David Owen James

What brands are available for colour reversal film in 16mm?

I know the CP 16R doesn't have a registration pin, which is holding me back from purchasing this particular camera. Does anyone know if registration is a problem with this camera or does it work great without one?

Why do you like the Aaton LTR 7?

Why purchase?

I'm looking to purchase a camera and a serviced Arri SR I or II seems to be out of my budget. What are your thoughts on the Eclair NPR and the CP 16R? I have been told the Eclair NPR is hard to find parts for, but will that be a concern if I buy one fully serviced? Thank you

Can anyone direct me to some shops online that sell serviced 16 mm cameras? Also, if you know a place in Montreal let me know. Thank you, David

What does a viewfinder extension allow you to do?

What do you guys think of the Arri 16BL? And, what makes the Eclair 'out of date'? Thanks

Is there a possibility that Kodak and Fuji will eventually stop making film for 16 mm cameras? David

Is there a website where I can look at some or possibly all of the 16 mm film stock available today? I'm trying to get a visual idea of how they differ from each other. What companies still make 16 mm film today? Thanks! David

Thanks very much guys. I was thinking lately of spending a bit more and getting one that has been fully serviced with warranty. I do plan on using it for many years to come. The video tap is important for me because I'm obsessed with image composition. The small viewfinder (I've never looked in a 16mm camera viewfinder before) doesn't give me the perspective I want. From my experience shooting digital with a small LCD and then watching it later on TV, I could see things I would have easily spotted and changed if the image had been larger. What does it cost to get a video tap? I don't need anything too fancy. Is it easy to install oneself and can almost any 16mm camera support one?

Thanks guys - this has been very helpful. Do you know if there are different types of video monitoring systems?

I've spent hours looking at films on youtube shot with various 16 mm and I'm not any closer to figuring out which camera is best for what I need - the looks varies from film to film so greatly. How do the different camera bodies different in terms of the look?

Do you mind explaining what kind of video monitoring is available for 16 mm film cameras? I imagine there are a few different methods. Are there video monitoring attachments for cameras without them?

So, I'm looking to purchase a regular 16mm camera and would like some advice. I'm thinking of spending around $2,000 - $2,500. My setup will be as simple as possible but here are some features I would like to have in the camera: - crystal sync - reflex viewing system - 400' reel - some kind of video out for monitoring - 4/3 aspect ratio Any recommendations?

Indeed, I really admire Bresson's work.

What is the cause of the jitter?

Will can you elaborate a bit on this statement regarding tiny fluctuations: "a camera that isn't rock steady you will see tiny fluctuations, especially in a blue sky or areas of solid colors. If you are going mostly handheld then that becomes less of a factor. " I'll be shooting on a tripod with simple but well-planned camera movements.

Is it possible, by some external device or post-production method, to have sync sound using a camera that does not have crystal sync? Speaking of my own case, I have an analog audio recorder with crystal sync and am considering buying a 16mm camera with no crystal sync. This camera though is sold with an external sync module, but I'm not certain what that is.

Velvia 50 looks nice. So, it seems like the camera body is not at all as important as the other elements such as film stock and lenses.

I'm new to 16mm and looking to buy a camera, some lenses and other necessary equipment. I'm looking to achieve the look of film that was popular in the early 70's. i've been going on youtube and checking out the different 16mm cameras and film stock used in the production, but I don't know how useful this is given the many variables that go into the look. I imagine vintage camera and lenses is a necessity. does anyone know much about this? thank you, david

Quite right.

I'd like to get a basic overview of all the technical aspects in production and post production that determine the style of the picture. I have an approximate style in mind and I want to move as close to it as possible. So, I have a few questions and also have provided a few sample images. I'm trying to replicate the film images of the early 70's. I thank you for your responses. To begin, what are the technical variables in production that determine the image? I can think of the camera body, lens, film stock and lighting. And in post, the film processing. I imagine all of these are elements are important in making up the final image, but of these elements are there some that are more important? The links are to images taken from films made in the early 70's. They are taken from 35mm films so perhaps they are not the best reference. I like the contrast and behaviour of colour. How am I to come close to this style? What sort of gear is necessary? David Links to images: http://www.google.co.uk/imgres?q=bresson+4+nights+of+a+dreamer&um=1&hl=en&client=safari&sa=N&rls=en&biw=1188&bih=733&tbm=isch&tbnid=eL4it1BK0pPZ0M:&imgrefurl=http://mubi.com/films/four-nights-of-a-dreamer&docid=sLeUney174gmFM&w=448&h=252&ei=LU5qTqbRMIzGswb0o9j9BA&zoom=1&iact=rc&dur=361&page=1&tbnh=144&tbnw=193&start=0&ndsp=24&ved=1t:429,r:4,s:0&tx=92&ty=71 http://www.google.co.uk/imgres?q=bresson+the+devil+probably&um=1&hl=en&client=safari&sa=N&rls=en&biw=1188&bih=733&tbm=isch&tbnid=QBk2SFAZeL1f9M:&imgrefurl=http://mubi.com/topics/the-most-philosophicallly-dense-films&docid=2bO_N5wB_-wEaM&w=400&h=293&ei=SU5qTpX-LpHGtAamhryxBA&zoom=1&iact=hc&vpx=129&vpy=195&dur=29&hovh=192&hovw=262&tx=133&ty=89&page=4&tbnh=122&tbnw=152&start=71&ndsp=24&ved=1t:429,r:0,s:71 http://www.google.co.uk/imgres?q=robert+bresson+four+nights+of+a+dreamer&um=1&hl=en&client=safari&sa=N&rls=en&biw=1188&bih=733&tbm=isch&tbnid=l6heJOcNps2JTM:&imgrefurl=http://www.vicious-trollop.com/userforum/viewtopic.php%3Ff%3D17%26t%3D529%26view%3Dnext&docid=5Dljec31-aOyFM&w=400&h=277&ei=SlFqTpP9BsPNsgbn9-C5BA&zoom=1&iact=hc&vpx=146&vpy=264&dur=1243&hovh=187&hovw=270&tx=184&ty=79&page=1&tbnh=145&tbnw=193&start=0&ndsp=24&ved=1t:429,r:18,s:0 http://www.google.co.uk/imgres?q=bresson+the+devil+probably&um=1&hl=en&client=safari&sa=N&rls=en&tbm=isch&tbnid=8rnztDq5lnuszM:&imgrefurl=http://filmsick.exteen.com/20081122/zombie-and-the-ghost-train-mika-kaurismaki-1991-the-devil-pr&docid=Y0EvMHHUi-i3TM&w=750&h=539&ei=vk5qTpCMEs-Vswa6lcHUBA&zoom=1&iact=hc&vpx=591&vpy=393&dur=5179&hovh=190&hovw=265&tx=171&ty=104&page=8&tbnh=118&tbnw=188&start=175&ndsp=27&ved=1t:429,r:3,s:175&biw=1188&bih=733 http://www.google.co.uk/imgres?q=robert+bresson&start=412&um=1&hl=en&client=safari&sa=N&rls=en&biw=1188&bih=733&tbm=isch&tbnid=wCuoG-uyeuj4aM:&imgrefurl=http://nancysiler.com/bordeaux-robert-bresson-quotes-theatre/&docid=J2jM2Q0LWRa-rM&w=800&h=625&ei=g1BqToCKDMvOsgawvIXVBA&zoom=1&chk=sbg&iact=hc&vpx=895&vpy=193&dur=1792&hovh=198&hovw=254&tx=163&ty=122&page=18&tbnh=139&tbnw=193&ndsp=24&ved=1t:429,r:23,s:412

Thanks for your response Brian. A few more questions for you if you don't mind: So, If I understand correctly, there is no specific Super 16mm stock; it's all the same 16mm stock. Which means it's a matter of the format the camera allows to be recorded - the size of the gate? Does this mean that the area used for audio in regular 16mm is just film emulsion but used in a different way to record audio? Can double perf stock be used in regular 16mm cameras?

I have some basic questions regarding the differences of these 2 formats that I hope some of you can help me with: In terms of emulsion quality, is there any difference? Is the only basic difference in the two formats the additional width of the Super 16 picture? Can you explain the compatibility of 16mm/Super 16 film with the camera - can you only use 16mm film with a 16mm camera and Super 16 with a Super 16 camera? Also, I would like to shoot my picture in the 4/3 ratio. So, I assume that regular 16mm is sufficient. Are there any benefits in using Super 16 when the end result will be 4/3? Lastly, the question of cost - is regular 16mm gear now cheaper than Super 16, and what about the difference in film stock costs if any? Thanks a bunch! David