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Showing results for tags '16MM'.
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I’m looking to shoot a short film with Double X on 16mm, probably with a yellow filter. I can’t seem to find high quality scans shot with this stock for reference. Before I start testing the stock myself, I would very thankful if someone could share their footage and experiences with the stock. Greetings, Ivan Dimitrov -
It is unusual that films come with a scan, but this film did. It was a MP4 file, about 300 mb. You buy a film for $10...you get a scan for free. It was a decent scan for online use; the only problem was the film was faded pink and had no color left to recover. You know the type, if you have been around old film... eBay photo ~ Fair Use I have a ton of these pink films in the archive. What I do it to turn them into B&W. That is what I did here. 'The Lumberman' (1965) Encyclopedia Britannica 'The Lumberman' (1965) D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive No idea how many red films I have. I will have an idea if and when I ever get them all inventoried. I'm maybe 55% done with the inventory. I haven't done any work in that area for a few years. I still need to organize the shelves in ABC order. This area will be for 'M to R' films. There is a duplicate set of shelves behind this set for 'S to Z.' 'H' section has its own shelf unit, is the biggest section. Tons of H-ome movies there. Small gauge film is the largest area of archival preservation I work in...yet it is the least utilized material in the archive, as I have no decent scanner. Film preservation is a fascinating area to work in. It is like Christmas every day when you are working with 'pig in a poke' films. No idea what you will find! Can't go by the reels or cans. Much of it never matches the film or films have no labeling at all. <><><><> 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 -
Hey everyone, I am selling: Arriflex SR3 Advanced SN/4244 S16 camera with accessories. Laowa Nanomorph S35 set 1.5x PL/EF Laowa Nanomorph MFT 20mm T2.2. PL/EF 8mm f2,0 Carl Zeiss MK II Arri PL Arriflex N16mm DJI Ronin 2 Gimbal set with accessories All the equipment was only used for one project. Pictures: https://drive.google.com/drive/folders/1uEg8kanNRrTdorV_sO5uPW1uKMzNTi1r?usp=drive_link All the equipment is located in Mainz, Germany (come over for a test). private sell // purchase contract will be made! If interested, contact me: info@joshuamaciejok.de ARRIFLEX SR3 SET // Selling my Arriflex SR3 Advanced kit with accessories. The camera shows normal signs of wear, but works perfectly. Two of three 122m magazines have lost their meter/feet display, but it does not affect the film. I bought the camera kit from kamera_doctor himself; it was never rented out, while I owned it. Arriflex SR3 Advanced S16mm camera Video tap HD-VIS mk II (kamera_doctor) V-Mount Adapter TopHandle and Sideplate (Ratworks) 3x 122m Arri Cassettes Handgrip + Rec-Button 8x Fischer 3 Pin Cable D-Tap to Fischer 3 Pin Splitter D-Tap to Fischer 3 Pin D-Tap Splitter Wooden Shoulderpad Rod Rod-Extension Elokuvakonepaja Baseplate Viewer-Extension Pelicase 1630 ASKING PRICE: 24.000 € Last Project shot on Arriflex: https://vimeo.com/987105111/997b00da64?share=copy LENSES SET // Carl Zeiss MK II // 8mm f2,0 // PL N16mm (good conditions; focus ring is soft, but works fine) ASKING Price: 1.500 € Laowa Nanomorph 1.5x // 20mm T2.2 // MFT PL/EF (mint condition, like new) ASKING PRICE: 1.950 € Laowa Nanomorph 1.5x // 27mm T2.8 // S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 35mm T2.4 // S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 50mm T2.4.// S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 65mm T2.4.// S35 PL/EF (mint condition, like new) Laowa Nanomorph 1.5x // 80mm T2.4 // S35 PL/EF (mint condition, like new) ASKING PRICE for S35 set: 8.800 € DJI RONIN 2 SET // The Ronin 2 is in perfect condition, small signs of wear. 1 x Ronin 2 Gimbal 1 x Case 1 x Ronin 2 Power Hub 1 x Camera adapter-plate 1 x Top camera-adapter-plate 1 x Remote control 1 x Battery station 2 x TB-50 intelligent battery 1 x Battery power station 1 x Power Kabel 1 x Charging Hub 1 x Grip 1 x Accessory Pack (screws und hex wrench) 1 x cable package 1 x Monitor-Mount 1 x 15mm Rod Mount 2 x 15mm Extension Rod 1 x Ronin 2 Universal Mount 4 x Cinemilled Extension 1x Tilta counter weight, 0,5kg ASKING PRICE: 6.000 € Thanks! -
When we talk about Super16's resolving power being lesser than Super35, what precisely are we referring to? The negative's resolution? Its dynamic range? Its color gamut? And if we are in fact referring to those three factors, then WHY exactly is Super16 so different than Super35mm in these ways? Super16 is 12.52mm x 7.41mm, whilst 4-perf Super35 is 24.89mm x 18.67mm. If it's a question of the grain being perceivably larger when shooting on a smaller format medium then why wouldn't simply shooting a slower speed film on Super 16 more closely resemble Super 35 on a faster speed of film? Because I will tell you, it certainly does not from what I have seen. Is part of the answer due to the fact that one would have to shoot in a wider focal length to get the same field of view on a smaller format medium? What are ways that one could manipulate a Super 35 negative in the exposure stage, development stage, or both, to get the resulting negative to hold properties which closer resemble a Super16 image? The obvious answer would be to push the negative, but another interesting idea I have heard would be to have the negative either pre or post-flashed. This would reduce the resolution and dynamic range by the corresponding stop of exposure you decide the have the film flashed at. All and all, I have a lot of questions on this matter, and I would love to hear some feedback from a filmmaker with more experience working with celluloid than I. -
Cellulose diacetate and cellulose triacetate are both used as bases for motion picture film, but they differ in their degree of acetylation and other properties: Degree of acetylation: Triacetate has a higher degree of acetylation than diacetate, with at least 92% of its hydroxyl groups acetylated compared to diacetate's average of two out of three. Heat resistance: Triacetate is more heat resistant than diacetate. Durability: Triacetate is more durable than diacetate. Water solubility: Triacetate is water-insoluble and hydrophobic, while diacetate is more readily dissolved in acetone. Cellulose diacetate was first used in 16mm cinema films and some sheet film, but was gradually replaced by triacetate in the late 1940s. Source: Internet <><><><> Sitting Bull 1884 - American Indian L.O.C. / D.D. Teoli Jr. A.C. <><><><> 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
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hello everyone, The Bolex EBM can only be powered with 12V. If my V-lock plate isn’t regulated for 12v but my cable powering the Bolex from that plate is regulated 12v, would that be okay ? Or does both need to be 12v regulated. Additionally and most importantly, any tips on rigging a bolex EBM with power + a rec and stop button ? Looking at all the options, but can't find many. Thanks !
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Just wondering if anyone has expierience with using Illuminas alongside Superspeeds and which one would be better. It'll be on a Krasnogorsk 3 with Pl mount conversion on a helmet cam pov rig. And many shots will be in low-light wide open, and just looking for which will be sharpest. And if either have odd quirks which might negate the others image quality.
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Hey everyone ! I know this is a topic that's been mentioned on this page before, however I wanted to confirm a few things as it hasn't been addressed in a while. I'm looking to convert my double-perf Bolex to single, so it can take Vision3 stock. This is a H16 non-reflex model which I bought for very cheap, so I'm not too worried about the DIY nature of the conversion. I hope to grind down the teeth on the side where they're not needed, however I'm unsure whether I should use a dremel / sandpaper whilst the rollers are still IN the camera, or whether I should try to remove them myself before grinding them down. I've read a few forums mentioning how the rollers are aligned, and that taking them out might prevent the camera from running properly if they aren't placed back in their exact spot. It would be great if someone could clear up whether this is the case. I'm also struggling to work out how to remove the rollers, as they seem firmly attached to the camera. Would appreciate any guidance on this.
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This blimp is in really nice condition for it's age. I think it'd be a classy display piece - especially if you pick up a wooden tripod for it. This is for a LOCAL SALE ONLY in Los Angeles. I won't/can't ship this heavy blimp, unfortunately. I do not have a case for this blimp, so someone will need to pick up and pay cash (or Zelle) in person. I usually live in NYC but plan to visit LA at the end of April. If timing doesn't work for a sale while I'm visiting LA, a family member can assist with the transaction. I never actually used this blimp, but in the early 2010s I did have an electrician friend who worked at Clairmont Camera change out the cracked old plastic power cable connector on it. It used to have a very old (and unrecognizable to me) power connector, and my friend changed it to a 12V 4-pin Cannon (XLR). So that's the connector that can now power the blimp (to power camera inside and light inside the blimp). I can make no guarantees about the functionality of this blimp and how much it could quiet down a 16S since it's been a while since I did a test run of a camera in it. From my memory, I think one plate was for the an Arri 16S camera, and the other type of plate was for the Arri 16M camera, but I don't remember if I actually ever tested both my 16S and 16M cameras in this blimp when I owned them, so I really can't make any promises there either. If I had the space for this at my NYC apartment (I really don't, unfortunately), I'd keep this and put it on display. As you can see in the pictures, there are some small spots of light rust. You can also see the fabric accordion style matte box bellows have gotten a little rough over the years. This was stored in a climate controlled house (not a garage), but there are a few signs of it's age. Pictures: https://www.flickr.com/gp/95212445@N02/9Kfx5563yb 3 short video clips: https://vimeo.com/931613961/34f5b7268e https://vimeo.com/931613968/723d9724db https://vimeo.com/931613980/4ae8cba03c $600 O.B.O.
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https://www.filmictech.com/ Reminds me of a Kinetta. (Which I could find very little about.) Have you heard anything about the Filmic? Looks like it is for pristine film and not the usual stuff I get. <><><><> Selection (Candid) from De Wallen: Amsterdam's Red Light District artist's book 2014 by D.D.Teoli Jr.
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<><><><> 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
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I've always heard shooting color neg and pulling out all the color simply doesn't do what shooting black and white does. I plan to shoot a test of my own to see what I find on my own, but I'm interested in people's insight into this claim? This began with me trying to find as much Plus-X 7276 as I could for a short, because it's probably my favorite stuff full stop. but it's so old now that it's nearly impossible to find in large amounts, and like a lot of expired film, often comes without any guarantee of the quality of the storage. So I thought, why don't I just shoot 7203 with high contrast ratios and try to fake it? Do you think I'll even get in the same ballpark? 7276 is so shimmery and silky and punchy and grain free. Besides V3 color stocks being so low-con by design, are there any other reasons that make this not a great idea? Thanks!
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Hey all, I pretty much just want to get this film in front of strangers. Tell me what you think! I am an iterative type of person, wherein I will go into the next project with what I learned. Here is what I can tell you about this project: Shot in Portland, Oregon - Dec. 2023, Final cut: Feb 2024 I shot this film on an Eclair ACL 2 (and an ACL 1 for B-Roll) using Kodak 500T 16mm Film. I shot 900 feet of film, which comes to exactly 25 minutes and 32 seconds (at 24fps). I sent the film to "The Negative Space," by Nicki Coyle, to be processed and scanned in 4k. The filming was spaced out over 3 days - All of Vincent's lines were in one session; a week later, we shot all of the Dean's lines. The following Saturday, we shot the creepy basement scene. For sound, I used a TASCAM DR-40x with an Audio-Technica AT875R Microphone. The whole setup worked really great, with a wider angle microphone I think the sound of the camera would've been a problem, though you can still here the shutter in some moments, I tried to mask it with room tone added in post. I edited the project in Davinci Resolve with some visual effects in Blender, Photoshop, and After Effects. The Painting was made in Photoshop. I took pictures of DeAndre (Vincent). Similarly, I positioned him to "Not to be Reproduced" by René Magritte (ironic, I know). Then, using Generative Fill, I filtered the image with the prompt: "Abstract Oil Painting" to get the final look. I motion-tracked and often rotoscoped in the final PNG in After Effects, which is difficult when working with 16mm film. I learned a lot with this project from a directing and writing standpoint. My two biggest takeaways are: 1.) I cannot simultaneously operate a camera and direct the actors. I need to hire a Camera Operator next time! 2.) At least one whole page of dialogue didn't make the final cut. This was okay because the dialogue was motivated to have the same end. This means I could cut out a large portion of dialogue to make the interview part more succinct without losing any crucial story points since everything they discussed pointed to the Painting. It was nice to have different dialogue options to intercut, so it worked out in the end. Please let me know what you think! -
ARRI Zeiss ULTRA16 SET for sale. Primes: 6, 8, 9.5, 12, 14mm. Lenses in good condition, glasses in correct condition. No dents or marks. Focus: Metric Price: €41,000
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Made a reel out of all the concert footage I shot in 2023. The super 8 footage was shot on a Beaulieu 4008 ZMII and the 16mm was shot on a Bolex H16. https://youtu.be/WgHjehnVAkA?si=BnNhBzU_E0mt8ZBW
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Original Owner Price : $17,000 USD Package Includes: Video Tap 3x Magnetic Drive 400’ Mags With Black Rubber Throat Covers A Cavity Cap Rear Magnetic Gate Cover Panavision Extension Eyepiece 16mm & Super 16mm Ground Glass Custom Walnut Hand Grip 3x Sets FF 15mm Stainless Rails, 2- Sets Long, 1- Set Of Short (Threaded) Custom baseplate (dovetail) That Re-centers the COG) Intervalometer For TL Work, And The Origin C + TC Clock (To Jam The Camera With Whatever Mixer Audio Is Recording With) 1x Two Position Charger 2x Batteries That Will Require A Re-cell Custom Body Case With Laser Cut Foam
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$22,000 $27,000 w/ Lens Hello, Bought an XTR Prod from Visual Products back in May. Did not get any use out of it with the strike. It was purchased and has sat in its case. Looking to recoup some of the funds spent. It has been fully serviced by VP and not used since. I also have a Canon 8mm-64mm Hurt Locker Zoom that I can bundle in as the case contains a spot for it. Here is a link to the Sharegrid listing. Price isn’t updated. It is $22,000. Cheers! Aaton XTR Prod w/ PL Mount (2) Custom Flight Cases (1) 1.78 Viewing Screen (1) Visual Products HD Color Tap (3) 400’ DX Magazines (3) 12v Onboard Battery and Abel Charger (1) Walnut Handgrip and Cable (2) Standard 15mm Steel Rods (2) Short 15mm Steel Rods
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Zeiss Superspeed Mark ii 16mm lens set includes four focal lengths - 9.5mm, 12mm, 16mm and 25mm. Please note the 16mm has some light internal haze beginning, this can be cleaned by a lens tech during service. The set is in great cosmetic condition and elements are free from scratches or chips. I can provide them with serviced for €12k, $13k or £10k. or without service and then buyer can take to their own lens tech for €10.5k, $11.4k or £9k lenses are in London, uk.
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Hi! I'm graduating high school this year, and I'm eager to learn as much as I can about shooting on 16 and 35mm because that is what I what to specialize in as a DP. Instead of studying film in university, I have decided to take the alternative route of technical skill based learning. Some of the information on these forums is outdated, so what are current running workshops, courses, artist residences, and programs that teach 16mm and analog cinematography? I have experience with teaching myself how to shoot 16mm on a Bolex through YouTube videos, but I would like better professional knowledge that goes more in depth than my online research ever could. I would like to know of any programs out there, whether they are academically or non-academically based.
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275 feet for $1600+! Anything vintage L.A. / Bevery Hills / CA related can go for big $$. Same with films of vintage Times Square showing the porn industry back in the day. (1970s) A film student died and left a small outtake 16mm reel of vintage Times Square and it went for about $1400. Apparently, L.A. had a Beverycrest sign in the hills, along with Hollywoodland sign, that was later shortened to Hollywood. L.A. used to have tons of storybook roofs, fairytale roofs, textured roofs, 3D roofs, Hansel & Gretel roofs around town. They had lots of names for them. This is not a great example of the textured roof design, but it reminded me of them. These are what the roofs looked like. This one just off of the Miracle Mile in 2012, near where I grew up. They usually were built up with asphalt shingles. This one was out of wood. I guess people will be going to metal roofs once CA can bans all fossil fuels. Only problem is metal roofs use a rubber membrane underneath...and it is made from crude oil as well! Photo: DDTJR Well, some rich person or institution picked it up. It could also have gone to a stock footage company that sell it to you by the second. Point is, you and me will probably never see much, if any of it. I've closed down my film Archive more or less. Not having any luck raising $ to buy a half-ass scanner, so no use adding more fuel to the fire. But if something comes up that is cheap and would make a good addition to the film Archive, I will try to pick it up. IIn the last year I've only bought a handful of films. I bid on this one, but $88.93 didn't go far in bidding. Most 16mm home movies can be bought for $15 - $35...unless the film nuts get a hard-on for it, like this one. This is the most expensive home movie I've ever seen on eBay. <><><><> Publicity photo Wolfman Jack ~ 'American Graffiti' 1973 DDTJRAC Wolfman Jack Archive.
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I've got a few photography related 16mm films in the Archive. One is a fantastic 16mm salesman's reel on flash photography. (non-Kodak.) This one on paper looks interesting. Hopefully it has some of the paper coating production. It will be a long time before it ever gets scanned. You know the story with trying to get a scanner. Some samples from the Kodak paper film... photos: eBay <><><><> 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
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$63.5k 1x ARRI 416 Plus Body brand new and never used bought directly from Arri 1x Arri IVS 3x 400ft Magazine 1x ELOKUVAKNOEPAJA Gold Mount Battery Plate W/ Built In Wicam Analog – HD Video Converter 1x ELOKUVAKNOEPAJA Top Plate, side plate and Top Handle. 1x Arri Rubber Eyecup 1x Eyepiece Extension 1x Dovetail 1x ARRI LWS-5 1x ARRI BP-10 1x SRB-2 1x ARRI 416 Shutter Tool 1 1x Ground Glass 1.78 1x New Custom aluminium case 1x magazine case.
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Story of the World's Finest 16mm Movie Camera D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive I've got a ton of books that need to be scanned. Will just put them in this section. Too much work wasting time to see if they get approved to the book section. If they want, they can just move them or put a dupe there. Vast majority are old and deal with vintage subjects. <><><><> 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
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There were a few threads on widescreen 16mm that had it individually brought up with links to defunct websites that supposedly had more information, but I want it for here, does anyone have any information on the 16mm anamorphic process known as tronchet scope, like what gear was involved? I know it was a system based on an anamorphic adapter placed in front of primes on a 16mm camera and that it was used on a few movies back in the day like Lucile Hadžihalilović's "La Bouche De Jean-Pierre" or "Jean Pierre's Mouth", Gaspar Noe's "Seul Contre Tous" or "I Stand Alone", and Carlos Reygadas's "Japòn". If anyone has any other information on this system please drop it here.
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I've been a commercial photographer for 25 years, started DP and directing a decade ago, broadcast and streaming commercials, documentary and docu-series working with Arri Alexa, Amira, Red, Sony. A friend picked up this SR2 in Iraq in 2003 from a Brit filmmaker, my friend was there for NatGeo filming. He has a terminal illness and gave me the Arri SR2 w/Angenieux 10-150 and an additional high speed magazine. The SR2 is serial # 63831. I'm planning on filming with it and getting it set up (it needs a new cell or replacement battery - the casing is there but empty inside, just 2 wires). Ideal would be to convert to a V-Mount if possible. And down the road convert to Ultra16 (DeMarco/Aranofsky). I'm curious it has a High Speed magazine, How do I tell if the camera is a High Speed version (10-150fps)? If not can I use the high speed magazine as a standard mag? iPhone snaps attached.
