Raymond Zrike

2 hours ago, Kemalettin Sert said:

If someone shooting film and using Aaton Penelope of course they would go through the rental company not Sharegrid.

Not if they want a way cheaper price. I know a lot of people who have rented for their film projects on ShareGrid. Though usually 16mm. Plus the Penelope is pretty obscure, so I wouldn’t expect it to be rented often.

There are four 416s in New York on ShareGrid. I don’t believe there are currently any Alexa 35s available on there.

Plus I wasn’t talking about finances—I just meant I’d rather shoot most any project with a 416 over an Alexa 35. This is an art form after all; it doesn’t all have to be about what’s a good return on investment. Of course buying an Alexa 35 would be a better business decision.

I'd take a 416 over an LF any day of the week.

I’m planning on using an SR3 with Rencher’s gold mount adapter (it steps up the battery to 24V). It’s hard to find info online about the SR3’s power draw. How long do you think a 98Wh battery (like this one: https://www.bhphotovideo.com/c/product/1569419-REG/core_swx_hypercore_neo_9_mini.html) would last at 24fps? Could I go with a battery with a lower maximum load and still get 75fps (the one I linked is 12A sustained, 16A load)? The battery will also be powering an HD video tap, an on-camera monitor, and a focus motor.

If there aren’t any specific numbers out there, let me reframe my question—do 16mm cameras need more or less power than a typical digital cine camera? Do they consume power in standby like digital cameras do? Alexa power draw numbers are super easy to find, for instance, so I can figure out generally what batteries I need that way.

I'd like to get at least an hour out of each battery. Will be rotating between four. I'd also like to keep it as light as I can for handheld set-ups.

Absolutely wild that the 416 was being sold for this little just six years ago. 

*SR3 Advanced. Don't know if that matters.

Anybody got a video/optic elbow for an SR3? I’ve got an SR3 with IVS about to come in, and I’d like to upgrade it to an HD video tap. It seems like the better (AM Camera) and cheaper (Visual Products elbow version) ones require the elbow.

Any suggestions besides AM Camera, VP, and AZSpectrum? I contacted AZ, and they said they have a six month wait right now. The other two haven’t gotten back to me. Also contacted IndieCam, and they said they don't make an SR3 tap, just ones for 416/435/LT.

It is at least visibly a higher definition than the DVD, but it’s probably the same source transfer. They’ll probably do 1.78 for the inevitable 4K release, though, considering that’s what they have done for previous 4K releases of The Shining, 2001, etc. Luckily his movies look pretty great with any aspect ratio.

I’ll hopefully get a chance to try Laowa’s new set of small anamorphics soon. Seems like a pretty good match with super-16. They’re 1.5x, so that would yield an aspect ratio of 2.49, about as close to 2.39 as you can get. The set is a 27mm, 35mm, and 50mm which is a usable set of focal lengths for super-16, even if it lacks a wide.

Eyes Wide Shut looks amazing open gate. If you rent it through Movies Anywhere, their version is open gate and uncensored. 

DM'd you.

11 hours ago, Tyler Purcell said:

Oh no, the most recent bump ain't nothin' really. The next bump is going to be industry wide, including chemicals. So processing will be more money as well as ALL film stocks. 

I think the reason why we're seeing fewer cameras is simply because people aren't despite for money yet. This economic crash is going to be bad and it will drive people to sell anything they don't need/use on a regular basis. 

So just wait... cameras will show up soon. 

Film camera prices went down in the early-to-mid 2010s because of the idea that we would no longer be shooting film at some point in the near future. Then, once it became apparent that wasn’t the case, film cameras started to rise in price again, and now we’ve hit the point where film cameras are being sold for the same prices they were selling for pre-Alexa. Prices for stock/processing are certainly going to continue to increase, but that isn’t the same as film being seen as a deprecated format (as it was before). As you can see, the increasingly steep price of renting/owning a film camera hasn’t changed the trajectory of celluloid shooting these past few years, so why instead would increasing stock/processing prices do otherwise?

Instead, I think the poor state of the economy will plateau the prices of cameras at about where they are now (or maybe just return them to the pre-covid 2020 price level). For film cameras to go significantly below the price level they’re at now, what happened in the early 2010s will have to happen again—film will need to be seen as a deprecated format. Specifically, the rental facilities that have been eating up a lot of these expensive cameras would have to deem it a deprecated format. And that would only happen if Kodak shuts down or ceases film production. Certainly not saying that’s an impossibility, but I’m sure none of us want that to happen!

Being an owner/operator will continue to become more difficult (and using a film camera may become a rental-only affair for many), but that’s another matter.

Well, of course that's just my prediction. Remind me of this thread in a year ?

On 7/17/2022 at 12:08 AM, Tyler Purcell said:

Don't worry, the next bump in film prices will probably throw a bunch of used cameras into the market. All ya gotta do is be patient. 

Didn't really happen with the last bump in film prices. 35mm prices weren't really affected, but 16mm was, and there seems to be fewer cams on the market than ever.

17 hours ago, Michael Rodin said:

I had every ground glass except for 1:2,39 'scope - but who would shoot it on S16 anyway

2.39 super-16 is kinda awesome, I must say. Black Swan comes to mind.

Tarr Béla: I Used to Be a Filmmaker is basically an 85-minute BTS of Turin Horse's principal photography with very few interviews. Could be an interesting watch.

What’s serviceability like for an Aaton LTR7/LTR54 these days? How does it compare to an XTR? I’ve read lots of people’s opinions from a number of years ago, but I’m wondering what people’s thoughts are in 2022.

7 hours ago, Robin Phillips said:

lean almost exclusively on my 8mm, 18mm, and 35mm U16s, with my 6 and 12 being in reserve/part of the rental kit. But given the option on a larger project, I'd actually prefer to use an 8mm U16, a 16mm master prime, and a 40mm master prime.

So you would be fine with a 6mm, 9.5mm, 16/18mm, and a 35mm on most projects? That’s what I’m most likely going to end up with. For my projects, that’ll be completely sufficient, but I’m wondering if the lack of 12mm would turn off a ton of people from renting the set.

Also, semi-unrelated, but are you saying you’d pick a 16mm master prime over an 14/18mm Ultra 16? Is that just because you typically prefer the 16mm focal length? I’d expect them to be optically pretty similar on super-16.

Definitely been looking at an LWZ.2 as an option, though I already have a similar zoom that I use on super 16 (a DigiZoom 6-24mm T1.9 with an Abakus B4 to PL adapter; turns into an 8-32mm T2.5), so I think it’d end up a little redundant. Thought it would certainly be nice to have such a high quality super-35 zoom anyway!

Trying to build out a prime set for super-16 (for my own use and to rent out). What focal lengths do you all use the most often on super-16? Do you need a 9.5mm in the set if there is already a wider lens available, like a 6mm? Need both 12mm and 16mm? Etc

Pretend you’re shooting with the best of the best, Ultra 16s, so the quality of the lenses are not a factor. 

I know it’s a bit of a dumb question considering every project is different, but I’m just asking for generalities.

Does anyone remember a split diopter shot in Eyes Wide Shut? I don’t remember a split diopter shot in any of Kubrick’s movies, but maybe it was just cleverly hidden (or maybe I just have a bad memory).

Interested in getting this motor for my ACL when it is ready. Seems like it would be a good investment for the camera's longterm use considering the electronics are usually what fail first.

Can the customizable fps preset go below 1fps, like for instance .5fps?

SOLD

Long gone unfortunately. Believe it was purchased by Old Fast Glass.

3 hours ago, Raymond Zrike said:

As I said, there’s plenty of S16 primes available at all speeds, so I was thinking of converting primes.

Oops, I meant “I wasn’t thinking of converting primes.” I probably should stop texting and walking.

Actually I’ll bump it down to $1300 on here since I’m going to list it for $1400 on eBay. 

I’ve got an open box B4 to PL S16 adapter for sale. Ended up with two by accident, so one needs to go.

I bought this new from reseller Kipon. I’m considering it open box since I mounted it on my camera once to check that it is working correctly, but it is in the exact same condition as it would be new. Completely clear glass.

Only one stop loss of light. Corrects all aberrations. See more info here: https://www.bhphotovideo.com/c/product/1311463-REG/ibe_optics_hdx1_4_hd_converter.html

I’m looking for $1400 ($1k less than it goes for new). Will ship free in the US. I will pay for PayPal G&S fees.

Images: https://imgur.com/a/z6pj9sR