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FOR SALE: Aaton XTR Prod Super 16mm Camera Package - Photos - https://drive.google.com/drive/folders/1a43PueEMm0JqLqnqgrM91M1usX_2_aL9?usp=share_link Selling my Aaton XTR Prod Super 16mm kit. I'm the 2nd owner. This is a full production-ready package with everything you need to shoot. It’s been well taken care of and stored in custom flight cases. Runs smoothly, very quiet, and ideal for handheld work, doc-style shooting, or narrative production. INCLUDES: Aaton XTR Prod (Super 16mm) camera body PL mount Optical viewfinder with rubber eyecup On-board LCD with sync indicator 3x 400’ mags Magazine soft cover Aaton OriginC timecode unit Aaton CLM5 charger Microforce zoom controller (2 units) Zoom/iris controllers Power, sync, and control cables Handgrip with run/stop trigger 15mm baseplate + rods Matte box Shoulder mount + brackets XTR Prod user manual Ground Glasses: ACAD 1.33 Q77 GW Power: 3x Aaton NP-style batteries (2 ReCelled) Power cable + charger Cases: 3x custom flight cases with fitted foam inserts for body, mags, and accessories Condition: Everything is in solid working condition and has been kept clean and protected. No lenses included. Selling as a complete package only. Price: $15K Located in [Portland, Or]. Local pickup or shipping can be arranged. Feel free to reach out with questions or to set up a video call if you'd like a walkthrough of the gear.

I am trying to make a list of all the vendors that still work on motion picture equipment. I have a 16bleq that is running at 39fps and it got me digging through many many old pages here. So this is what I have so far DuAll camera will work mechanically on anything pretty much but won’t touch electrical issues AZ spectrum will do electrical on arriflex cameras and install video taps crystal control etc. all bespoke. And not terribly priced but they have a 6 month backlog Cinematechnic no longer specifically works on cameras but they have archived all their resources for reference and have a ton of hard to find information Visual Products appears to be limited to sales, but they do remanufacture some hard to find rigging components for 16sr and the like Please add to the list and I will compile it all into a master

Arri Zeiss - Ultra 16 - 14mm single new condition in its box. Offers £4.5k OBO

Are you scanners working on any interesting jobs? I bought a 'pig in a poke' film lot a while back. Supposedly a 16mm short of Betty Brosmer in it. But I have not looked through it to verify. It was a total speculation that I bought from a swap meet picker. I'm a sucker for those things. It was not cheap either. He said he paid $5 for the film lot or some such thing. It does not matter to me, I'm not in it for the $, I am in it for the history. It may be a total waste, or it could be a treasure. Not much film footage on Betty out there. I'm in the process of reorganizing film collection and things are a mess. Here is Betty in her prime! DDTJRAC Also have an 8mm lot I picked up of circus films. I hate 8mm, but it was a nice collection from a circus promoter and performer. His personal collection, so picked it up. What are you scanning that is interesting and noteworthy? <><><><> 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

These are my personal lenses and they are with me here in London. Pristine condition. Any questions please feel free to ask. Will ship worldwide or they can be collected in London. All 9 focal lengths included. ULTRA 16 6mm ULTRA 16 8mm ULTRA 16 9.5mm ULTRA 16 12mm ULTRA 16 14mm ULTRA 16 18mm ULTRA 16 25mm ULTRA 16 35mm ULTRA 16 50mm

I started taking short road trips after I got my license at 16. I'd take day trips to Desert Hot Springs, Indio and 29 Palms. I had visited them as a kid when my family visited friends there. From there I took an overnight drive to Yosemite. I had a little VW bug. I got sleepy driving home at 2 AM, so pulled over on the highway to sleep. I slept in the back seat all jammed up. Then I took some day trips to the Sequioa's and Tiajuana. I was pretty broke, so no motels. Back then they didn't have restrictions on new licensees like they have now. Once you got your license...you could just drive! I didn't get into longer road trips until I got a cheap van. I guess all the early road trips I took instilled a nostalgic note in me when it comes to road trip films in the film archive. Recently I came across a fantastic 16mm home movie road trip film series called "All 48 in our 88 in 58." Sadly, I found out about the series after all the reels were sold except 1 reel, which I acquired. The collection was broken up and sold to different buyers over a number of months. Too bad it was not kept intact and sold as a collection. Here are some frames from that film. (All photos are from the seller of the film.) I always love when the road trip reels have progress maps in them. This filmmaker was pretty talented as far an amateurs go. He had nice comp, focus and exposure and a dash of creativity. That is all you can ask for! This reel was #9 of the series. Who know how many reels were in the series to cover all 48 states. If you look closely, you can see the name of their expedition on the back on their Olds 88 station wagon. As a bonus, I got some footage of a cable shovel on the road trip reel. Steam and diesel cable shovels are another area of collection in the archive. Lots of roadside attractions in the road trip reels! Looks like they did lots of camping, but maybe it is just a break for lunch. I wonder if they stayed in motels or camped all the way? The wife was in high heels a lot of the time. But she had changed for the cookout. That is the problem when a film series is broken up, you just have to guess. The wife would get out there in the fields, even in high heels. Maybe she is picking up a memento here...dunno. I got lots of other road trip films in the archive. Hopefully I will get a scanner someday. I got millions of feet of fantastic films! And if not, the best a person can hope for is that a picker gets ahold of them and they get resold on eBay if they kick off. That doesn't mean they would ever be online for viewing, but it beats them all being trashed in the nearest dumpster. Just never know how things will go. That is why I started to put up a few frames of the exceptional films online. I try and preserve something from them in case they all get trashed. You know the deal...something is better than nothing. It had just occurred to me this year to start saving the frames used in the online sales to include in the film description folder in the master film inventory. My preference would be to include a film sampler of the entire reel in the folder, but you need a scanner to do it. If no sampler is available, then a few snapshots of a film is good to have. A sped-up film sampler is a fantastic tool to have when you have thousands of home movies to deal with. They are good to have for any movie and not just home movies. But home movies are especially hard to deal with when they have no central theme. Here are examples of films sampler experiments I did to show you what I mean. Sampler experiments were made with still frames as well as by speeding up the film. There is a sweet spot that gives you a decent snapshot of a film along with being fast. Medical films - explicit content Internet Archive: Digital Library of Free & Borrowable Texts, Movies, Music & Wayback Machine <><><><> 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

Hi all, I'm thinking of buying an old Hycam 16mm for high speed filming, but I know very little about them. It's here: http://www.ebay.co.uk/itm/321100773740 I'm fully prepared for this to be a big project – does anyone have any tips? Do the cameras take C Mount lenses? Many thanks for any information. Davo

No matter how you slice it...film collecting is messy business. Sure, if rich you can match your cans, barcode, have lots of horizontal or vertical film shelves and temperature-controlled film vaults...but it still boils down to film cans or reels on shelving...or the floor. And when you run out of shelving, you use the floor for shelving. I found this photo on the internet, along with the rest of these photos. This guy titled it reorganizing film, so maybe he has the shelving, and the floor storage is just temporary. 35mm is for the big boys. I just deal with 8mm and 16mm. Temporary or not, floor storage is very common for film collectors if you are short on space or shelving. It is common to see film jammed on shelves any way they can fit. Here is a smaller collector and is neater about it in his man cave... In the old days they made film shelving to store film vertically. But they are very rare to come across nowadays and they cost $$ when you do find them. For me it has been a lifetime of being short on space. Space cost $ and I've always worked on a shoestring budget, consequently I have always been short on space. Even growing up I had no space as a kid. My parents didn't have a lot of $ and I grew up in a 1 bath 4 room house in L.A. My bedroom was a foldout bed in the living room. An old gal down the street saw some of my film archive and said I was a hoarder. Some of my films being organized from M-R... I told her I'm not a hoarder, I'd just short on space. I've got a few million feet of film and if I had more space and shelving the same thing, she called hoarding, would not be so jammed up. So, if I am a hoarder, it is being a 'hoarder by design' and not by desire. I rather have tons of space and shelving...but I don't. A real hoarder fills up any space they get no matter how large. That is the acid test. Anyway, she inspired me to expand my shelving for cine' film with 3 or 4 more 6-foot-tall chrome wire shelving units. I don't have that much room for them, but I can put them on casters and double stack them. When I need something from the rear shelf unit, I pull out the shelf unit in front of it. I am not really a film collector; I'm a film archivist. I don't necessarily want the films; I just want decent digital scans of the films. My goals changed in 2023 from maintaining a physical archive to becoming a digital archive. But it is a benefit to education as well as the archival record when you can handle, inspect and smell the films versus just dealing with scans. And in the big picture, it is hard to get rid of everything even if you want to go all digital. It takes lots of time to dispose of things properly unless you just trash it all in a dumpster. 16mm IBT Dye Transfer Technicolor Lab Head DDTJRAC <><><><> 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 guys, Firstly, I have only shot on film once, and I don’t own a camera, so forgive me if my terminology is not perfect! Im sorry if this is the wrong place to post this. im in the process of designing and building my own 16mm film camera. I have the transport reasonably sorted (ignore the take up spool spinning in the wrong direction and not at the correct speed, still need to code that part out), however I still want to refine the pressure plate and add a spring on the rail for lateral support. However, at the moment I’m trying to dial in the flange focal distance. I’m using a Sony e mount on the camera so it has a very short FFD of 18mm. I understand that the depth should be set a slightly short of that so it ends up focusing just past the emulsion. After reading, I’m thinking I get a depth micrometer and put a gauge block against the gate then take the measurement that way. Is a depth micrometer that does 0.01 mm fine enough or do I need to be investing in a 0.001mm? Is the depth micrometer the best way? How do actual camera techs do it? Also if you have any other tips for the camera please feel free to let me know!! I will link a little video of it running - Thank you in advance:) Henry

I am shooting a short film on Super 16 this June. The entire thing will take place during the night, with 70% being interiors. Low-key, hard lighting, tungsten lighting, with plans for use of haze as well as lens diffusion. The film will be black and white, so naturally, the obvious instinct was to use Kodak's only black and white negative film, Eastman Double-X. However, after further review, I am beginning to have my doubts. In the lead up to the shoot, I have been reviewing a lot of 16mm work shot on 7222, both on YouTube and Vimeo, and one aspect that is giving me a great deal of apprehension is the sheer level of granularity present in this stock at this format size. From much of what I have seen from the 7222, the grain is just far too intense for what I feel comfortable with, and I can see it being a big distraction in the frame. I had the idea of simply shooting on Kodak 7203 VISION3 50D and taking out the saturation in post. The downside to this is of course that we would lose two stops of exposure, and have to light night interiors for 50 ISO. More lights, brighter lights, hotter lights, more electricity, more output, higher budget. Whether or not this change is practical and worthwhile over something such as grain structure and granularity, I am not certain. I am unable to escape my feeling that the 7222’s grain is just way too overpowering, so I wanted to reach out for some advice regarding the extent to which shooting on a lower speed film stock will complicate things. Am I too in my head regarding 7222's grain? It should be noted that shooting the film on a larger format such as 35mm is out of the question for budgetary reasons, and I am also entirely opposed to using any kind of DNR in Resolve. Any input is appreciated. Thank you.

Angenieux HR 11.5-138mm T2.3 Zoom Lens = $8,000 - Super-16mm Includes: - Century 2x Extender - Lens Support / Motor Combo Bracket - Lens Bridge Support Bracket (15mm) - Set of Medium Iris Rods (15mm) - Pelican Case Angenieux HR 17-102mm T2.9 Zoom Lens = $8,000 Includes: - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Angenieux HP 25-250mm T3.7 Zoom Lens = $8,000 Includes: - 122.5mm to 138mm Step-Up Ring - 138mm Sunshade - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Canon FD 600mm T4.5 Telephoto Lens = $3,000 Includes: - Hood Extension - Tiffen 2x3 Pola Filter - Tiffen 2x3 85 Filter - Tiffen 2x3 85N3, 85N6, 85N9 Filters - Tiffen 2x3 ND3, ND6, ND9 Filters - Tiffen 2x3 ND3, ND6, ND9 HE Grad Filters - Flight Case Canon FD 800mm T5.6 Telephoto Lens = $3,000 Includes: - PL & PV Mounts - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Hood Extension - Tiffen 40.5mm 85 Filter - Tiffen 40.5mm 85N3, 85N6 Filters - Tiffen 48mm 85 Filter - Tiffen 48mm 85N3, 85N6, 85N9 Filters - Flight Case Fujinon 18-85mm T2 Premier Zoom Lens = $20,000 Includes: - Oppenheimer Carry Handle - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Flight Case Nikkor ED 200mm T2 Telephoto Lens = $3,000 Nikkor ED 300mm T2 Telephoto Lens = $9,000 Includes: - Century Precision 1.4x Extender - Century Precision 2x Extender - Hood Extension - Lens Bridge Support Bracket (15mm) - Set of Long Iris Rods (15mm) - Tiffen 40.5mm Optical Flat (Clear) Filter - Tiffen 40.5mm Polarizer Filter - Tiffen 40.5mm 85 Filter - Tiffen 40.5mm 85N3, 85N6, 85N9, 85N1.2 Filters - Tiffen 40.5mm ND3, ND6, ND9, ND1.2 Filters - Tiffen 40.5mm Black Promist 1/8, 1/4, 1/2, 1 Filters - Tiffen 40.5mm White Promist 1/8, 1/4, 1/2, 1 Filters - Tiffen 40.5mm Coral 1/8, 1/4, 1/2, 1, 2, 3 Filters - Tiffen 40.5mm LLD Filter - Tiffen 40.5mm 812 Filter - Tiffen 40.5mm Ultra Con 1/8, 1/4, 1/2, 1, 2, 3 Filters - Tiffen 40.5mm Enhancer Filter - Tiffen 40.5mm Supafrost 0, 0+, 00, 00+ Filters - Tiffen 40.5mm Green #11 Filter - Tiffen 40.5mm Red #25 Filter - Tiffen 40.5mm Yellow #8 Filter - Tiffen 40.5mm Mitchell A, B, C Filters - Flight Case

Arri Zeiss Ultra 16 Lenses for sale in pristine condition. ULTRA 16 8mm (Imperial Focus Scale) ULTRA 16 12mm (Imperial Focus Scale) ULTRA 16 14mm (Imperial Focus Scale) ULTRA 16 50mm (Imperial Focus Scale) Feel free to make an offer for singles or all the focal lengths. Lenses are located in London, UK.

Arri Sr3 HS Kit This item was new and boxed when purchased and still has protective film on the bottom! It comes with its original Packaging intact and is absolutely mint condition on the “new” components. This camera has shot less than 8 rolls and I am reluctant to sell but a move to another area is forcing me to sell assets. It’s a one off find an SR3 HS in this condition. For the following items £27.5k + VAT NEW COMPONENTS- (less than 8 rolls) K1.47002.0 Arriflex 16 SR3 HS Adv. K2.45164.0 Magazine 120m HS x1 K2.42572.0 BP-6 Bridge Plate K2.51101.0 Super 16 Optic For 16SR3 IVS Daniil Nevskyj Kinotech HD IVS MK3 Video Tap Elokuvakonepaja V-Lock Plate 2 x Custom Video 3 Pin RS Power Cables Top handle SERVICED USED PARTS for Arri SR3 Advanced HS Package- K2.45164.0 Magazine 120m HS x1 ( little wear to paint ) Arriflex 16SR3 tophandle videotap Prism 80/20 Arri SR3 × 1 x1 1.66 fiberscreen- Serviced Pelicase 1620 with soft foam. Item based in London UK. all the best

Birns & Sawyer Catalog 1980s D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive I estimated it as 1980s, but am no expert. I mainly went by the fact it had no email contacts or internet info. It may have a date somewhere within, but a quick looksee didn't reveal it to me. What date do you put on it? ...on a sidenote. Always date your material. Write dates, names and locations on the rear of photos. Put the same info on digital files. Archivists spend a lot of time trying to date and make sense of things. <><><><> Film chapters on a 16mm reel. DDTJRAC 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

I just picked up an untested (we see where this is going...) NPR Perfectone 60 Hz 24 fps motor. When I got to testing it, it did start up briefly, sort of sputtered out, and now won't move whatsoever. When it's given power I can here it make a "click" sound, but nothing else. Does anyone know what the issue could be? Could it be a bad capacitor? I'd like to perform the repair myself, as I got it at a cheap price and have a second non working 60 Hz Perfectone being serviced. With it moving at one point I have hope!

I can't seem to identify why or where theses straight lines are coming from. Theses lines are not on the entire rolls, they come and go. I've completely cleaned my bolex multiple times. Any ideas ?

August Arnold and Robert Richter founded ARRI on September 12, 1917. For the intellectual...all words. History of ARRI in a Century of Cinema - Film and Digital TimesFilm and Digital Times For the visual...loads of photos! http://www.filmanddigitaltimes.com/wp-content/uploads/2017/09/FDTimes-ARRI-Centennial-84-3.05-200m.pdf Film and Digital Times has tons of great material at their site. <><><><> 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

I've been looking at cine' films on eBay for 11 years. Over that time, I've looked at tens of thousands of reels. Some of them have excellent listing information. Other listings have terrible information. I call the blind eBay listings 'pig in a poke' films. A lady from an archive wrote me a while back about some 16mm films the archive wanted to dispose of. I told her to check out eBay and the most important thing when selling on eBay...is to show the film. I didn't have these examples to show her, so I made an effort to save a few of them that I ran across. If you are looking to realize top dollar from eBay film sales, here are some examples of good and poor quality eBay cine' film listings. Good Examples: Poor Examples: <><><><> 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

Fake Associated Board of Censors Approval Seal on 16mm Stag Film. Years ago, my film archive acquired a number of stag films from the Bruce Farrahday Collection. Bruce was in his 90’s back then and I was lucky enough to get a little information from him about the stag film era of the 1930s / 1940s. Back then, it was illegal to own pornography and doubly illegal to own homosexual pornography due to the sodomy laws. We normally don’t give it much thought in this day and age. You can buy almost anything you want. But in that era you could not just go into a store and choose from a bevy of pornographic films in a display case. Here is how Bruce acquired his stag films, when they were illegal, as told to me in relay by the agent disposing of Bruce’s film collection: “I (Bruce) bought most of these films from a Camera Store in Tijuana, “Ramone Ramiez’s Camera Store” on the main drag and you had to ask for them. They would have a sheet of paper with the titles and you would choose from that list. Then they would go in the back room and put your package together with no titles on the can or sleeve in case the border police would check your bags. On average, I never paid more then 15.00 each in the late 1930 and 1940’s for a 400-foot reel.” (Quote was condensed for brevity) Another interesting thing that was relayed to me was the use of false leaders, so to speak. The producers of the stag films would sometimes splice on some boring home movie footage or a fake censors seal of approval leader at the beginning of the film. This is an example of a fake leader that was used to throw off customs when coming across the border with a sex film. <><><><> 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

After seeing some old forum posts talking about creating a DIY video tap for older 16mm cameras, I thought I’d give it a shot. There’s an old thread about exactly the camera I’m using, an Eclair ACL, but the photo of the rig that they posted is no longer on the internet. So I put a super rough $20 thing together (plus an iPhone 8+). You can see it here: https://imgur.com/gallery/aNxfqXV Any suggestions? There are definitely some things that could be improved. It takes a while to set up since it doesn’t want to stay in place unless I use tape. It’d be nice to have a more rigid arm, but I’m not sure I could find one that’s the exact length and angle needed (that’s why I ended up with the “gooseneck”). And for actual shooting I’ll need to make sure that I’ve covered up all possible points where light can come in the viewfinder so it doesn’t cause light leaks.

Hello everyone, We are about to shoot a commercial on 16mm and our priority is to achieve the cleanest image possible, with minimal grain. Ideally, we would overexpose 50D by one stop, but we are not sure we ll have the conditions to do so. Given that limitation, I’d love to hear your thoughts on the best approach: 1. Shooting 250D at 100 or 125 ISO and correcting in post. 2. Shooting 250D at 50 ISO and pulling one stop (or even two stops) in processing. 3. Sticking with 50D at box speed (no push or pull). On a previous project, we had excellent results overexposing 50D by two stops, but that might not be possible this time. Would love to hear your experiences and recommendations! Thanks in advance!

Canon 11-165mm PL Mount Super 16 Format T2.5 Amazing Zoom Lens Good shape lens, amazing technically. Includes hard case. £3500 (EU) or $4200 (US) – I am based in London but will be in New York soon so can ship it from there if that helps. Technical Specs Focal length 11-165mm Max aperture (T) 2.5 Close focus 3' Image Circle 16mm Front diameter 95mm Weight 2268g Length 190mm Mount PL Mount

1967-68 STAR TREK 16mm Film Test Reel - Different Takes Behind Scenes Movie | eBay

I don't know about the rest of the film, but I don't believe it would be that rare to justify this price. I don't know how much of the Nazi related material is on the film either. From the sample images it didn't look to be all that much. This is one of the highest priced 16mm home movies sold on eBay I've ever seen. (But it may not be the highest priced if measured in feet.) The rest of the images are here: 16mm Europe 1936 Nazi SS Normandie eBay D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive Screenshots / Photos: eBay and used under the auspices of Fair Use. Selection from Daniel D. Teoli Jr. eBay Archive <><><><> 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

Here's my piece 'Luthier'. It's the making of a classic guitar by an artesanal luthier. Shot on Aaton XTR XC + T2.5 Cooke Varokinetal 9-50mm lens + Kodak Vision3 500T and 250D. Processed and scanned on a Scanity (4K) by Cinelab London. I made the live recording of the music in the theatre using a Rode NTG4+ mic into a Zoom F3 recorder. The music was composed by Jeremías (the guitarist/luthier) and is called 'Aida' named after my mother that passed away a couple of Decembers ago. The why: finding out this talented busker was also a luthier, I asked him to make a guitar for me with the idea of filming the whole process. Both the guitar and the 'piece' are intended as a family heirloom. I can't play a note myself! I want to pass the guitar down on the one hand and have the 'filming' as a testament to my 'art'. I hope you have a bit of time to watch the piece. I will be entering it into the very modest Gibraltar Visual Arts Spring Festival in some months time. If I win it will pay back some of the costs I incurred and that's good enough for me haha. Watch at 1440p on YouTube for the best quality! Thanks for watching if you do watch!!!