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Hi, I'm planning on applying to a film school this summer, for a directing course. My main focus has always been directing, with cinematography being both a fascinating hobby and something I've had to do for the ultra low budget films I've made. Now, the requirements are that you submit at least two films, of which at least one "made on film (16mm, super 16mm or 35mm)". I've got plenty of digital films to submit, but nothing on film. So I have to make a new one. I've never shot anything on film and, as much as I'd like to have this experience, it would be very expensive. Even with clearance stock, if you factor in renting the camera, developing, scanning, then making the final prints, it would run into the thousands. So I've thought that, since I would be scanning the film anyway and edit it in an nle, I could forgo shooting on film and shoot digitally instead, making a final print on film. The Blackmagic Pocket Cinema Camera has the right sensor size, dynamic range and resolution, so the way I figured, it would look very close to film. And the grain would be in the final print anyway. Might be a weird or crazy plan, but that's why I'm running it people who've worked on film before. Any suggestions welcome! Thanks, Paul. P.S. Regarding the ethics of it, I'm applying to a Directing course. Directing is the same, no matter the medium. If it was a Cinematography course it would've been a different story, but as it is, I seems like a pretty random requirement.

Looking to find parts for my Arri SR1. right hand grip base plate mounting adapter for the hot shoe (not sure the correct name, but to connect rails) mag covers

Hello all, I'm not familiar with this forum's etiquette, so please feel free to correct me if starting a new thread is unnecessary. I thought I would start a dedicated thread for this topic, as I previously commented on another member's post and not all of my thoughts/questions were germane to her/his native post. So, please forgive any repeated thoughts! I have a few questions regarding shooting on 7222. Throughout my searches, I've been observing mixed responses in regards to how problematic the lack of rem-jet backing on the film is for shooting on the SR3. Some say that the reflective back plate in the film gate can cause extreme halation effects, whereas others have had no problems. I ask, as I will be filming a short, approximately six minutes in length, on an Arri SR3 in the early summer. The majority of the shots will be exteriors, ideally on a somewhat diffused overcast day. The camera will be making a few large dynamic movements, so I was thinking of using a fairly wide angle lens (9.5mm Zeiss Prime Super Speed). Though, I am concerned with focus pulling while the camera makes a few of these longer movements. My thoughts on this problem are that pull focus issues can be minimized by maintaing a deep focus with the wider lens. Though, I'm curious as to how well 7222 performs when stopped down. I've read that, for Super Speeds, the sharpest image is obtained when shooting close to wide open - which would run counter to my desire to retain a deep focus. It is entirely possible that, given the speed of 7222, deep focus and image sharpness have an inverse relationship. Yet, with most shots being exteriors, it's entirely possible stopping down would not affect image sharpness if I were to refrain from using any nd/polar filters. Thoughts? I have experience working with colour negative stocks, but this will be my first attempt at shooting on black and white negative stock. Suggestions for complimentary filters are also welcome! Finally, from the many online examples I've seen, there seems to be a large variance in the sharpness, contrast, and grain of 7222. I would expect this, as there is a large variance in the intention and skill of film makers, but it is making it difficult to assess the limitations of the stock. I may do some tests on a 100' roll, but I thought I would see if anyone had thoughts on how to retain a sharp, low grain, image on the stock. I will likely be purchasing about 500' of film for approximately six minutes. That amount of film does not afford a great deal of latitude as it is about a 2:1 shot ratio. I know that in order to achieve a gamma slope coefficient of 0.65, Kodak recommends exposing at an ISO of 250 for exteriors. In practice, has this proven true? I will have a light meter on hand, but would like to minimize potential problems beforehand. I'm also open to suggestions regarding push/pull processing as a solution. Finally, here are a few examples of films that achieve a similar effect. Although all of these cinematographers were shooting on 35mm, I would like to approximate the richness of detail as close as possible. Thanks for taking the time to indulge me and I look forward to reading your recommendations. František Vláčil, Bedrich "Beda" Batka - Marketa Lazarová This first still is interesting, as it seems to be predominately backlit - yet, the features of Marketa are defined, while the horse is but a silhouette with no front lighting. Mikhail Kalatozov, Sergey Urusevsky - Soy Cuba Andrzej Wajda, Jerzy Wojcik - Popiół i diament

Hey Guys, I've recently become the proud owner of an Aaton XTR Prod, however the camera unfortunately has a few items missing, which i'd like to acquire. With that said, i'm on the lookout for original Aaton accessories including: - Walnut handgrip & cable - 2x screw in 15mm rods (short) - Heated eyepiece cable As the purchase of the camera used up a fair amount of my budget, i'm looking for reasonable prices, however I completely understand that these are getting harder to come by, so happy to play fair. I also have a few accessories that I don't think i'll be needing - such as the Origin timecode device, that i'd be happy to swap if people are searching for one (tend to slate anyway). I'm based in the U.K, if that helps too. Thanks! Nick Lee-Shield www.nicholasleeshield.com

Hello, I am wondering if anyone can tell me what mount this could possibly be. I purchased this Angenieux 9.5-57 thinking this was a PL mount, but it's far too small for the opening. Ultimately I would like to use it on my PL mount camera, but if it's not capable I would try to sell it, but knowing the mount type would go a long way for both plans. any help would be appreciated!

Selling 4 cans of new, unopened 16mm Kodak Vision3 250D film. Bought from Kodak three weeks ago, stored in temperature-controlled condition. $150 (+ shipping) per can Pickup possible in Los Angeles 90012

I bought this ARRI SR3 Super16 camera at the end of 2015 in the Visual Products eBay Store, it is an excellent acquisition, the camera is fully functional and ready to shoot. I use it in 2 shorts and everything is great, I love this camera and I do not want to sell it but I need the money for other projects. Arriflex SR3A Camera Package Package Includes: Arriflex SR3A (Advanced) Camera Body (with port cover) PL Lens Mount (centered for Super 16) 1:78 HDTV Groundglass (3) 400' Magazines IVS Flicker-Free Video Tap Arri RCU-1 with Cable SRIII Eyepiece Arri FE-4 Eyepiece Extension Arri EL-2 Eyepiece Leveling Rod Arri BP-7 Studio Sliding 15mm Baseplate with (2) rods Arri Sliding Dovetail Arri DC/DC-2 24/12 volt Splitter w/ Right Side Camera Run Switch Arri Right Handgrip with Camera Run Swtich (2) Freshly RECELLED Arri Onboard Battery Onboard Battery Adapter (1) Arri Dual 24-Volt Battery Charger (1) Fitted Pelican Camera Case with wheels and slide-out handle (1) Fitted Magazine Case ARRIFLEX 16SR3 FEATURES: The ARRIFLEX 16SR3 Camera System is designed to meet all modern film production requirements. The Integrated Video System (IVS) offers maximum video quality. With its off-set PL lens mount it is easy to change the recording format from Regular 16 to Super 16. Format Normal 16 / Super 16: The format change from normal 16 to super 16 is fast and simple. With the off-set design of the PL-mount, the center of the image is precisely adapted to the format required. This guarantees optimum lens performance for Super 16. To convert the universal film gate only a small change is necessary. There is no need for a new film gate, which also leaves the original adjustments untouched. Fiber optic screens with all common markings and format combinations can be interchanged. Control Panel with LCD-Display: A large LCD-display on the left camera side clearly shows information of all adjusted settings. Below the display, a control panel is integrated offering simple and precise access to the most essential camera functions. Arri SR 16mm cameras are world-renown for their rugged reliability and time-tested performance. Arriflex SR cameras set the standard for a small, lightweight, flexible 16mm camera. From the introduction of the first SR camera in 1975 to the current day, no other 16mm camera has been used to shoot more documentaries, commercials, feature films and television programming than the Arriflex SR line of cameras. ARRIFLEX SR3A Details : The ARRIFLEX 16 SR3 Advanced incorporates all the elements of the ARRIFLEX SR3 with the enhanced features of a brighter viewfinder with ARRIGLOW, a modified gate design that makes the format change from Standard 16 to Super 16 fast and simple, a control panel with LCD display and Time Code. CAMERA SPECS: Frames per second capability: 5 to 75 fps (crystal accurate to 0.001fps) Shutter: 180°, 172,8°, 144°, 135°, 90°, 45° Film format: Super 16 mm, conforming to DIN 15602 and ISO-5768-1998 Lens mount: 54 mm stainless steel PL mount Sound: 20 dB(A) + 2 dB(A); Viewfinder magnification: 10 x (10/17 times with viewfinder extension) Dimensions: L 264 mm B 172 mm H 195 mm (viewfinder in horizontal position) L 264 mm B 100 mm H 298 mm (viewfinder in vertical position) Weight: app. 7 kg (15.4 lbs) with loaded 400 ft magazine and on-board battery 24 V Power Requirement: 24 V Temperature range: -20°C to +50°C (+4°F to +122°F) Product Description:This is a very complete Arri SR3 package with many accessories not found in many SR3 kits. It is a turn-key system that will arrive READY TO WORK!! A lessor, "bargain" camera that fails on a shoot (when time truly is money) can be the hardest way to learn the old adage: "Sometimes cheap is expensive." Actual camera and accessories shown. Any item not pictured will not be included.

I've been shooting on a K3 for the past year or so, and decided to pick up a Scoopic (Gray model). The camera definitely needs a CLA, but overall seems in decent condition. The main problem is power, which I understand is common with scoopics. It came with a battery and charger. The battery is charging now, though I'm assuming it will need to be recelled. I was curious as to what other options there are in terms of powering the camera. Specifically, I was wondering how simple it would be to make an external power source to connect to the four pin connector on the camera. I'm no electrical engineer, so I assume it would be more complicated than finding a 12V battery and soldering it to the proper cable. I've also seen some tutorials on making internal battery packs using 10 1.2V AA batteries, though they all seemed a little insecure to me. What goes into making an external power source for the camera, and what should I look for?

Looking to have a bolex looked at/repaired. Anyone out there still servicing? Thanks! - Hunter

Hi everyone, first post, long time lurker. I recently bought an Aaton LTR-7 and have just ran my first test film, the result is as follows: https://vimeo.com/210062910 (Excuse my great readings...) We shot with a standard 16mm Angénieux 12-120mm but recorded to super16 as we knew the long end of the lens would cover the s16 frame and wanted to see the extent of the vignettes. What we were not expecting were the red light leaks that crop up on both sides but more so the right side of the frame... I wonder if there any tell tell signs to this type of light leak? I did the S16 conversion myself via instructions from http://cinematography.net/edited-pages/Aaton16mmRegtoSuper.htm - I have a sneaking suspicion the leak could be from where the viewfinder seats on to the top of the camera, I had to move the 'wedge' over and reseat the VF to complete the s16 conversion.. I would love to know your thoughts, - Francis

Rare chance to own a complete Arri SR3 Advanced camera package just serviced and regularly maintained by Clairmont Camera. Includes premium IVS video assist. Package Includes: Arriflex SR3 Advanced S16mm PL Mount Camera Body S/N: 4070 1.78/1.33 Combo Ground Glass Arri 30mm Eyepiece Arri Heated Eyecup Arri FE-4 Extension Eyepiece S/N: 1007 Arri Eyepiece Leveling Rod S/N: 1072 Arri IVS S/N: 5079 Arri BP-7 S/N: 5929 Arri 12" Dovetail S/N: 5079 Arri DC/DC2 Box S/N: 1434 Arri Right Side Grip w/ Start/Stop S/N: 340 Arri "Piggyback" On-board Battery Adapter S/N: 9615 Arri 15mm Clip-on Mini Rods Mag Port Cover Lens Port Cover 2qty. 24v Y Cable (Camera Power) 12" 24v 3pin to 3pin Cable (Eyepiece Heater) Backup Fuse For Camera 3qty. Arri 400' SR3 Magazine S/N: 3130, 1564, 2102 3qty. 400' SR3 Magazine Throat Cover Custom flight Case For Camera Body Flight Case For 2qty. 400' Magazines Full SR3 Package - $4,695 Also Available: On-Board SR3 Batteries (New re-cell at time of purchase) $295/ech - 3x Available 24v SR3 Battery Charger (Built Into Case) $250 Located in Hollywood, CA. Happy to demo the camera in person. Willing to ship at purchasers expense.

Hello all, I've run across an odd reel of 16mm and am trying to identify the type of sound track. It looks like the reel has 6 tracks of optical sound squished into the optical track, but that's absurd and ridiculous. Has anyone encountered this before or have a better idea what I'm looking at? Assuming this is what it looks like, anyone know what sort of setup would have been used to create or or play it back originally?

Hi, I've got for sale my trusted Super16 camera kit. I've bought it in fall of 2010 from Mr. David Odd. as his personal camera. He had it converted to Super16 by P+S Technik in 2008 and had installed color video tap by Visual Products, inc. Since 2010 I've shot with this camera about 10x 400 ft of film. Here is footage What's in kit: Arri SR1 Super16 camera, 180 degree fixed shutter - HDTV 1:1,78 gate (brighter, from SR3) - Visual Products color video tap PAL - PL mount - wideangle PS Technik eyepiece (made by Voigtlander) 3x super16 magazine 1x spare magazine (not converted to super16) 1x SR3 magazine (with TC) LWS 15mm support rods (2x) Arri BP-7 base plate (for 15mm studio) CE - Precision Speed Control 2 (for other frame rates than 24 fps) Arri VSU - variable speed unit (not as exact as CE) 2x 12V old batteries (as spare, needs recelling) 12V NiCd charger 12V discharger handle, incl. remote switch --------- I live in Bratislava, Slovak Republic. Shipping only in EU. Price is 1700 € + 150 € for shipping --------- PHOTOS

Simple Questions, to begin with, Do you shoot in FILM or VIDEO? IF FILM or VIDEO, why? Do you believe that FILM costs more to use that VIDEO? Do you seek out Motion Pictures, (i.e., The Hateful Eight) shot on film? And if so, Do you seek out film-recorded Motion Pictures, such at The Hateful Eight, to see the PROJECTED on film? I am beginning a new production company and would like industry feedback. I will also post, throughout this discussion, facts such as... According to MPAA, in 2014, there were 14,526 ANALOG or Film projected screens in the World, 62,784 Digital NON 3D screens and 64.905 Digital 3D screens in the World. In the US alone, it 1,747 Analog, 25.372 Digital NON 3D and 16,146 Digital 3D screens. (http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf) I am of the opinion, contrary that it may be that film is NOT dead, certainly not as a medium for Recording Motion Pictures. But I must agree that its most likely no longer a widely used medium for Projecting Motion Pictures. FYI, I shoot on 35MM and 120 FILM photography, as well as AD on 16MM & 35MM, and I would like to continue to use Film as my recording Medium. I don't believe its dead, just as OIL paints didn't 'die' when ACRYLIC paints arrived. Different mediums for different artists. I look forward to hearing for you. jGb

Does anyone know what has happened to orwona.com? All of the b&w cinematography films on the website are 'currently unavailable' and 'please check back again at a later stage.' It's been like this since the beginning of the year. It's been a very nice resource being able to order stocks from their website and I hope this isn't the beginning of the end?

Any advice as to where I can get a roll of dummy 16mm film? Or do any of you own a spare roll that could send it to Maryland this week if I pay for shipping? Need it by the weekend. Thanks!

For sale TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s and 16-M Cameras Bought from Du-All Cameras 3 years ago. Used a couple of times and tested recently. Works flawlessly. Item is in great Condition, with only minimum scratches here and there, barely seen. Serial number 9440 Paid US$ 995.00 (see price label on picture). It's on eBay at US$ 800, but open to Make Offer: http://www.ebay.co.uk/itm/TOBIN-TXM-22A-CRYSTAL-MOTOR-FOR-ARRI16S-and-ARRI-16-M-CAMERAS-/172541639598? Feel free to contact me with any questions.

Hi guys. Selling my lovely TOBIN TCS TXM-22 Crystal Sync Motor for Arri 16-S and 16-M. Bought from Du-All Cameras 2 years ago. Only tested, but never used. It´s as new. I will come up with a price and post pictures very soon. Just checking who might be interested. Please get in touch. Cheers. Flavio

I'm in the planning stages for shooting a suspense-genre feature film - probably around the 80 minute mark. I'd like to shoot the thing on 16mm B&W Kodak Double-X, but my back of a napkin calculations are that it will close to double the acquisition cost. Are we at a point where we can close-enough simulate a 16mm film look, especially texture/grain in video in post? Another question: I plan to telecine the negative and post in video - folks do that, right? Thanks

Hi all, The Elmo CL (Xenon) I am borrowing is running around 28 fps. I've seen posts and the Elmo manual explaining that an incorrect running speed can be changed by moving the belt to the different set of pulleys, changing between 50 & 60 Hz. However this model I'm working with only has one set of pulleys. Maybe this is a newer model? On the serial number plate it does say both 50 & 60Hz. There is room on the teethed pulleys for the belt to move to the left but I swear it is the same tension. No significant difference. Not sure what else to do. Appreciate any suggestions. -alee

Hey everyone, I was hoping I might find someone here who has experience with a Bell & Howell 2585 projector. A few months ago, I took my K-3 for a spin, shot a roll of film and had it printed. Long story short, I had a different Bell and Howell projector at the time that I put a lot of effort into fixing so that I could watch my test roll, but eventually discovered what was really wrong with it; a cracked worm gear. So some time passed and I still wasn't able to watch my film, which was very frustrating. Eventually I ordered a Bell and Howell 2585 projector off of Ebay that was I told was in working condition. My problem is, I just got done using it for the first time, and I think I've already messed something up... Fortunately, I finally got to watch my test roll which was pretty magical, but my continuing issues with projectors have just made me really frustrated with the whole experience. First, there seems to be an issue with the autoload function. I managed to get around this by doing it manually, and I'll likely take a video of this in a little bit to show what my concerns are here, but for now this is the less pressing issue. My real problem came after I watched my film for the first time. I noticed that it seemed to be playing back at a slower rate, maybe 18 fps. I ignored this for the time being, thinking maybe this is just a setting I missed on my projector. Then, after the film finished, I did something stupid. While the leader at the end was still playing through the projector, I turned the knob to the reverse setting. I quickly realized this was the wrong way to rewind the film because the projector made a bad sound and then slowly came to a halt, so I shut it off. I then put it back in forward position, let the film continue all the way through the projector to the take up reel, and then rewound the film the proper way, just one reel to the other. My problem is that when I try to play the film now, no clear image is projected, just strange smears of light on the screen. Did I mess up my second projector already when I tried to put it in reverse with the film still in the machine? Does anyone know if this is fixable? I appreciate any advice, as my 16mm film experience has turned out to be way more frustrating than I'd hoped.

Hi, everyone It's my first time posting here :) I've received my first test roll (Kodak 200T) from the lab, shot with my K-3 and the 17mm-69mm Zenit. Loaded carefully in semi-darkness and unloaded in total darkness. Camera was covered with plastic tape when filming (except the meter counter). I found two issues: There are light leaks all over the footage. Not following a constant pattern, some shots are more affected than others but always with the same shape. I've attached two stills of them. I set the speed at 24fps but the footage is in fast motion with the telecine at 24fps. It looks as it was filmed between 12fps or 14fps. I made two shots at 48fps additionally and that ones are running at the correct speed to me. Is it possible that the fps dial is not matching the actual speed? Thank you very much everyone, Marcos

Hello, I'm looking into getting a 16mm camera in the near future. Like a SR II, III, or a Arriflex 16mm camera BL or other. I just want to know, can PL lense be mounted onto any or all of these cameras? Like can a PL camera lense be mounted onto a Arriflex 16mm BL Camera for example? I would also like to rent anamorpic squezze lenses, like Hawk lenses to capture a true anamorpic widescreen image at 2:40. Will any of those types of lenses work for any of the cameras I listed above? Thanks everyone Zane

Hi, i'm trying to cut costs and working on a film project shot entirely on Kodak 7222. If anybody has some for sale, i'm interested. thanks Constantin

Hello, Im selling five (5) sealed 16mm reels: 2 x Vision 3 250D (7207), 3 x Eastman Double-X (7222). Stored in a refrigerator. Price for all reels with postage worldwide - 150 EUR. I will send from Lithuania. Payment via Paypal. Thanks