Kalle Folke

Hi, I hope someone with more technical knowledge can give a better answer but to me it looks like the decimator will work. Only thing I'm not sure about is if it converts a analog signal to a digital signal. Maybe it upscales a digital SD signal but not a analog? If it does convert a analog signal I think my reseller gave me the wrong info and I sure will regret not getting the decimator since it would be handy to also have a SDI-HDMI converter... I'll get back to you if I have some useful information, please let me know what you find out. Maybe a email to Decimator could give an answer. Take care!

Just did some more thinking and maybe you'd still have a problem is the Pix-e5 only works with 720p signals… The Pix 240 seems to have much more options for input signals, including PAL and NTSC. I can try with a SmallHD 502 to see if it works with the converter, but I'll not have access to the camera until next week. Good luck!

Hi! I've just been researching for a similar solution. From what I understand the Decimator product you'd need is: http://decimator.com/Products/OBSOLETE/SDADC/SDADC.html but it's out of production. I got a Aja V2Digital: https://www.aja.com/en/products/mini-converters/v2digital For me it's works to convert the analog signal from a Arri 416 to a Sound Devices Pix240 monitor/recorder. Blackmagic makes a analog-digital converter also. It's cheaper but my rental house recommended me to avoid it and I generally don't trust Blackmagics products so I choose the Aja. I can power the converter with d-tap but I'm waiting for a custom cable to let me power it from the 416 "mini-monitor" port (12v). If you don't have the option of getting power from the camera (it should be possible) I think it would not be hard to make a adapter to power it from small "dv-cam batteries". The power connector on the converter is some strange type so you'd need to get that from Aja I think. I choose to get the adapter since I want to record the video tap with the cameras timecode burnt in so I can sync sound from the sound recorder manually when not using a slate. If you just want a monitor it would be much cheaper to get a used SD monitor to use with film cameras with analog video taps. I got a old Transvideo monitor for around 80€ and it also does the job.

And Isaac, Http://www.pure4c.de/dynasite.cfm?dsmid=99819 Have you seen these?

Hi Isaac, Yes, the 6, 8 and 14mm. They had some more then, but maybe it's all gone?

Hi, I'm looking for a Arri Ultra 16 lens (for Super 16). I would prefer the 35mm but I'm also interested in the 25mm. Scale in meter would be great… but Feet ok also. I might be willing to trade for my 6mm Ultra 16. Hope to hear from you! /Kalle

Hi, I also think that's a problem with calibration of the sensor quadrants. I've experienced it with the ikonoskop a-cam dII camera if calibration is not right. Also digital bolex can have this problem. It's one of the drawbacks of ccd sensors. In my experience more noticeable in low light. I think they need to admit they have a calibration problem and not blame it on your exposure.

Hi, I'd say shooting wide with Super 16 is not a problem, you just use the right lens. I've just shot some stuff with a 6mm Ultra 16 lens and it's extremely wide… I think this is a great resource to compare the field of view with different formats: https://www.abelcine.com/fov/

Hi, I think it's great that you've done this and I'd really hope some people, including me, will be able to see it. I love the part when the woman is talking, but the animations makes it almost too "un-understandable" (remember I think she makes perfect sense). I think the trailer would make more people interested if it had more of the dialog and less of the fast cuts and animation stuff. Not sure if this helps… but that's my thoughts. Would be nice to see a full scene to get a better understanding of the film. I'd pay 10£ to see it online, but from what I understand many people want stuff to be free these days so maybe no use to sell stuff at all (except iPhones)?

Hi, Maybe I didn't express myself clear enough, English is not my first language, fear-mongering was not what I thought I was doing :) Since I started shooting film a couple of years ago (after 15years shooting tv-shows and always wanting to shoot real film…) I've noticed quite a big trend upwards for analog film. I also shoot a lot of medium format stills and there seem to be a big trend going analog among some photographers also. So I'm positive about the near future. Problem is that in a few years that can still change (to be clear I hope it don't) so I think it's good to at least think about it. If I where king I'd ban profit all together… but unfortunately I'm not (yet king) so companies seem to rely on it for some reason. Kodak is the only company I know of who makes high quality color negative film and I sure do my best to support them in the small ways I can (shoot as much I can). I really hope "people" will realize there's a place for both digital and analog and not let film ever go away. I've experienced more then one Fuji film for stills vanish the last years, but also seen the rise of Film Ferannia (delayed rise) and Cine Still film and maybe that's a sign of what's to come. Smaller production lines to function without the demand from before to create a sustainable business (until I'm king and the world is all analog again). The more people that buy these cameras and put them to use the better. I use mine to make a documentary about preservation and shooting on film is kind of a part of the story so let's preserve it :)

Hi, I payed 4000£ (+vat if I would've been outside of EU) for a nice big kit. Before that the Sr2 was around 1500£ and the a-minima around 2500£. I was actually looking for a Sr3 kit but when I found the 416 for that price I "just had to do it" :) I'd say the most important thing when buying used film cameras is to get a kit with all the accessories included since they can be rally expensive separately. Also buy from a seller who would help you or give you money back if any problems should be noticed during initial testing. Also I realize it'a always a risk that some mayor component can fail or that Kodak will stop making film… so I invest with a potential big loss in mind. At least this is a time when you can get equipment just unthinkable just some years ago!

Hi, I've owned a Arri Sr2 (miss it), Aaton a-minima (miss it) and now a Arri 416 (love it). I got the 416 from Arri rental UK and I'm happy with it. It sure looks used but I feel good about buying from rental companies since they kind of depend on having their cameras working to keep in business. They also had the camera cleaned and tested before shipping. I guess it's ES Broadcast you're talking about? I've bought some lenses from them and would not hesitate to buy a camera from them, especially if they offer a warranty. Then you'll have some time to test it in various situations and any faults should hopefully be noticed. Also since you're in the UK you have the advantage of being able to inspect in person. I'm sure there are cheaper options, but the more recent cameras are still not insanely expensive… but I use a different kind of logic when it comes to getting analog equipment (the logic of money loosing passion) compared to digital (the logic of get income for food, shelter and analog cameras…). Good luck and have fun!

I've had David at http://www.movigrip.commake cables so I can use my Aaton grip to start/stop a Sound Devices Pix240, Ikonoskop A-cam dII and Arri 416. I really recommend his services. He's based in UK.

Not according to this: https://matthewduclos.wordpress.com/2016/01/13/rokinon-cine-cine-ds-and-xeen-whats-the-difference/

Hi! Just started writing but my computer stopped working, so I'll try again... I've shot some rolls of 500T at night with only natural light (or naturally accruing in the location) during this year and hope to soon find some time to finnish my new "film stock montage" to show online. I'd say you generally need a fast lens, like T1.3. With 500T at T1.3 normal household lights or street lights gives a nice exposure in my experience. I'd also say natural light is a very varied thing. Some people might just have a small reading lamp turned on at night and some have really bright fixtures in the ceiling… and maybe a big street light just outside the window. Also depends how close the light is to the subject etc. Is there any reason not to move the light or subject? Even in a documentary setting you can move the camera to effect exposure in the frame. That said I absolutely think you can light a scene without any fixtures made especially for cinematography. I'll try to remember to post my new film with some good examples of 500T to this thread when I get id done. For now I have a test from my first roll that I shot last year: 00.40-01.15 is 500T. In the kitchen I tried to use a 300w redhead bounced in the ceiling, but I think it actually would have looked better/more natural without it. I really prefer the look of film in lowlight compared to the washed out look from digital cameras at hight ISO. Good luck!

http://www.esbroadcast.com/equipment/used/used-film-equipment/camera/show/1248/ One in the UK. They sell a lot of cheap equipment now. I bought some Ultra 16 lenses from them.

Hi! If it's of interest the music video I shot with the Sony BVP-3P in now online: The "bleeding" of highlights really got more intense as the temperature fell, but it was all very welcomed by the director (and me), I think it looks nice :) A rental company here in Stockholm keeps the tubes alive for special occasions, nice to have the option!

I would think these have threads to screw in longer rods also? Like the Aaton rails. I'm not sure, but maybe ask them...

Hi! Here's one for sale (if it's still available...: http://www.aimimage.com/arri-lws-3-15mm-bar-bracket/ I've bought used equipment from them and can recommend their service. The HMI I bought broke in shipping (glass reflector cracked) but they where fast to send a replacement part (that was very expensive for them to get from Arri). I had a Sr2 before and I learnt that there are some people (on ebay etc.) who try to charge VERY much for spare parts and accessories. But if you have some patience and detective skills you can find it for reasonable prices. Enjoy shooting film! :)

My lab spooled around maybe 55 meters to avoid overfilling. You just need to remember to set the film lengths counter in the camera menu to less then 61 meters since the "end-of-film"-led will start glowing based on that setting and not on when the film actually runs out (caused me some missed shots before I figured out…). Dirk: Do you also sell Kodak film? The person who bought my camera is based in Switzerland and I've recommended him to use your lab. Would be great if you could supply the film you spool and offer the complete chain needed.

Hi Gregg, Good question actually! I bought them used some time ago but never got a chance to use them. All my other filters are glass so I've never experienced anything else. I took for granted that they are glass since to me I can't feel a difference. Now I tried to check them out more carefully and the red 23a, yellow/green 11 and yellow 15 have a different sound when I knock on them (carefully…). They have some kind of frame so maybe that's what making it sound "damper". I'd say it's glass, do you have any good way of testing?

Hi, 100€ + shipping.

Hope I managed to get this quote thing to work... I have the Cooke 10.4-52mm and I can confirm it's par focal and does not breathe (not enough for me to really notice at least, but I do no VFX work). For me it's nice to have a zoom since it makes focusing easier when I zoom in to focus (and then zoom out for wider focal lengths). When shooting Super 16 I usually judge focus by eye and with wider lenses it can be really hard for me without the zooming. Maybe 10.4-52mm isn't long enough for your planned shot, but I wanted to take the opportunity to recommend this beautiful lens!

Hi! When I bought my a-minima I made sure I got some empty spools and cans included in the sale. I turned out I never had a need of them since my lab (Stopp in Stockholm, Sweden) could supply them. They re-spooled the film for me and got the spools back when they developed the film. They're made out of plastic and to me it seems they will last a long time as long as you don't accidentally break them by force. I'd say 10-20 spools would last you many years and I would not make the spools a reason not to get this camera if you want it. I sold mine since I got a Arri 416 also, but I will sure miss it and probably will try to get one again in the future. The small form factor is worth it, re-spooling and all! I don't know about 3D printing, but from what I've understood about it maybe making spools could be possible?

12mm and 25mm sold.