Karl Lee

Good suggestions, Gregg. I've already emailed a few of the larger rental houses inquiring about used 4x4 filters, so we'll see if that yields anything. I didn't think of checking with Bexel until I read your message, so I've contacted them as well, and posted a message here in the marketplace. I've been keeping an eye on eBay offerings, but I haven't found much in the way of reasonable pricing for new or used filters, at least the filters I need. I've made a few offers on "best offer" auctions, but the sellers don't seem too willing to budge too much on price....even on items they've had listed for well over a year! Fortunately, I'm not in too big of a hurry, so I can just wait until a good offer comes along. I'll be shooting some test film on my new SR3 soon, but I've decided to shoot exteriors with 50D since I'm without filters now. Plus, the SR3 has a variable shutter I can close all the way down to 45 degrees, so that allows me to open up the lens an extra 2 stops if necessary.

Hi everyone. I'm looking to buy some 4x4 filters, specifically a ND9, ND6, and an 85 or 85B. Tiffen or Schneider would be preferred. Thanks!

I'm in the market for a 4x4 ND9 glass filter but don't want to shell out close to $150 for a new Tiffen. At the moment I can't find anything reasonably priced in the used market, but I noticed that Cavision offers a line of glass 4x4 filters, and their ND9 is available new for around $55. Can anyone comment on the quality of Cavision's glass filters? I'd be using it in a Chrosziel 4x4 matte box. On one hand, I'd think it would be pretty difficult to screw up an ND filter, but on the other hand I realize you often get what you pay for...

Can anyone recommend any resources, either online or in a book, which serve as a good refresher / tutorial for light metering for cinematography (I'll be shooting S16 film), particularly spot metering? I'm planning on shooting some test footage with my new S16 camera in the near future, but it's been a while since I've read up on the finer points of spot metering. I have a Sekonic L-508 combined incident & spot meter which I've used a fair amount for incident metering, but haven't used the spot functionality too much. My plan for the test shots is to include landscapes and city skylines, neither of which lend themselves to incident metering. I certainly understand the main concepts of spot metering, but in real life it's not always possible to get a spot reading on distant objects that are equivalent to 18% gray, so I need to learn how to work around that and work with what's available. Plus, let's say I want to film a skyline and some buildings are in direct sunlight while others are in shadows, or a landscape which is partially in direct sun and partially in shadows. In this situation, I'd need to learn the best methods for determining optimal exposure based on multiple spot readings in the scene and all of the possible variables that could be in play. I realize that ultimately, good metering technique is best learned by trial and error and real-life practice and experience, but nonetheless I'd like to prepare and learn as much as possible beforehand. Fortunately, color negative film tends to be pretty forgiving and has pretty good exposure latitude, but I still want my ultimate decisions for exposure to be as accurate as possible. That said, any personal suggestions or suggestions of particular reference material online would really be appreciated. Thanks!

Back when I was an AC and worked with Aaton cameras, we always stored the camera body without any mags attached, regardless of whether we were just packing up for the day or shipping a camera cross-country. In fact, our cases were built in such a way that the camera body could only be stored without any mags attached. Now that I'm an SR3 owner, I thought I'd ask other SR-series camera owners this question. Do you typically store and transport your camera with a mag attached, or do store the mags and camera body separately? It's noted even in the official Arri SR3 instruction manual that the camera can be safely stored and transported with a magazine attached, and some of the Arri-manufactured cases even show the camera stored in this configuration, but I'm curious about how others store their SR camera body. As I'm looking to pick up some new Pelican cases to replace the fully functional yet bulky case that came with my SR3 package, I though I'd ask around. Personally, having been so accustomed to storing cameras with the mags detached, I'm more inclined to go this route with my camera. It just seems that for many reasons, storing the mags and camera body separately in a camera case is the safest way to go.

My primary goal with the test film isn't so much to perform a scratch test, but more for testing the mechanics of the film movement in the mags and the camera, and for magazine loading practice. Since my test film has been handled quite a bit and has passed through cameras and mags many times, I'd prefer doing a scratch test using new film fresh out of the can.

I have a 400' roll of 1-perf 16mm which I've been using for mag loading practice and testing of my SR3, but after runing the entire 400' through the camera, I end up having to re-spool the film on another core to get the winding correct before I can use it again. If I used 2-perf film for testing, I'd eliminate the hassle of having to wind the film back onto a core before running it through a mag and the camera again. Since the SR3 camera and mags are designed for S16 and 1-perf film, I'm guessing that mechanically, running some 2-perf film through the mags and camera wouldn't be an issue. However, on account of the extra row of perfs that would be running through the film path and aperture plate, would I risk somehow scratching or damaging something by having the extra row of perfs running against surfaces that were designed to be in contact with the smooth, unperforated edge of 1-perf film? Also, I could see the extra row of perfs running through the S16 gate as providing that many more cut surfaces that could contribute to excess film dust and particles, although I suppose if the camera is cleaned regularly that may not be too big of an issue. So, am I over-thinking this and worrying about nothing, or do I have some legitimate concerns?

When Arri switched from manufacturing the standard SR3 to the SR3 Advanced, were any changes or improvements made to the magazines, or are SR3 and SR3 Advanced-era mags essentially identical? Also, if the mags that were sold with the SR3 Advanced cameras did have improvements or changes, is there any way to identify a mag manufactured for sale with an SR3 vs. a mag manufactured for sale with an SR3 Advanced?

Good point, Gregg. I'll try checking with a few of the larger rental houses to see if they're trying to offload any 4x4 equipment. I was a little hesitant to buy a 4x4 matte box since I'm shooting S16 and was going to look for a 4x5.65 matte box, but I got a pretty good deal on a like new Chrosziel 440 matte box (or "SunShade" as they call it) which is 4x4. According to Chrosziel's website, the 440 will work with S16 down to 10mm. The wide end of my Canon zoom is 11.5mm, so it's cutting it close, but hopefully it will work without any vignetting. I guess this is another topic for another thread :)

I've read through a few threads in this forum regarding the finer points of 85 vs. 85B filters for filming in daylight with tungsten balanced film. I've noticed that on cans of tungsten balanced film, Kodak specifies the use of an 85 filter for daylight color conversion, while Tiffen's website specifies an 85B as the proper filter for balancing tungsten film to daylight. Specifically, Tiffen lists the 85 as converting daylight to 3400K, while the 85B converts daylight to 3200K. So, who to believe for optimal results...Kodak or Tiffen? Is the 200K color temperature difference pretty much a moot point? I've filmed plenty of super 8 using an external 85 with great results, but since I'm going to start shooting some S16 and am in the market for an 85 or 85B filter to use with my SR3, I'm just trying to decide which one to purchase.

Thanks for the info, Stuart. When comparing resin and polyester filters, does one tend to be preferable over the other? I'm guessing there's a reason that resin filters cost a fair amount more than polyester filters. Also, when it comes to resin filters, is there a particular brand that's generally regarded as being better than others, or are resin filters from all manufacturers pretty much equal?

I'm going to be buying 4x4 85 and 80A filters sometime in the near future to use with my S16 camera. In terms of pricing, it looks like I can get a Lee polyester filter for around $20, a Lee resin filter for around $70, or a Tiffen glass filter for around $200. The polyester or resin filter definitely look the most appealing in terms of price, but I'm curious if there's ultimately a compromise in image quality by using a polyester or resin filter instead of a glass filter. As this will be my first purchase of 4x4 filters, I thought I'd see if anyone has any information or suggestions. Thanks!

Just curious if there's a way to determine the manufacturing date or overall age of a Kodak film stock based on the numbers printed on the label and the tape sealing the can. While I can't image the film code itself is of much help (aside from determining a very rough estimate for discontinued film stocks), I'm curious if there's some kind of reference information that can be used to determine the manufacturing date based on the other data, such as the emulsion, roll, part, and strip numbers. Thanks!

Hi everyone. Just thought I'd see if anyone might have an original SR3 handgrip (gray with green pushbutton and coiled RS cable) available to sell, or any SR3 magazine loop protectors. Thanks!

Can anyone recommend any sliding bridge plate / dovetail / rods combinations that would work well with an SR3? I know Arri offers the BP-6 and BP-7 systems, but I'm looking for something a little less expensive. Ideally, I'd like a bridge plate that also has the anti-twist registration pin to help prevent the camera from rotating when mounted on the plate. I do realize that the Arri bridge plate systems are adjustable between R16 & S16. That said, would use of any mounting system other than a BP-6 or BP-7 result in incorrect rod alignment for a camera in S16 mode? Thanks!

Hi everyone. I've been tinkering with my new (well, new to me) SR3 Advanced, and I was curious if anyone might be able to comment on something I noticed while testing the mags. Simply put, and contrary to what some might consider conventional wisdom, I'm noticing that the camera tends to run noisier with an empty mag attached compared to a mag that's loaded and threaded. In my tests with the mag loaded, I used about 40' of scrap film on a plastic core and was also using a plastic core on the take-up side. It sounds like most of the additional noise with an empty mag is being generated from the camera's black main drive gear (just behind the inching knob). To help illustrate the differences I'm hearing, I've uploaded two audio clips - one of the camera running with an empty mag, and another of the camera running with a loaded and threaded mag. In both recordings, the camera was running at 24 FPS with the lens port cap intact, and the audio recorder (my iPhone) was about 8 or 9 inches away from the operator side of the camera. I performed the recordings in a completely silent room, so they may exaggerate the camera noise a little compared to working in an environment even with low ambient noise, but I thought this was the best way to capture the differences in sound. Take a listen... SR3 running with empty mag SR3 running with loaded & threaded mag In terms of low operating noise level, I think the camera sounds great with the loaded and threaded mag. Still, I'm just curious about the differences in sound with the empty vs. loaded mag, and if this is actually a common, typical observation for the SR3. It it a situation where the camera's main drive gear actually runs quieter with a load on the magazine's feed side vs. after a rollout? Thanks!

Does anyone know if an FE-4 eyepiece extender (this is the 10.6" version) can be used on an SR3 without the use of leveling rods for support? Should the friction adjustment, even at its maximum friction setting, provide adequate friction for the extender and attached eyepiece, or does this configuration result in too much weight and torque for the friction adjustment to handle on its own, particularly when the eyepiece is positioned more horizontally than vertically? Thanks!

There may not be a cut and dry answer to this question, but would it be safe to use a 4x4 matte box with a Canon 11.5 - 138 S16 zoom lens, or would I be risking it on the wide end? I realize that when it comes to matte boxes, each manufacturer is a little different, and when you're right on the edge of possible vignetting, a 4x4 from one manufacturer may vignette while another may not. I'll probably end up going with a 4x5.65 matte box just to be safe, but I've come across some pretty good deals on used 4x4 matte boxes, so I thought I'd ask. Thanks!

Does anyone happen to know if/where I could find an Arriflex price list (for brand new equipment) from the late '90s or early 2000s? Out of curiosity, I'd like to find the original pricing for the SR3 Advanced and some of its accessories back in the day :) Thanks!

Back in 2002 when I was visiting LA for a film project, some of the crew and I visited Digital Image in Burbank (they were handling the processing and telecine for our project, if I recall correctly). I believe the owners of Digital Image also operated a film lab at a different location which operated under a different name, but the two facilities shared a similar logo. A few weeks ago, I happened upon some files from that shoot which jogged my memory of Digital Image. Out of curiosity, I looked them up online (they were at 2820 W. Olive in Burbank), but as far as I can tell, they're no longer in operation. Does anyone recall if the owners of Digital Image also operated a film lab, and if so, what its name was and where it was located? If my memory is correct and they operated a lab as well under a different name, my guess is that the lab has also ceased operation. Thanks!

I've been watching a number of different YouTube and vimeo clips trying to get a feel for the 7203 (50D) and 7207 (250D) film stocks. As it's difficult to pick up on the nuances of each film stock by viewing clips online that may be of decent quality but are nonetheless compressed, I thought I'd see if anyone might be able to share their thoughts and opinions comparing Kodak's two daylight balanced color negative film stocks. In my case, I would be shooting S16. From the few S16 examples I've seen, the 50D obviously has pretty fine grain and looks great, but in some examples it was as if the grain was so fine that the transfer almost had the appearance of HD video (albeit very good quality HD video) as opposed to film. I suppose shooting 200T with an 85 filter is also an option, and I'd be curious if, for some reason, someone has a preference for shooting a tungsten stock with a filter vs. using a daylight stock. As I'd likely be doing most of my filming outdoors with plenty of daylight, so far I've been primarily comparing 50D and 250D. Thanks!

I've been looking into the Angenieux 11.5 - 138 lens, and while I thought there was only one variety of this lens, I seem to be finding a couple of different variations. There seems to be a version with the "HR" designation noted on the lens barrel, and a version without. If there are, in fact, two (or more)_ different versions, can someone please explain the differences? Also, were all versions originally S16 safe, or did some require modifications? Thanks!

Hi everyone. I may be in the market for a S16 PL mount zoom lens in the near future, so I'm just curious if anyone might have any available for sale (preferably from a US-based seller). I've pretty much narrowed my preference down to either a Canon 11.5 - 138 or a Zeiss 11-110, but I'd be interested to hear about any S16 zooms that are available. Thanks!

Oops...my mistake. I accidentally posted this message in the wrong forum. I've re-posted in the marketplace forum, so could one of the mods please delete this message? Sorry.

Has anyone been keeping tabs on the availability of 16mm Agfa 200D reversal in the US? This thread hasn't seen any activity since July, so I'm curious if any additional dealers are carrying it now, or if there's a dealer or lab in particular that has the best price for the film stock or a film/processing package. I'd like to give it a try and dust off the 16mm projector :) There was some concern about using this film in certain cameras on account of its Estar base. Are these concerns valid, or have there been few issues so far? I'm just curious if it would be safe to use in an Aaton or Arri SR series camera. Finally, is the 200D primarily sold on 100' daylight spools, or is 400' on core also available? Thanks!