Visual Products just sold an Arriflex SR3 Advanced with mags, batteries, charger, fully serviced, and warranted, for $3600. Those were going for $15,000 to $20,000 just a few years ago. Best, -Tim

Zac, Closed the web site a year or so ago. If I find a way to repost anything, I will post something on here about it. Best, -Tim

Thanks guys, really appreciate the info.