Uli Meyer

That's what I think they must have done. I'm also curious to see what they did with the mirror.

It's a turret with a bayonet mount and 2 Standard mounts.

I passed on the "beast", the BL is just too heavy to carry around. I bought the Super 16 ST instead. Anyone interested in the Super 16 BL, I can put you in touch with the man who is selling his. It is in incredible condition and looks almost new.

Thank you for the link, Duncan. You're probably right, I'm curious about the timeline. Arri built the first SR cameras in 1975 so I would think that those BL and ST Super 16 versions must have been made early 70s. I can't find anything online, except there was a thread on this forum about the existence of Super 16 BLs straight from Arri:

Not with the 400ft mag, no way. Just a 100ft daylight spool and a few spares in the bag.

A few weeks ago I got in touch with an 88 year old German cinematographer who ran a one man laboratory for 16mm film. He told me he had and Arriflex BL Super 16 which is not a third party conversion but was produced by Arri in the late sixties. The format wasn't very popular at that time and Arri only made about 25 of them. The BL cameras are heavy beasts and since I've been looking for a Super 16 camera that you can carry around with you on walks, I figured that maybe Arri also made an Arriflex ST Super 16 version. And guess what, they did. Again, only about 25 were made. I contacted one of the old Arri technicians and he confirmed the location of one of those cameras. It is on its way to me and as soon as it arrives I will update this post for anyone who is interested. Below a photo of the old beauty, you can see the serial number 25.

Thanks Dom, that is great to know! All the best

Does the Zeiss distagon 12mm 1:1,2 arri B mount for 16mm cameras cover Super 16? Any advice most welcome.

Shows like 'Seinfeld' and 'Friends' are currently streaming on Netflix here in the UK and show a lovely grainy texture. I believe both were shot on 35mm 3perf, 200 Tungsten. The image of the graveyard is from a short film I shot on 35mm 3perf 200 T and it is less "grainy", shot on Vision 3 stock. I kind of like the heavier texture of the TV shows, I have to admit.

I just move the turret lever out of the way ??

Thank you Aaron. It turns out that the problem was with the power supply. I hooked the camera up with a 12Volt battery instead of 8Volt and it is now running fine and at speed. The new motor must be a 12 Volt version which I wasn't aware of.

I've just recently shot this to test a 1965 non-reflex Bolex H16 S-4 (I'm the member Simon mentioned) and a Kern-Paillard 25mm lens. I actually much prefer the non-reflex to the Rex 1 I have. Most of it was shot by guessing the distance and exposure. For close ups and some low light situations I used the critical focus finder.

I shot a 100ft roll of film last week when the camera was working fine. Now when I switch it on, the camera won't run and the motor only stutters slowly forward (see video). I've got a brand-new 8.4 Volt power supply from Hawk_Woods, so that can't be the problem. It happens with the like-new 24fps motor as well as with the variable speed motor. So it shouldn't be a problem with the motors either. I reset the buckle switch and the override, still, no luck. Has anyone come across this before? Any advice? Thank you in advance. IMG_1833.MOV

There were complaints that working hours were too long on this set but there was still time to fire real bullets into a target after hours? And then they just left a loaded gun lying around? The mind boggles.

But why would you use real bullets for that? Hmm, I'm always a bit skeptical when I read about actor's producing titles. Often that is in name only and the real producing work is done by a line producer. But who knows, this is all speculation. I'm just astounded that real bullets were on a set for no apparent reason.

Why would there be any live rounds in that gun in the first place? Someone loaded real bullets into a prop gun and laid it out on a props trolley? Why have live bullets on a movie set in the first place?

Ah, I just figured it out. Allows you to switch between f and T stop. Not sure about the three other silver buttons though.

I've just got three Schneider-Kreuznach Lenses that sport these odd silver buttons on the aperture ring and also the one in the red circle that is on the fixed barrel of the lens. Could someone please enlighten me what they are for? Especially curious about the one in the red circle. Thank you!

There's one here https://www.ebay.co.uk/itm/284482371660?hash=item423c78804c:g:C4oAAOSwfAtgnWqg

I've been ringing that number many times over the past few weeks but only get an answer machine and no call back. No answer to my emails either. Hope he is okay.

Hi Doug, the footage before stabilisation is extremely jittery and jumpy. Maybe I'll post a "Before" version when I get a minute.

That’s good to know, thanks Dom! The unsteadiness is more extreme vertically but also to a lesser amount horizontally. The lens is AR and I shot mostly at around f8 and those are very crisp images. The heavy sunlit shots are at f22 and they look a little hazy. There are a couple of shots with cars under a bridge and they are at f1.4 and f4 and are a little soft. It was a late afternoon and the weather temperamental. I wasn’t metering but guessing and surprised at some of the shots being darker as expected. I will try a 1960 reflex Bolex with RX lens this weekend. Should I compensate for the reflex finder when exposing?

Went for a walk through Camden with a 1952 Bolex H16 and a Switar f1:1.4 25mm, loaded with 100ft Kodak Vision 3 250D. Random shots to test the camera. The footage was scanned at 4k and needed a lot of stabilizing in Resolve. I cropped the 4:3 image to 1:1.85. and it holds up quite well.The Switar is a great little lens although a little soft wide open. The fact that the camera isn’t very steady is a bit of a bummer and I wonder if a service can improve that? Or is it the luck of the draw with those old Bolex cameras? Still, not bad for a seventy year old thing you can wind up and carry around with you.

When you send in exposed film to Kodak in London, they will ask you to fill out a form of what your requirements are. Tick 4 perf and the overscan option and get in touch with Digital Orchard and show them what you want the scan to look like.

Not an Arricam. It's an Arriflex 435 ?