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Showing results for tags '16MM'.
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Hey Gang, I just purchased a Canon Scoopic MS off eBay. It came loaded with a Pro DV. 6X Wide Angle Adapter on the lens. I've shot a test with it on to test out the camera itself, I will have to do another without this adapter lens. This film is currently at the lab so I've yet to see it. When the lens is on the camera I can not use the zoom feature but it appears (at least thru the viewfinder, to me) that it is wide angle lens. (I am used to K3's so when you want a wide angle you get a Peleng 8mm fisheye or a Zenitar 16mm fisheye lens.) With the Pro DV .6X Wide Adapter on my lens the focus is for just I was wondering if this would make my camera a wide angle lens, but by how much? What is Pro DV .6x Wide Angle Adapter C62766? Is this similar to a Wide Angle lens adapter? P.S Has anyone ever used or have for sell a Canon Scoopic 400ft magazine adapter. The Scoopic takes CP 16r magazines and Mitchell 400ft Magazines, any one have a spare one of these they wanna get rid of ?
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Greetings, Does anyone have a 400ft adapter for the Canon Scoopic 16mm camera? I hear these things are pretty rare. Can one be made?
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Hi Folks, I never thought it would be so hard to sell fresh film stock at such a low price ! Had a few nibbles, but no one has shown me any money. The death of film can't be far off now, judging from what I see going for so little on all the used gear sites. Maybe it's time to start taking bets on when manufacturing stock will grind to a halt. A few years ago, I would've jumped at a deal like this. Here it is again: 6 100 foot rolls of Tri X 7266 Reversal film. Bought new June, 2012 and kept frozen. 5 rolls are sealed, one has been opened and has about 80 feet remaining on the roll. I want 80 bucks for the whole lot. If interested, please email me at martyh1960@yahoo.com.
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Hello and thank you for any help in advance. I shot my first couple of rolls of 16mm yesterday (Vision 2 and Vision 3 500T in a 16mm Arri from the 60s). To help you understand where I'm coming from with this question, I shoot digital regularly and also 35mm film stills, which I develop. Also, all the tools I was working with yesterday are ancient--finicky in the working, but working. My hope for the two different shorts are medium to high contrast with fine grain and lots of saturation. Here's my problem: I need to know whether to tell Fotokem to push the film a stop or two. Both shorts should take place in a darkened apartment with one practical light suggested as the only light source and a moment where I shoot a darkened room with "moonlight" spilling in--a 250 Lowell light with CTB through a set of blinds. As we were getting readings from an ancient Spectra light meter, the reading kept coming up with a 2.0 on the key side and a 1.0 on the dark of my subjects. The camera's lenses would only open up to a 2f. I was told to overexpose by a stop, but I kept taking a reflected reading using my Canon 7D and getting the light that I wanted--same reading but the light looked right. I exposed for the 2.0f through the entire shoot, not overexposing at all. Also, that means the darks are gonna be DARK. But I'm concerned at this point. Plus, I may not be understanding a "dense" negative. In still film processing, you can only expose the negative once. If I didn't expose for details in the darks, then there really isn't an amount of pushing I can do in the developing that is gonna make up for that after I develop my negative. Should I have exposed for the darks, which would have made the scene look like a well lit daytime scene and then pulled back? (These are shots I took with my 7D with the same settings dialed into what I was dialing into the Arriflex. The performances were so good yesterday, I really want this to turn out and I have to give instructions to the lab tomorrow. Any help is much appreciated. Thank you in advance! Best, Monty
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http://tarekimages.com/reel.html short demo reel in link above thanks, T.
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go to link below for T. Anthony Gharzouzi's Demo reel http://tarekimages.com/reel.html
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I am in the market for a full set of super speeds. Please PM me if you are interested in selling or have any good leads or a set.
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Hi, I'm after a Canon Scoopic MS battery, preferably recently recelled, but at least intact. Can anyone help? Thanks in advance, Ed. -
Hi, I'm after a Canon Scoopic MS battery, preferably recently recelled, but at least intact. Can anyone help? Thanks in advance, Ed.
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I'm the DP on a short, and our exterior scenes will be shot this Saturday in rural Quebec. The temperature is supposed to be around -20C (-4F). I hear cameras don't do very well in the extreme cold, what precautions can I take? What are possible side effects from shooting in this temperature (other than loosing my fingers)?
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Hi all, this is the international trailer to my first theatrically released feature film Bela Kiss: Prologue. It currently runs in German theaters. http://www.bela-kiss.com/#en_trailer Staring Kristina Klebe and Rudolf Martin, it was shot mainly on location in Germany, using a Red One camera with Zeiss High Speed lenses. The "found footage" sequences are shot on 16mm black and white reversal with a Bolex H16. It was an independent production with a fairly low budget. Please feel free to comment. Sven
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Can someone tell me how vision3 and vision2 differ? Also what would you consider the nicest daylight stock? I can't find any decent hd examples of vision3 50d, could someone please link a few?
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Beaulieu R16 Angenieux 12-120mm lens, custom battery pack and 200ft reel ebay auction ends on sunday: http://www.ebay.co.u...984.m1555.l2649 -
Single perf 16mm film. Perf holes on the other side! Help
Guest posted a topic in Film Stocks & Processing
Hi, I'm trying to get used to load 400' film in darkness (on the light for now of course). But, when I got film from the can it looks like perf holes are on the other side of my magazine perf teeth and camera registration pin! What's wrong? -
Tripod for a 16mm camera. 6kg/13lbs. WEIFENG WF-717
Guest posted a topic in Accessories (Deprecated SubForum)
Hello. Just finished some work on camera and looking for a secure tripod. The problem is that I spent all my money on camera modifications and very little left. Was looking for a tripod on eBay and found WEIFENG WF-717, with fluid head. Is it the best option for £180/$290? The camera with 400' mag, lens, mattebox is just little over 6kg. Can anybody leave some feedback of this tripod or recommend something at this price range? And here is the link to tripod itself http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&rd=1&item=190578551127 -
Selling my beloved Boles H16 Rex 4 super16 modified by JK Camera with the 13x Viewfinder. It works perfect and is in very good shape. I´m the second owner! The variable shutter is a bit loose. I have never used that and I guess its an easy fix... I also have Tobin TTL Time lapse motor and TXM-20BA Crystal Sync motor for it. Price Bolex camera 900 euros Tobin TTL 350 euros Tobin Crystal Sync Motor 300 euros All gear is in Sweden (within EU) Just PM me if you need photos or more info. -
Hello, just got a 400' reel of 16mm film, Kodak Vision 500T. On the back of the can it says Copyright 1988, so I guess it was made in 1988. Therefore it is 24 years old now. Wow! It sealed around the can with yellow tape, I'm not sure if it's original. Can I shoot it?
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Hi, Here we are in the twilight of motion picture reversal stocks. Be that as it may be, I have spent the best part of a year learning how to load my K-3, I finally got it, and today no film jams - smooth running on Tri-X all the way ;) I have a new lens as well, the last one was full of lens fungus :-o The mirror through the viewfinder is dreadfully tarnished. It doesn't really bother me that much, but can I clean it? Shame to have a grubby mirror if it can be cleaned up a little. Am in the UK btw so anything I do will have to be DIY, I don't think there are any K-3 boffins over here. Many bests, Ric
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I'm hoping to create a live projector performance piece, but it requires the removal of the projector's shutter. I have an Elmo 16CL, and there is no mention of the shutter mechanism in the manual I have. Replacing the 3-blade for a 5-blade shutter is common enough, to enable telecinies, but I have been unable to find instuctions on how to do so. Can anyone shed some light on this procedure for me? Thanks -Matt -
I'm shooting a short film with a friend this weekend, and we'll be shooting regular 16 on an Arri SRII (it's the last hurrah before her school sells off all their 16mm gear). There's no time or money to shoot/develop/transfer real lens tests, but I want to be sure that we can pull focus off the lens marks accurately. I'm renting the much lauded Cooke 9-50 zoom from a local rental house, and right now I'm thinking I will go in with our camera body, shoot a few feet off a test chart at various distances, and do a slop develop with some D-76. Then I'll set it out on a light table and check focus with a jeweler's loupe. Now, what I'm wondering is--will this actually tell me that the lens and body are all up to spec, or will I just be fooling myself? I was happy enough with this method for picking negatives when I was shooting 35mm stills, but I've never used it for anything that required a high degree of accuracy. Maybe there are other test methods out there that don't require going through the lab? We'll be going to at least a 1080p transfer, and since we're already cropping out of R16 and shooting on a zoom, I don't want to take any chances, even though the lens and body are both recently serviced and well cared for.
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I'm shooting on a bolex, I figure Kodak 500t is the best option (I remember reading in a topic, that it "saw into shadows well). That being said I've also heard that fuji does better with mixed lighting sources, and the metro certainly has a mix of tungsten and fluorescent. I'd also be interested in the best place to transfer it in Montreal. Any general tips for shooting in the Subway?
