Eric F Adams

Alright, I need you experts to give me advice regarding my Petroff MB-6 Matte Box. During my last post, y'all talked me into to getting filters for when shooting in daylight on 16mm. My matte box never had filter frame holders, so in the past I had taped over the openings. I recently purchased a 4x4 filter frame from a company that assured me the frame would fit my matte box. I had sent them photos. Well, when i got the frame, it was a hair too big. You can see in the photo that the 4x4 didn't fit. I contacted Petroff to ask them what size goes with the MB-6 and they wrote back that they quit making that 25 years ago. I replied to them I was aware it was old, but if someone wanted to acquire a filter frame for it, what would they get? They did not reply. Would anybody have any suggestions?

Thank you Adrian, Stuart, Mark and David... I appreciate you taking the time to share some knowledge. "This is a professional forum where a certain level of knowledge is required to get the most out of an informed reply. These concepts can't be expressed in simple terms. If your knowledge is insufficient you may need to do some more reading on the subject." Actually, David. I believe these concepts can be simplified and doesn't this forum have all levels? Here is my situation. Filming at night i got it covered. I go 500 (7219) and never had any issues. Looked good. At day inside and outside in shade only OR no sun, I never had a problem. I went 250. Looked good. Now, for sun, I always had a 400 foot mag of 50 (7203) handy for when I was outside during the day and the sun was bearing down. There were a few times where my processed film was too light (looked like crap) yet my light meter told me to go to 22 (sometimes beyond). Help me out here. 1) Should I just go to 16 in the sun and not worry about things? 2) When my light meter puts me beyond 22, what do I do? 3) I am a little afraid to use filters. Not comfortable enough. But is there a go to EASY method where I can always pop the same filter on using 50 in the sun and then put it on 16 or something easy like that? 4) The lens reads max 22 but there is 'play' beyond 22. Is the "play" beyond 22 still effective?

Thanks Adrian. I had to read your answer about 5 times. Judging from my simply language question, do you really think I'm going to understand "turn F16 @50iso 1/48th a second into foot candles and then look into photometrics to get the footcandles of a given unit/distance/beam angle" Your language/knowledge is too advance for me. Could you rephrase your answer as if you are speaking to an 8th grade film class? Thanks. Eric.

I'm trying to fully understand this concept. Let me know if I'm on the right track. Shooting on an SR2 Super 16mm in daylight with the sun (no filter). I use my trusty light meter and it indicates i should be on stop 20, maybe stop 22, etc.. but I just place my stop to 16 cause not really wanting to risk under exposing. Placing it at 16 is clearing letting in more light even though my meter indicated me to be at 22. Overexposing it several stops is fine...therefore, in the sun, with no shade, some film users just go straight to "Sunny 16" and roll with it, intentionally overexposing it. And the end product still looks great. Am I on the right track here? My next few questions will be using the Sunny 16 with different film stock. But I want to clarify the above first. Thanks so much for y'alls assistance.

Thank you guys for the advice and feedback.

What are the advantage/uses of these convertible umbrellas? ( b and h link below) Instead of the traditional all white. Is it to block or create certain shades? I would like to start using one. Any common practices that are certainly a go to? Shooting on 16mm film. Microbudget. Thanks. https://www.bhphotovideo.com/c/product/423625-REG/Impact_UBBW45_45_Convertible_Umbrella.html

Great info Dom. How do I know what I have, the older or newer eyecup? Is there any distinctive difference?

Okay, on the Arriflex SR2 S16mm. I have read that you could possibly damage/alter your film if your eye or something is not covering the eye cup. For instance, if I were to be filming and I am holding the camera low and raise it belt level, swing it around, where I am just moving the camera with my hands. Without my eye covering the eye cup. One film pro that I should always have eye cup covered so to just put a sock on it and tape it. Another film guy said it won't matter and that his eye would come off the eye cup numerous times with no ill effect. I don't have the $$ to play around and experiment so why do you experts say about this situation? Thanks.

Okay, I'm confused and need advice. My camera is the Arri SR2 (converted to Super). My lens is the Cooke Varokinetal 10.4-52mm T2. These lens were made for Super 16. My camera came with a follow focus. See photos. The camera tech informed me several years ago that my ff will not work with my lens. Is that ff for a certain type lens? Why doesn't it work for my lens? I will be using that same camera and lens. I need a ff. What ff can I get and it will work?

A minute? goodness. Now I can unload in about 2 minutes or less, but to load...I need full concentration and I take my time. I would say I average 4 to 5 minutes.

Hey George. Silent, it's not.. It has the normal purr of the ole Arri film. I guess I need to do a better job of my camera position in relation to my sound. Thanks Phil. I get it serviced with Bernie up in New York. I am purchasing some Producer Choice sound blankets so that should help. Thanks Adrian. I will get it checked out. Interesting you say that Satsuki. I have notice a difference in my film loop size. I purchase an additional mag for my next project so now i will have 3 mags. Now i can take my time and load them up just right instead of hurrying to load on set...lol.

Looks good Mark and an interesting post. thanks.

Arriflex SR2

Besides using a towel. Is there something good to use to cover the camera to muffle out the little clicking motor sound? Fits good and no problems or interfering the workings of the camera. Thanks.

It can be done is what we have decided but can anyone here tell me about this: Shooting on 16mm and sync sound issues? And any other general-technical or otherwise-tidbits from your experience that will help me on location. I shoot on an SR2 Super and I had zero sync issues.

I will try and make this brief so I will not bore you. I shot a feature film a year or two ago and it went well, but I need to improve my sound. I self funded the film. No paid crew or no paid actors. I shot it on Super 16mm. Despite the limitations, the film went great and I plan to do another one. In my film, I had one sound person. My wife. lol. She is an RN by trade, but we have studied quite a bit on mic placement and positioning, so I don't want to replace my free labor. I use a boom mic throughout the whole film. These are my 3 components. 1) Audio Technica AT875R Line & Gradient CondenserMicrophone. 2) Sound Devices MM-1 Single Channel Portable Microphone Preamp. 3) Zoom H4N Handy Reconder. That is my setup. Mic on Boom Pole > Preamp > H4N. Then I download my wave files from the H4N onto computer and I edit in FCP. My questions/concerns. I want to improve sound for next film, but I can't scratch and start over with a whole new sound set-up. Keep my micro budget in mind. If these 3 components are good? Then what should I have my preamp settings on? Should I replace one of these components? If so, what? And what should I get? Not sure if I can replace two components due to $$. I realize I need improvement but just lack the funds to go all out. I could and would definitely drop a few hundred if need be to get the most out of the above setup. Any advice wanted. Thank-you. Eric.

I own a SR2 and I love it. I had it converted to Super. My lens is the Cooke 10.4-52. I shot one film with it and plan to do another. Very pleased with the Arri SR2.

Good Morning Adrian... I did that twice and they said they would and must have forgot. They have been so great with everything else so I have given them "a pass" on this..., I just did not want to push it and be a pest about it.

I am having the hardest time finding about half a dozen empty 16mm cans for my short ends (400 foot cans). I've looked at film supplies sites, ebay, etc. Anybody know where I can find about 6 or 7 cans? I would certainly appreciate it. Eric

I've searched the web and i'm not having much luck.

Tom, hello, i guess I should have mentioned that. It's a Arri SR2. Yes, i would leave it in the mag, with the mag still fixed to the cam.

Let's say you put in a 400' roll of film in your 16mm cam....then you shoot about 6 minutes and stop. Is there anything wrong with just leaving the film in your cam and then film the next day to finish the roll? What if you film the following week to finish the roll, would that be a problem? I know realize you can 'cut' the roll and recan, but what if i'm just lazy and I want to leave it in there?

Jacob, Great, that's how i understood it... reverse in FCP. Thanks.

hold the cam "upside down"... I must have missed this part. Well, that appears to be getting beyond my capabilities. Thanks for the advice.

Thanks Isaac, that link is very helpful.