J. Winfield Heckert

2100 or best offer.

$1550.00 or best offer.

$1800.00 USD or best offer.

$2500.00 US or best offer.

I'm shooting with an Arri SR II high speed that was a factory S16 model, it was a later model before the SR3 came out. I recently got a Ziess 12-120 t2.1, so i'm letting this one go to offset the cost a little.

Angenieux 15-150 serviced and converted to PL mount by Bernie at Super16 in 2015. It was completely disassembled and rebuilt by Bernie in 2014. I shot a feature film using this lens and it is quite sharp. It completely covers the super16 frame and may also work with similar sized digital sensors and others operating in 2k mode. Some scuffs and cleaning marks on the front and rear elements. Internally there are some marks on the second inner element from the front this doesn't effect the image but it is there. I have included a few stills taken with this lens. $2000.00 or best offer. 15-1501 by jwheckert, on Flickr 15-1504 by jwheckert, on Flickr 15-1503 by jwheckert, on Flickr 15-1502 by jwheckert, on Flickr 15-1500 by jwheckert, on Flickr IMG_2486 by jwheckert, on Flickr IMG_2485 by jwheckert, on Flickr

$2700.00 or best offer.

IMG_2411 by jwheckert, on Flickr

SATCHLER VIDEO 25 TRIPOD 150MM BOWL TRIPOD, LEGS and SPREADER. It's and older model. A few scuffs here and there but functions flawlessly. handle rosette has some wear but functions perfectly when properly tightened even with camera mounted. No case. $2,900 or best offer. IMG_1402 by jwheckert, on Flickr IMG_1403 by jwheckert, on Flickr IMG_1400 by jwheckert, on Flickr

Hello, I shot Rockabilly High School while at film school. I was inspired by the lighting of the 1950's 16mm educational films. It wasn't meant to look realistic by contemporary standards. I wanted the audience to see the lighting. I was going for a highly stylized look, on NO budget. I paid for the film stock, a car to wreck and equipment everything else was free. I bought some cheap Arri knock offs, most were broken in one way or another through out the production. The 650 type Arri's with a fresnel lens lit most shots. I also used some Sylvania open faced 1k's from the 1960's. Film's not like video I had to shoot 200ASA Vision 2 film indoors at F4 to keep the grain to a minimum and the Image quality from the 12-120 acceptable. I used the Arri BL with a blimped lens modified by Bernie for Ultra16. It looks amateur because it was. I didn't have a crew mainly just me and a sound guy, occasionally the director would show up. it was fun to make and I learned alot. I'll include the link below. I've just completed shooting my first feature on Super16mm "In the House of Madness, a 90min horror comedy. It's a send off to European/American horror films of the 1980's. It's by far a superior production. https://www.youtube.com/edit?o=U&video_id=Fy7q17-F-mw

Found a old diagram via the wayback machine. a snapshot of cineasst.com circa 2003. http://videoassist by jwheckert, on Flickr

You'll be able to import 2k prorez444 and work with it in FCP 7 but wont be able to output prorez444 only 422.

I've never seen one like it either. It does seem to be well made. It allows the viewfinder to swing to the other side. It was made by a company in Toronto Canada by the name of CineAsst. They also serviced the camera it came on. They don't seem to have a website anymore. I'll try to contact Bernie at Super16 he's in upstate New York not far from Toronto Canada.

IMG_1370 by jwheckert, on Flickr http://IMG_1374 by jwheckert, on Flickr http://IMG_1371 by jwheckert, on Flickr

I'll try to post a pic later today.

Just saw this Essex Space Bin being promoted by Lloyd Kaufman as a Troma release in Forbes magazine . So I guess he ended up selling it to them.

I have a CineAsst color video tap. It mounts where the top carrying handle goes on the SR. I'd like to remove it and use the standard top handle but on rare occasions where the camera is operated remotely or clients want to see what I'm shooting i'd like to reattach it. I cant find a manual online or anything. Is it user serviceable or should this be handled by a professional?

I shoot action Scenes at 21FPS. It Speeds things up a tad. Like what might be a light slap across the face at 24FPS looks downright violent at 21FPS. You cant really get the same effect in post, you can't just cut frames out it will look jerky so there has to be some frame blending retiming one way or another.

I have an Arriflex SRII, PL MOUNT super16 in excellent condition. with accessories for sale. PM if interested

Im just wrapping up my first S16mm feature. I'd recommend selling the CP-16 and the old film. Reason being you are going to spend at least $7500 to process and transfer 50 400ft rolls needed to shoot a low budget feature. do you really want to spend that money on old film that will give you inconsistent and unknown results and camera where you'll have to throw away half the image to get a 16:9 transfer? Super16 cameras are really inexpensive these days you should be able to completely outfit one with some lenses and accessories for under $5000. I recommend purchasing film from Frame24 in the UK. they have new 400ft stock from Kodak for about $100 US.

Focus the light through the window and aim a garden hose at the top of the window. The rain will trickle down over the window.

I was featured on Kodak's Instagram feed today which was cool. I came up with a new use for an old fish tank. https://www.instagram.com/p/BKD3ihkBD6k/?taken-by=kodak_shootfilm&hl=en

the effect looked great!, for my film we just used real glass. The Actor hit it with a mallet, made a mess in the car but a vaccumn fixed that. If i had to do it again would just use tempered glass and trapped off the interior better or finally figure out how to make candy glass that isnt a gooey mess.

I've looked into a 35mm blow up/ film out of my 16mm feature. Would run about 15k for a 70-80 minute film. That's a film out from a 2k file. Roughly 250 a minute. I'm still waiting on a quote for a A/B negative cut, but it may not be worth going this route since I have many shots that need digital compositing. If you wanted to have a film with non digitally generated titles you could shoot your own, simple titles by set up a black board and put white letters on it. If you want titles over pictures you could paint or use letters on glass and shoot your titles during the production. This would be technically challenging but simple shoots could be easily achieved.

Thanks for your great work so far Rob. The processing and scanning looks great! I'm so glad its not an camera issue!