Lonny

Seems like a lot of high speed film with .3000 perf pitch for sale out there. I've seen comments stating that cameras run a little louder with the .3000 pitch film compared to the .2994 pitch film, but otherwise most cameras can run either without jamming. Has anyone run 2 perf, .3000 film in their NPR and could report on how it went? Thanks!

I sold my Beaulieu R16, which I'd spent a LOT of money buying extra accessories, magazines, 200ft spools, Ultra 16 gate to get a Super 16mm NPR. So quiet, 400ft capacity, crystal speeds! However, I wish I still had a small, run-and-gun sort of camera, so I've started looking at reflex Bolex 16mm cameras. Depending on your needs, of course, I think a reflex Bolex H16 would be the way to go. It's GREAT that you want to shoot film! Long live film!

Hello all! I have noticed several different grips in photos of NPR cameras and wondered where I might get one? Do these other grips have some special trigger for the camera or do you push the button then settle into the grip? I haven't used my NPR enough to know if it is uncomfortable, but am thinking an enhanced shoulder pad and grip would be helpful. The one like Forster is using is one I've seen on a few but mine is like the second photo, just shoulder mounted with the standard right hand grip on the camera body. Thoughts?

Hopefully, we can all keep Cinelab going. Just got this DEPRESSING news from Alpha Cine: From Jean Fee, Alpha Cine: Hi, We are sorry to announce that Alpha Cine will no longer process or print motion picture film after the end of September.

Ah, run it without film to test the binding. I don't know why I didn't think of that. I think I'll end up selling off some other equipment so I can get the NPR to Bernie for servicing. Who knows when it was looked at last and I'd feel better knowing it had been looked at before doing any large projects with it. It's sad to think of your NPR sitting in a closet somewhere, Ian! Filmstockclearance(dot)com has great deals on Fuji film right now, but I can understand. I probably should have used my money to do a project with my Beaulieu rather than buying the NPR, now I can't afford film! I'll shoot a test roll with the different lenses I have and post the results. Thanks again for the help.

Here is the video showing the shutter - I think the adjustable has been replaced with a fixed one..... https://vimeo.com/68933755

It purrrrrs like a kitten! I noticed that after I run it for a bit, before starting it up again, I have to switch it to shutter and roll it forward a bit and it seems to 'give', as if it's bound up a bit. Then I switch it back to motor and it runs fine. Is that normal or am I not leaving a large enough loop? I do the whole 'two finger', divide the loop thing. Also, the sync light seems to flicker from time to time, is that a concern? I know you must be sick of all these newbies with the questions, but I really appreciate the help! I think I'm going to love this camera! SO much quieter than my Beaulieu.

My multimeter shows 12.53 volts. I decided the XLR wire might be too thin so I did a new cable from thicker wire that fits better into the soldering sockets on the Cannon four pin connector. Same result. I plug it in and the sync light turns red, the motor runs for two seconds then stops. Thing is, the sync light is on whether the switch on the camera is pushed or not - is that a low battery indicator? I turned the little pot switch to a setting for 15 fps 60hz, since I thought fewer fps might help it turn over easier, but it didn't work. I guess I'll get a charger for the battery and try it again fully charged. I've been offered a refund, but it would put me out a total of $150 for return shipping and I only paid $900 for the whole kit (body, three mags, all supposedly converted to Super16, 12-120 lens that doesn't quite cover the S16 frame). I think I'd rather keep it and put the $150 toward servicing?

Thanks for the reply, Ian - I follow the directions for the shutter adjustment in the manual - hold the switch on the side of the camera to Reglage Obturateur, and then push in on the silver recessed knob on the opposite side of the camera and turn it to adjust the shutter. The shutter turns a bit, but then seems to 'bind up'. I don't see the black piece with the measuring lines like I see in the youtube videos. The wheel the mirror is mounted to seems to be a solid piece and the mirror surface appears to be not quite 180 degrees, a little greater opening maybe 220? I'll shoot a little video and post it, showing what I'm seeing. It seems the battery I bought - a sealed lead acid 12V 5Ah isn't "at about 90%" as I was told, so I'll have to get that checked on Monday. The camera ran for a second, really slowly, but now just the sync light turns on. I was so excited to get this camera yesterday - I hope these things can be worked out so I can shoot some test footage.

I still need to build a battery for it to fully check it out, but so far it seems like a nice, solid camera and I'm really excited to start using it. One of the first things I noticed is that I couldn't adjust the shutter. When I emailed the previous owner he stated "the NPR has a fixed shutter. Did the (ebay) listing imply an adjustable shutter?" Kind of defensive sounding, but I assured him it wasn't a deal breaker, I was just trying to find out the specifics of the camera. The camera has all the controls indicated in the instruction manual I downloaded for adjusting the shutter. EVERYTHING I've read about the NPR lists the adjustable shutter as one of those features normally found on higher-end cameras but the NPR comes with one. Is it common practice to replace the shutter when modifying to Super 16? Could the NPR be ordered from the factory with a fixed shutter? Bernie, can an adjustable shutter be re-installed? Anything else I should check once I get the battery? Thanks!

Seems too good to be true! What are the Tobin motor models? No batteries?

I had my camera converted to U16 by none other than the master, Bernie O'Dougherty at Super16 Inc. Now that I've shot some test rolls and am looking to get them processed and transferred before shooting a larger project, I find the only place to get U16 transferred is Cinelicious. They do beautiful work and their U16 demo on Vimeo convinced me to send my camera to Bernie, but their pricing confuses me. Their telecine is calculated at a 3:1 ratio so 20 minutes of footage is 60 minutes of telecine? Is this common practice? Yes, "filmmaking is expensive", blah blah. I don't shoot film because I can afford it, I shoot it because I love it! But at this point, I'm not seeing myself ever being able to utilize the Ultra16 on my negatives if Cinelicious is the only place to have it transferred. Maybe I'm out of my league. I'll just forget I have it and shoot R16 and crop it to 1.85:1, I guess. Of course, I'll have it all processed at an "Ultra16 safe" company, like AlphaCine to protect the negative, just in case. Someone straighten me out if I am not understanding the cost of U16 telecine. Thanks!

Ian - have you used those plastic 200ft daylight reels in your Beaulieu yet? I have the same camera but haven't had much luck finding compatible 200ft reels for the magazine. I notice on the Philip Rigby site only grey plastic 200ft reels that are not daylight.

I had the same problem! I tinkered with those reels for quite a while, thinking I had the wrong reels or maybe a missing part. Finally decided there was more room in the slot for the part to move so I 'forced' it and CLAMP! When the reels are set for 8mm, does one hold 100 feet? And I guess I'd have to be able to do a cement splice in the dark to attach two rolls of Super 8? I've only processed one roll of B/W reversal, but I'm going to try E-6 Ektachrome next weekend for a 48 Hour Film Festival. Wish me luck!