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  1. I am trying to find out which battery adaptor this is in the photo attached. I know there is the Elokuvakonepaja gold mount option....but, I am worried about weight with the added SDI/HD convertor. I need this to stay as simple and as light as possible. I also like the fact that it looks like there is a brace that holds this adaptor in place. Any info would be greatly appreciated.
  2. Hey everyone, I recently bought an Angenieux 5.9 f1.8 to be used on an Arri SR2 N16. It seems like the lens is just about too long and touches the mirror - not allowing the standard mount to 'click in' and lock the lens. Another thread on the forum addressed a similar issue with a PL mount, and more interestingly, highlighted a custom adjustment made to the lens's rear element: It seems that this element has been custom filed to allow extra space to fit between the mirror and internal elements of the camera. The lens I have received has the same element without the filed adjustment: Alternatively, I have noticed another version of the same lens with a different rear element, probably taking in account the need for extra space for both mirrors and internal components in the camera mount: My questions are: - Shall I return the lens I bought in the hope to get one with the right rear element? - Shall I try to dismount the final metal ring and file it as seen in the first example - Can the last rear element be bought separately and swapped, fitting it myself. Thank for any insight and help, I'm pondering whether sending the lens back or not. Thanks, Val
  3. Hello there ! I am wondering about the scan part of the production for upcoming tests on an eclair gv16. Am i suppose to ask to the lab to make the Scan or TC at regular 25fps recommendation or am i missing something ? I understand that it is good to match the frame rate to the scan/TC 'rate' for 25 fps and under, but for the rest, i don't have an idea. thanks in advance Jordan
  4. I've seen an article with Eliot Rockett saying he shot it on 16mm but can't find what camera/lenses were used or even a behind the scenes photo.
  5. 16mm film in early stages of vinegar syndrome. Daniel D. Teoli Jr. Small Gauge Film Archive This post is about various tests I've done over the last 5 years looking to halt the progression of and reverse the degradation of film suffering from Vinegar Syndrome. Vinegar Syndrome (VS) is a big problem with acetate cine' film. Maybe 15% to 20% of my cine' film Archive suffers from it in some form. Heat makes acetate film off-gas acetic acid + no ventilation in the sealed film can, for the acetic acid gas to escape = VS. The films then start to shrink and buckle. They become brittle, emulsion can flake off and in extreme cases solidify into a blob. If you want to allow for ventilation with film storage, get vented film cans. The only surefire way to halt the progression of VS is to vacuum seal the film and freeze it subzero. Photo: D.D. Teoli Jr. Screenshot Google image search: D.D. Teoli Jr. Chest freezers are an economical way to buy freezer space. You can get a 5 cubic foot model for about $180. Or for $800 you can buy one big enough to hold 3 or 4 human bodies. 16mm humidor film can Daniel D. Teoli Jr. Small Gauge Film Archive Back in the day, they had humidor film cans. They had an absorbent material in the center to add water or chemicals to. Originally, they were made for water humidity. Later on, film users used various chemicals to try and preserve the film, such as camphor or from the smell of it, some type of naphthalene. Daniel D. Teoli Jr. Small Gauge Film Archive Vaporate - Peerless Film Treatment was a commercial treatment done to film to protect it from deterioration due to handling. I've only seen one example of Vaporate. That sample showed no deterioration from VS. But, being I've only seen one sample of Vaporate, there was not enough confirmation to draw any conclusions. Vaporate trademark embossed on 16mm film leader Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Small Gauge Film Archive 16mm film with Vaporate film treatment. Daniel D. Teoli Jr. Small Gauge Film Archive To save money, some film collectors made homemade humidor film cans by taping blotter material in the center of the lid. Homemade 16mm humidor film cans. Daniel D. Teoli Jr. Small Gauge Film Archive <><><><> 16mm film in lab can soaking in Vitafilm treatment. Photo: D.D. Teoli Jr. The tests I ran for Vitafilm & Film Renew covered 5 years using Kodachrome and B&W stock suffering from VS. Photo: D.D. Teoli Jr. Here were some of the tests I conducted on 16mm films. All aging was done in a tape sealed film can to maximize absorption and slow the evaporation process. Some films were reverse wound during the soaking and aging process, others were not. Reverse winding didn't make a whole lot of difference once it was returned to normal wind. A few of the tests were not aged and just wiped down after treatment. Most of the testing was done with black and white film stock, although I did test a number of Kodachrome reels suffering from VS to see if there was any difference in results. List of Tests: Generous application of Vitafilm or Film Renew and aged 1 month. Soaked 1 hour in Vitafilm or Film Renew and wiped down. Soaked 1 day in Vitafilm or Film Renew and wiped down. Soaked 1 day in Vitafilm or Film Renew, drip dried and aged 1 month. Soaked 3 days in Vitafilm or Film Renew, drip dried and aged 2 months. Soaked 1 week in Vitafilm or Film Renew, drip dried and aged 3 months. Soaked 1 month in Vitafilm or Film Renew, drip dried and aged 6 months. Soaked 3 months in Vitafilm or Film Renew, drip dried and aged 2 years. Soaked 6 months in Vitafilm, drip dried and aged 4 years. Then it was soaked again for 2 days and aged another year for a total of 5 years aging. (Vitafilm tested only.) Photo: D.D. Teoli Jr. Irrespective of color or black and white film stock, none of the treatments I did fixed the film shrinking and warping. They may have halted the VS decay, but I can't attest to that one way or another, since it will take a few decades to determine if that is the case. The vinegar smell was replaced by a chemical smell and no further deterioration was noticed after the treatment. That is all I can say. Below are the results of the multi-soak 5-year test with Vitafilm. Before treatment Photo: D.D. Teoli Jr. Same film as above after soaking in Vitafilm for 6 months. It was drip dried and aged 4 years. Then it was soaked again for 2 days and aged another year for a total of 5 years aging. Photo: D.D. Teoli Jr. A-D test strips give you an objective method to test for VS. Photo: NYC Department of Records & Information Services Photo used under auspices of Fair Use. Background shows dirt on just a few feet of film using Film Renew as a cleaning agent. Photo: D.D. Teoli Jr. Irrespective of whether there is any halting of the VS from Film Renew or Vitafilm treatments; they both are excellent cleaners and lubricators for film. There is no comparison with the cleaning action you get with slow drying Film Renew compared to a fast-drying cleaner like Edwal that leaves a lot of the dirt behind. Fast drying cleaners evaporate before they get all the dirt. They also do not offer any lubrication if you are projecting a film. I cannot attest to the long-term archival effects of using film cleaners. That will have to be revisited a few decades from now. Photo: D.D. Teoli Jr. <><><><> Camera Store - Glendale, CA Daniel D. Teoli Jr. Archival Collection <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
  6. Hey all, I’m having an issue with the A Minima where the film doesn’t roll tight onto the take up spool in the magazine. This eventually will push film out of the mag and into the sprocket/gate area. I’ve also noticed sometimes it will spool around the feed sprocket. Is the film supposed to be loose on the take up spool? I made sure many times the film was correctly threaded and loaded. Even when the problem is happening it’s still locked onto the sprockets and still in the gate area. But it just bundles up and may eventually rip. I’ve managed to get it to thread tight on the take up spool twice but I did nothing differently so I’m unsure what’s happening. Any thoughts would be helpful thank you!
  7. Hello Community ! (picture from the aaton ltr7 manual) - This might sound like basic questions but i must ask : 1) HOW DOES THE BEAM SPLITTER ON THE AATON LTR 7 WORKS what does the manual means by 'aaton VR30' system in the first paragraph ? 2) how do i know the one inside my LTR works ? how do i get the beam splitter signal out on a monitor ? 3) there is no connection whatsoever for video output on my ltr (no BNC - as it is sometimes apparent downside the magazine near the iso adjustment - or connector apparent near the beam splitter and so called aaton VR30), i do understand this beam splitter has an on/off position. I also do not possess the m3 allen wrench mentionned in the second paragraph but i can't even find the screw i should access to switch the BS position , or maybe it does not exist ? 4) Should i consider a better and easier alternative way to video tap on my aaton ltr7 with a micro camera through the viewfinder ? what camera and lense model is best suited for this configuration Thanks in advance, J aaton manual p20 png.zip
  8. I really haven't seen much 16mm Ektachrome footage out in the world so I wanted to share this film I shot earlier this year. Filmed in the Boundary Waters Canoe Area in the Summer of 2022. Shot on a Bolex Rex 5 with turret mounted 10mm, 25mm, and 75mm Kern-Switar lenses. I lugged around a 15lb pelican case in on the week-long ~25mi canoe trip in the deep backwoods of northern MN so some of the shots are less planned out (and shakier) than others. I need to figure out a lightweight tripod system in the future. Full disclosure I've only shot reversal a handful of times so the exposure was not as tight as it could have been. I shot 5 rolls of fresh Ektachrome 100D (ordered directly from kodak). I metered with my Sekonic L-308B which limited me to incident metering. In the future I'd like to upgrade to a spot meter so I can more accurately meter landscapes. I received a flat raw 6K scan from thenegative.space and did final color in Davinci Resolve. It was an HDR scan (which comes standard now) which gave more dynamic range in the shadows/highlights which is especially useful for reversal. That said, I still probably pushed the film in color a bit more than I would have liked which is why you'll notice more noise on some shots than others. I also lost a bit of resolution in my 4:3 crop to reduce the edge framing. It's all a learning experience! Each new project is an opportunity to learn and grow as an artist.
  9. hey all. wanted to share this film cost calculator that I've been working on for a while. www.filmcostcalculator.com Eventually I'd like to add more equations that can list out alternative results to compare various perf options. Also working on a 1000' roll calculator. Hope it helps! Feel free to comment with any notes and ideas.
  10. Photos: eBay - Fair Use No wasted BS or space on it. Anyone ever use one? What was your experience?
  11. Hey all, I've decided to sell my Beaulieu 2016 It's been recently serviced by Björn Andersson and runs so smooth. If anyone is interested, DM for pricing etc. Pictures Here: https://drive.google.com/drive/folders/1CeHOFgvdKuZYfhADuBWXv39FeKQdy0QR?usp=sharing
  12. Hi, I see that the arri made the 416 as an upgrade to the sr3 specifically so the 416 could accommodate larger lenses without hitting the viewfinder. The problem is the pricing difference between the two cameras is crazy, the 416 being nearly 4x the price used while on average only garnering 2x the price in rentals, I would without hesitation go for the sr3 but the problem is I frequently use larger lenses so if anyone has come up with a solution to use larger lenses like on the 416 but on the sr3 please tell me.
  13. Proud new owner of a recently overhauled Aaton LTR, early model but running like new! On the hunt for a blimp for this camera, and also for any info regarding the possibility of getting a video signal out for monitoring. Lastly, are there any S16 aperture plates out there in the wild?
  14. Hi, Can anyone suggest how I should treat rust on the inside of an Arriflex ST's door (see photo)? If I run my finger along it leaves a residue. Also, there's some very fine paint flaking off inside the camera and some fine dust/rubbing in the corners of the magazine cavity on top of the camera, which falls and collects inside the camera where the 100ft film is. Any suggestions on what I should do to maintain it would be much appreciated. Thanks. IMG_0302.heic
  15. For sale here is one of Tobin's last (newest) crystal motors ever made for the Arri 16S or 16M. Runs forwards only. Crystal speeds: 12, 20, 24, 25, 30, 40, 50 fps. This was bought new directly from Tobin and has only been run to test a few of times. More information from the Tobin website (a pdf download link) http://www.tobincinemasystems.com/TCS_Public_PDF/TXM22A.pdf Please see my other listings, I'm moving and selling a bunch of gear. Available for $600 O.B.O! Available for pick up in West Hollywood through this Saturday. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633331298455/ Send me a PM if interested. Thanks for looking! Rich
  16. Hello, I have 3 packages of 16mm cameras to sell. They are supposed to be sold as a sets, but I will also consider offers if someone would like to buy a lens or camera separately. Cameras are located in Warsaw, Poland. SET NR 1: 1. Camera: - Bolex EBM Super16 2. Lenses: (all those lenses were serviced, lubricated and collimated. All covers Super16 format) - Kern Vario Switar POE 16-100mm F/1.9 - Switar 10mm f/1.6 - Switar 16mm f/1.8 - Switar 25mm f/1.4 3. Accessories: - 2x 400ft mags and 1x MM motor for 400ft mag - Battery charger - Power grip + power grip battery (I don't think it needs re-celling, never had a problem with it) - Remote control cable - Battery container - 7 filter frames with filters (ND 0,6, ND 0,9, ND 1,2, 85/ND 0,9, 85B/ND 0,3, 85, 85B) - Set of Kodak wratten gelatine filters and ND gelatine filters - Bolex bayonet to C-mount adapter - Bolex bayonet to Nikon adapter - 4x 200ft spools - 2x100ft spools - Metal case Here are a few shots made with that camera throughout the last three months: Asking price: 4500 euro SET NR 2: 1. Camera: - Bolex SB Regular16 2. Lenses: - Angenieux 12-120mm f/2.2 Cameflex mount - Angenieux 12-120mm f/2.2 Bolex bayonet mount (this one has glasses in perfect condition, but it needs some collimating. I can arrange it in Poland, before shipping) - Angenieux 12-240mm f/3.5 Cameflex mount 3. Accessories: - Bolex MST motor and battery pack - Pistol grip - Bolex RX-Fader - Bolex bayonet to cameflex mount adapter - 2x100ft spools - Metal case Asking price: 2500 euro SET NR 3: 1. Camera: - Krasnogorsk-3 2. Lens: - METEOR-5-1 17-69mm f/1.9 3. Accessories: - Filters - Lightmeter - Pistol grip - Bag Here a few shots made with that Krasnogorsk and 30 years old ORWO stock (I was surprised that anything came out of it): If you will have any questions or you would like me to send you photos of the cameras, please contact me by email: janbujnowski1@gmail.com Thanks!
  17. In good news for Australian Super8 and 16mm film shooters Rewind Photo Lab in Sydney Australia have begun Developing/Processing and Scanning super8 and 16mm ECN-2 film. https://rewindphotolab.com.au/services/motion
  18. Looking to buy an Eclair NPR. PM me if you have any leads. Thanks~
  19. I know there are many Krasnogorsk haters on this forum but I wanted to share this awesome project by Russian DP Max Ivanov. It's been 2 years in the works and so much effort has been put into this with a ton of custom machined parts and boards. Here are the specs as shared on the Instagram page for the project: - Camera works with 7-12V batteries (it has a 2-pin lemo connector for power input) - Swiss 100 watt BLDC Motor. (BLDC motors have longer service life and were installed on the Aaton A Minima, XTR Prod, Arri 416.) - Motor controlled and stabilized by a microcontroller - Sync is accurate to 0.001fps at 25fps. (between 0.01-0.001 at other framerates) - Framerates: 1-50 fps - Video tap is based on GoPro internals which allows to record the tap feed in-camera. (Max said he will be adding a cable clamp / adapter since it uses the unreliable micro-hdmi connection from the gopro internals) - Optical viewfinder can be used at the same time as the video tap - Wi-Fi control which allows to set framerate and run/stop wirelessly via your phone - Electronic footage counter. (Maintains footage count after being powered off and has a reset button) - Super 16 gate with ground glass adjustment mechanism. FFD can now be easily tuned and will be precisely set on every model. Max will also be selling a set of tools for calibrating the FFD on this camera so you will be able to calibrate it yourself (I can already hear some of you complaining about how nobody should attempt to do this on their own unless they're a trained technician) - Super 16 viewfinder with correct markings - PL Mount Obviously not a camera for every situation, like narrative projects or basically anything with dialogue. However, I think it's perfect for more abstract projects like music videos or fashion films, especially when you need to move fast and do dynamic handheld stuff. I have one preordered and am super excited to test it out once it's ready! (I think the current eta is March/April)
  20. Ultra Prime Set X7 Price: $45,000 omar@raw-entertainment.com In perfect working condition 10mm 16mm 24mm 32mm 50mm 85mm 135mm Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Gold Sponsor: www.cinematography.net Sponsor: www.cinematography.com Latest Feature Film Trailer Welad Rizk: youtu.be/KbuuzxTxhP4 Youtube Channel: youtube.com/c/RAWegypt Instagram: instagram.com/rawegypt?igshid=YmMyMTA2M2Y= Facebook: www.facebook.com/rawegypt Address: 55 Abd El-Haleem Hussein Ad Doqi Dokki Giza, Egypt Cell: +2 010 996 7575 3 USA: +16176104227 omar@raw-entertainment.com
  21. Hey everyone, I recently purchased an Arri SRII S16 and have really enjoyed re-familiarizing myself and learning to be more comfortable with film. I have some questions though regarding the video assist and power. Video Assist In the grand scheme of things, I would love to be able to use modern monitoring systems with my SRII such as a Teradek and SmallHD monitors. The video assist is of course analog, and I would need to convert the CVBS signal to SDI and I am having trouble doing so. I've tried Blackmagic's analog to SDI converter, but I believe it can only take analog over SDI for input so that did not work. I then tried Aja's V2Digital converter and had the same issue. I've tried contacting Aja's customer service, but have yet to reach anyone. Does anyone have any ideas as to how I can convert this signal? If not, looks like I'll just be going to traditional standard def on-board monitor. Power I have two 12v onboard Arri batteries that work great. But I was wondering what I could do to replace those with gold mount batteries? I know that I can get a goldmount plate with 4-pin xlr for power, but am concerned that if I place a charged 14v-16v goldmount on there, I'm going to fry the board on my camera. I would need some sort of 12v regulator, but am having trouble finding one so I'm thinking I could maybe build one? Thoughts? I know I could probably go with a battery belt, but I was hoping to keep everything compact. Thank you!
  22. Hey everyone! I have the BP-7 15mm studio baseplate for my SR3 and am looking to trade it for the 19mm version - the BP-6. Anyone out there interested in that trade? I just accidentally bought 19mm accessories for my SR3 thinking that the baseplate takes 19mm rods and just realized that I made a big mistake 😅
  23. REAL FILM at film festivals... Kind of makes sense, right? Well, not on the modern "film" festival circuit. Every film festival I have attended or been a part of the last five years (live or online) is primarily about HD. Usually I am the only filmmaker who shoots on film when my films play at a festival, unless the festival is truly specific to ACTUAL FILM, like the United States Super 8 Film and Digital Video Festival. You see how the title of the festival states FILM and digital video...? Recently I attended the 2022 Spring Austin Micro Film Festival. A really cool Festival! I had two experimental films play, WAITING FOR LEGROS and WAITING FOR LEGROS 2: THE EYE OF THE TIGER Both films shot on Super 8. I was surprised to see another film the was shot on film at the festival, and it was really good! I am pleased to announce that my latest short film THE UNMENTIONABLES (16mm, Tri-X 7266) will play at the 2022 Oregon Short Film Festival. I hope to see more films shot on film in the future! Don't give up on it!
  24. I recently purchased a Kern Switar 10mm f1.4 lens, which appears to be in good condition, for use on my Bolex EBM with a c mount adapter. However, when mounting this lens I encountered a strange problem where it would only focus at extremely close distances and leaves the rest out of focus. Seems like this lens is not in such great shape after all but wondering if anyone knows a fix? Thanks for any help!
  25. I work in TV, so when it comes to 16mm I'm just an enthusiast, and all of my 16mm footage so far has been on my Krasnogorsk-3, which has served me well. Having said that, I would like to eventually shoot some more ambitious projects on film (requiring sound, longer takes, etc), but unfortunately the closest place I could rent a film camera from is about five hours away. Because of this, I occasionally find myself browsing eBay for cameras, and often Regular 16 cameras such as Arri SRs, Aatons, or CP-16s are available. I can't help but wonder how worthwhile buying a Regular 16 camera is though; Super 16 seems to be preferable in every way. I guess Regular 16 is good if you want a 4:3 aspect ratio, but it seems like most people would prefer to shoot Super 16 and crop the sides instead. Likewise, if you wanted a wider aspect ratio, you could crop the top and bottom of your Regular 16 image, but Super 16 would require less cropping and give you a bigger image area. It's also worth noting that many Regular 16 cameras can be converted to Super 16, but for the cost it seems like you might as well have just bought a Super 16 camera in the first place. As I said, I'm not a professional when it comes to film, so I'm not sure if I will ever be able to justify purchasing my own professional-level 16mm camera. However, the (generally) lower cost of Regular 16 cameras does make it a little tempting sometimes. What do you guys think, are Regular 16 cameras worth investing in? Note: Yes, I recognize that both Regular 16 and Super 16 would widely be considered "obsolete" these days, so strictly speaking they probably aren't worth "investing" in. I just mean this in the context of those who enjoy shooting celluloid.
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