Bravo Michael Nwosu

@Dan Finlayson thank you! These are very encouraging words. Still lots to study/learn but also learning to be more open on shooting days. Thank you for taking the time out of your schedule to watch. I'll be sure to share more whenever the time comes ??

Thank you @Tyler Purcell I'm glad it resonated, and same here ?

Thanks @charles pappas the star cross filter effect was pretty wild in that shot!

Hello, I shared my first 16mm film with you all in 2019 (https://cinematography.com/index.php?/topic/80373-my-first-16mm-shot-film-147-would-love-your-thoughtsfeedback/&tab=comments#comment-513161, and like promised I shot my next film on 16mm again. 2nd time shooting film was a little less nerve-wrecking than the first. I felt that with the first I was having more fun, but with this one I was more rigid (mostly due to limited finances because of the pandemic). Shot with an ARRIFLEX BL on 700’ of 500T Vision 3 (rated 200ASA). Lenses Used: Carl Zeiss 9.5MM S16 Super-speeds (90% of the shots) and an Angénieux 12-120MM. Additionally, the lenses were fitted with a HOYA 4 Cross Star Filter. There are 2 shots of BMPCC sprinkled in. Unfortunately, I did not have the money to test the camera’s magazines, nor film, so there were some issues that arose in some frames (might not be visible to some with the film’s pacing.) I posted on the site about scan lines/scratches a few weeks back (https://cinematography.com/index.php?/topic/85907-16mm-scan-lines-or-scratches/&tab=comments#comment-537111) but I managed to hide them. Additionally, I had to pull focus myself so there are some shots that are visibly fuzzy, but I feel like they're also passable for the medium. I managed 4 main lighting sources: The Sun, and 3 Mole Richardson Fresnels (2x650w and 1x1K) using Duvytene taped to walls and ceilings to cut, and shape the light. Lighting was my main concern as I did not have suitable lighting or gripping equipment at my disposal, so chasing the sun was the play. However, I shot it with a friend who lived in my building so I had the luxury of waiting for ideal lighting situations before shooting. SOUND DESIGN: The sound was inspired by the last 16mm film I made which utilized a “sound mosaic” to drive the story and supplement the pacing. I don’t know if this is my “style” but I have noticed I tend to rely on non-diegetic use of sound in my past films. I am not a sound editor by any means but I try to make it work. All-in-all I’d love to continue using the film medium to tell my stories as I find it alot simpler and straight to the point, especially when shooting by oneself. It keeps shooting tight and meticulous and forces editing in your head before rolling single foot (and also during shooting). *Also this film has no direct relevance to the pandemic as it is a fleshed out remake of a story I wrote in college 3 years ago. The film is about introversion and loneliness, and if it weren’t for this Pandemic some of us would still essentially be living this kind of closed-in lifestyle. This film's intention is to speak on that.* I’ll likely continue to make films on a limited, constrained level due to finances, but I enjoy the challenge and am excited at the potential benefits of having more bodies, and more skilled professionals (art directors, gaffers, wardrobe etc.) will yield if I am ever granted the opportunity to work on a larger scale than the films I currently make. Thanks! Screengrab album: https://imgur.com/a/n5mSCpQ

Thank you. Everything I shot was given back on one roll.

Thank you for the insight. I believe that is exactly what happened, and I will check the gate thoroughly next time

Arriflex 16BL

Hello, I recieved my scans a few days ago, and noticed brown consistent line (shifting) running down the edge of the frame for about 370' of a roll. I had two rolls processed and the other (300') does not have this issue. I used two separate mags, so the lab is suggesting that the line or 'scratch' is a result of the mag that was used. I'm not too familiar with this issue so I am unsure, but I did painfully un-spool my order, and found no line of the sort with either my eye, nor a magnifying glass. I wanted to post a few screenshots here to run it by this community just to have some closure on the issue. These will be stills, but when moving, the line jitters and in some cases are more faint in other spots. There is also an instance when the line shifts 2 inches, and then back again. Additionally, there are some frames where I see double lines.

Thank you very much. And thanks for linking that thread. The set I'm looking at has the 10, 50, 75 and 25 (f1.4). I'm sure the 50 & 75 are good, just got to check the 10 and 25!

Thank you! And yes I'm also noticing on the manual these lenses are said to work

Thanks for your answer. This particular set has 10,25, 50, 75 thought I am unsure as to the make year. Also, is there a way to know if a lens touches the mirror before activating the camera? or is it a trial and error sort of deal?

Right! Du All Camera says Standards will fit in a Bayonet Mount camera. And I got a reply firsthand from someone who says, these specific Schneider's fit in their Arriflex 16BL (Bayonet Mt.).

Updated: Found the answer.

Just found this! So would you say using Arri Schneider-Kreuznach Cine-Xenons would be dangerous on a 16BL. They're in my area andI cant find any Bayonet's to rent. Lenses in question (not buying, but example): https://www.calkovsky.com/sold-super-16-schneider-arriflex-lens-set-10mm-16mm-25mm-35mm-50mm-75mm-bmpcc-lenses/

Howdy, Just wanted to see if anyone has any expericne with the Arri Schneider-Kreuznach's (Arri-Standard, originally for Arriflex 16S) fitting on an Arriflex 16BL (Bayonet Mount). I know I've read that Arri-Standard's usually fit on the Bayonet, but wanted to check in about these specific lenses. Thank you. Here are the lenses in question. https://www.sharegrid.com/newyork/l/2926-arri-schneider-kreuznach-16mm-set-covers-bmpcc-10-25-50-75