Search the Community
Showing results for tags '16MM'.
-
I'm looking into buying a K-3 on Ebay, and was wondering what people's experiences have been like buying them there, from sellers in Eastern Europe and Russia. Anything to look out for in particular? My goal is to end up with a body, a couple of lenses, and a Super 16mm gate. I've seen the American website that sells them converted already, but it's just more than I can afford right now, so I'm hoping the Ebay route is actually feasible.
-
Hello Everyone, I am a T.A. in a cinematography class at Arizona State and I convinced my teacher to do a workshop with a 16mm camera. Being how new our Film School is we have no film cameras, only digital, so we are renting an SRIII to show the class and possibly shoot some stuff. My professor and I wanted to show everyone what it's like to shoot on film and how careful you have to be with exposure, how to use light meters, etc., and implementing these structures for when you shoot on digital. Rather than the typical status quo of students just blindly shooting and guessing on exposure. I was reaching out to the cinematography community for help, if anyone has any short ends or exposed super 16 film we could use to help the students with (show how to load the magazines, etc.) that would be amazing. Kind of a long shot to ask on here but I thought it wouldn't hurt. Thanks, Danner Gardner -
Hey everybody, I’m shooting a short on Super-16 film at the end of October in Los Angeles and I’m looking for a DP. I’m hoping to shoot on an Arri 416. (The last time I made a Super-16 short I used the Aaton A-minima, which I loved, but apparently that is now defunct.) So... I would love to talk with anybody who has extensive experience with the 416 -- loading, etc. Also, if any anybody HAS the 416, that would of course be a double bonus. Or if anybody KNOWS a DP with his own 416, please pass this along. We are low budget, but THIS IS PAID. Please contact me privately and I can tell you more about the project. Tone wise, it’s (hopefully) a mix of “Willy Wonka” and “Jackass”. You can see a link to some of my previous shorts below. Thanks so much! Bo Price Www.boprice.com Boprice@gmail.com -
Hey Guys, Firstly, just wanted to say hey as this is my first post on here! Right, basically I received my Krasnogorsk K-3 yesterday from an ebay seller. Whilst the description did not note anything regarding my issue, i found as I looked through the viewfinder that there appears to be a fair few marks/hair/dust etc. Now, is this something that will affect my picture at all, or is it something thats purely on the glass of the view finder? ( I can learn to live with it if so) Failing that, how easy is it to take apart and clean said effected area, and which tools would be best for the job? Sorry i couldn't really supply any decent photos as the viewfinder is terribly dim and I can barely see through it, let alone my poor iPhone camera, but you might get the jist! Thanks in advance, Nick
-
Hello, I am preparing to scan 610m of 16mm color negative in 2k. The telecine operator offers uncompressed ProRes, DNG, and DPX. I will be editing /grading on a macbook pro that can't run DaVinci. I have graded raw files before (RED and Black Magic), but never a scanned negative. My question is, which format should I ask for? I want to be able to adjust the color and exposure to the same extent I was able to with RED and cinema DNG files. The operator said that these DNG's are not the same as BM DNG's please help!
-
I have 2 Moviola film rewinds for sale. They are in good working condition and works with 35mm, 16mm and 8mm film reels. Some surface wear but does not affect the operation of the equipment. Comes with 2 spring locks and 6 spacers. Asking $45.00 US plus shipping.
-
Hello, I am a filmmaker who inherited a Super 16 Arriflex SR2 with lenses. I can not afford the cost of film so I would like to sell it and the lenses and use the money to hire a cinematographer. The lenses are all in great condition. If there is any problem with them I will take them back and refund you $1,000 per lens. For sale: Zeiss 9.5mm Distagon 1:12 T1.3 Superspeed Zeiss 12mm Distagon 1:12 T1.3 Superspeed Zeiss 16mm Distagon 1:12 T1.3 Superspeed Zeiss 25mm Distagon 1:12 T1.3 Superspeed Zeiss/Optex 12-120mm T2.4 All have PL mounts and are from the MK II series. Includes case Price $5,000 includes shipping. Please email about anything you would like to know! (The Arriflex SR2 I have is also for sale. Please email for more information!) Listed on Ebay! More photos on Ebay! http://www.ebay.com/itm/Zeiss-lenses-for-arriflex-16mmSR2-Set-of-5-9-5-12-16-25-12-120mm-/161790335402?hash=item25ab7499aa -
Music video looking for cinematographer (as well as anyone else in camera dept.), who has experience shooting super16 and can work locally in central/south Texas. Ideally, looking for someone who owns their own equipment. Pretty tight budget, though me, label, artist are fairly committed to shooting celluloid. It's been kind of difficult finding people who are still shooting film in this part of the country, very much looking for someone I can continue to work with in the future. PM or email (matgerbs16@hotmail.com) for more details. Thanks. Matt -
Hi all, After starting out my "follow the 16mm dream" journey with a Arri Sr2 one and a half year ago I've now reached the wonderful position to own both a Aaton A-Minima and an Arri 416! Now nothing can stop me spending (loosing) money on personal projects that will go on forever… but every roll is a joy and a great learning experience! Today I encountered a problem with one of the magazines (or with my loading of it maybe?). The film was taken up unevenly and eventually started scratching the sides of the take-up chamber. It made a noise that was quite unusual for the normally super quiet camera. When looking (feeling) for the problem in the changing bag I noticed that the film was cone/wave-like. I tried to even out the film and loaded the mag on the camera once again. After some meters of shooting the sound came back and I unloaded the exposed film. I evened the roll again when putting it in the can. Maybe that will cause scratches on the film? It's only the fourth time I load these magazines so I may have done something wrong that didn't create enough tension. One thing I've noticed is the the lay-on roller arm isn't touching the film and core straight away. There's a small screw that keeps it from coming all the way down. After some more film has rolled up on the core it does engage (or how to explain it). This screw functions like this on all my three mags, and from what I can tell from videos and pictures online this is the way it should be, so not sure if that could cause the problem. The film I used is a expired Fuji Eterna 400T that has been in the fridge at my local lab before I got it. It did feel a bit loose when I loaded the feed side also, can this have anything to do with it's age? I'll keep testing to find out more, but I only brought this mag with me now, so can't compare and test the other mags yet. Anyone who can think of a logical explanation and a solution? Thanks!
-
Greetings, I've been searching this site for days trying to dig up information on the best practices of doing a photochemical project. I would like to do my next project on film, start to finish. I would like to edit workprints, and learn to conform a negative. I would like to go through the process of optical audio on answer prints. I understand that in this day, it is a practice that is generally not done. I am familiar with the D.I. process and how those types of edits get back out to film, but I am less familiar with the analog side of the art. If there is a book (surely?!) or other resource that could help me along, that would be welcome. Please see if my understanding so far is correct: 1. shoot principal on film 2. send to lab for processing 3. get one-line/timed print (this is the workprint) <-- Audio is recorded to 16mm mag stock at this point from origial source? 4. edit workprints to make a complete project 5. create internegative?? 6. create answer print? I don't really understand this A/B roll thing 7. conform negative to final answer print using edgecodes 8. release print struck from conformed negative? 9. I can always have a conformed (or original for that matter) negative scanned if I want to go digital... I'm sure thats wrong. But it's a start. I have access to 2 Steenbecks (16mm), 4 gang syncros, hot splice, tape splice, rewind tables. I own a 16mm projector with optical sound, but it may be mono only? Finally about the cost; processing and workprints seem to be about $50 more expensive than scanning. Thats fine with me. Am I dumb for trying to learn this stuff hands on? Thanks for your help.
-
Hey, I'm looking for some technical expertise.. I have an Arri SR3 Adv, with a video assist - see pic. The output is an analogue phono cable which I have running into a small 7" monitor. The only practical use for the video assist, and all I need it for, is framing. All in all the set-up works pretty well, but it would be handy if I had a way to record the video assist image. Does anyone know a simple way to record the signal? Either an affordable small recording monitor with phono input, or I was thinking perhaps some hardware and software to turn the analogue signal to digital and record on a laptop. Has anyone had any experience with this? Thanks, Greg
-
Hey! We're looking for a DP based in London UK to work on a micro budget road movie (Set in the US) that will be shot on Andromeda DVX100, with Elite Letus 35mm adaptor. If the budget allows then we will be shooting on Aaton XTR, S16mm film, or combination of both. Synopsis and more info here: Awaken The Giant Within At the moment we're looking for the right DP and we want to, soon, start shooting some tests. You must have experience on micro/low budget productions and be based in London, UK. If you are interested please send an email with the following details: Cv, camera/tech skills, showreel. Email: info@volitionmedia.co.uk. Cheers -
Angenieux 12-120mm f2.2 Type 10x12B Cine Lens in Excellent condition. PL adapted. $550 OBO. Also available, wooden camera MFT- PL mount adapter. $200
-
So I bought the Angenieux 17-68mm f/2.2 c-mount lens for my MFT cameras and I am wanting to use my variable ND filter on it. Obviously I needed a step up ring adaptor. I read at vintagelensesforvideo.com in the comments section of the post about this lens that it was most likely a series 7 filter. So I bought a series 7 to 58mm adaptor; I was way too big. I then bought a series 6 to series 7 adaptor; this was barely too small. I've gone to all the local Dallas/Fort Worth camera shops and they all have no clue. Does anyone know what the front filter specifications are for this lens? Any help much appreciated! Alex
-
As I'm about to start cutting my 16mm short, I just wanted to share two pictures that will most likely seem pretty retro but, nonetheless, cool B) Finally put the rewind table together yesterday. And below it is my Steenbeck.
-
Another great article by Phil Rhodes in the June issue of American Cinematographer. This one is for all us film lovers. It discusses the making of a short documentary, the subject of which is a man who owns one of the last film shops in the world, devoted solely to Super 8 and 16mm. He hits all the salient points we talk about here. You can view the film here: http://www.liamsaintpierre.com/the-way-of-the-dodo/ Thanks, Phil!
-
I'm selling my very rare Arriflex 16 Fiberglass Blimp. This is for use with either a 16S or a 16M and and mounting plates for both are included. This was purchased a few years ago from forum member Tim Carroll who also ran the great website www.arri16s.com. Tim did a beautiful job of restoring this gorgeous piece of film history. The lens pictured is not included. The 16M camera and mags are not included, although they are for sale separately (see separate listing). They are in these photos only to demonstrate how a camera would fit inside the blimp. I also am separately selling a Tobin TXM-22A motor that would go very well with this blimp. The blimp's shutter advance knob seems just a few mm too short to reach the Tobin's knob, so you may want into fashioning an extension on the rubber knob that reaches toward the motor on the inside of the blimp. One of the two latches is broken on the wooden shipping case but everything made it to me ok with that broken and it's always held shut firmly enough with just the one latch. Also, the power cable that connects a 12V battery (4-pin Cannon) to the outside of the blimp will need to be rewired if you intend to use the blimp for anything besides decoration. This cable provides power for the camera inside to run, as well as power for the interior lightbulbs so you can push buttons and see things inside like the fps tachometer. The cable was just old and brittle and started melting in one spot (a couple of photos are included). The connectors both look fine, so I would guess a technician could make you a replacement cable or two. I just haven't had time to get that done. The seals on the two doors (the top magazine door and the side camera body door) don't seem quite as tight as they were a few years ago so that may be one other thing to have checked if you intend to use it for the purpose it was designed. When I first got this from Tim, it did an amazing job of silencing a very noisy 16S, but I have not tested it recently. The thought that went into the intricate design of this blimp is really impressive. It is in excellent condition. I would love to keep this as decoration for my apartment but I moved to NYC a few months ago and there just isn't space. $800 O.B.O. Please send me a PM if interested. I'm free to show it in Montebello, CA through Tuesday 12/3. If that's too soon, I can coordinate another time for for a relative of mine to show it to you since I'll be heading back to New York. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. More pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633332383091/ Thanks for looking! Rich -
Hi Guys, Just picked up this Milliken for $30 figured I give it a shot. Had some questions about the wiring. It has this cable coming out of the front and a Hi Lo Off switch on the back. Haven't seen any of them with this and was wondering if this camera has had any rewiring. Also what they are for. I assume that the cable might be for power if it has been rewired. Thought I check with you guys first before I did anything with it. Thanks Cody
-
Hi! So I am new to the world of 16mm... I may well be the only student at my Uni shooting 16mm. I haven't shot much yet, but am eager to learn! This will be the summer of 16 for me! I bought a box of cans of 100' expired color Fuji 500D (from mid to late 90s guessing). I am planning on rating it at around 120 or so... But what is everyone's reccomended method of testing a roll? Shooting a annotated test card at several settings, then clipping that footage (Maybe 1 minute long?) and sending it to a lab would be my guess. From the lab tech perspective, what should I ask for in terms of processing this test? A flat pass? How to send the footage? In a 35mm still film container? I want to make this easy and hassle free for all involved. Basically, I want to know what to rate the film at and if there is streaking. Later on, the lab and I can decide to correct (or to amplify....) odd coloring, so I am not worried about that part. Any advice is appreciated. I am so excited my fingers are tingling! -
Angenieux Zoom Type 4x17.5B - 17.5-70mm F 2.2 With Arri Standard Mount (Comes with an adapter to M4/3) Asking Price $670 which I feel is fair The lens is used of course serial number 1211645 Has some superficial marks on the rear element, no fungus or marks on the inside lens. The iris blades are a shinny, no oil marks. The focus barrel has no play and is very easy to turn, might be a downside to some people the zoom feels butter smooth and the iris does not click. The adapter is fine but if you wanted to you could get a better one from ebay or something, but it does the job. I believe this is the only zoom that covers a s16 sensor, of course it works on the BMPCC. It is really a nice lens, I just don't use it enough, for my shooting style. I am just gonna stick to primes :) Paypal and I will only ship to verified accounts. PM me to discuss further. Shipping is from San Diego CA -
Hello, I'm looking for a few Eclair ACL bits & pieces and wondered if anyone has any that may be surplus to requirement and are looking to sell. I'm after a... ACL 200ft magazine (or 2) Heavy duty motor Orientable viewfinder (with mount) If any one can help, that would be great. Thanks, Mark -
https://www.youtube.com/watch?v=bPgZVTFzG3I --This's the link to a short 16mm film I did back in 2005, shot on bolex. I think it turned out pretty good, despite the choppy editing and a few -out-of-focus shots. Let me know what you think :)
-
Can bolex be converted to super 16? If so, which models? Also, can bolexes be outfitted for crystal sync/ electric motor? Just curious, thanks.
-
Hello. I have been making short movies all my life. Went to Pittsburgh filmmakers and shot a couple 3 min long films in 16mm. In 2007 I bought a canon hv20. It's a hdv camcorder that takes the old, small tapes. Anyway, here's my thoughts. The 16mm film I did (the one that turned out well and not grossly overexposed) looked phenomenal to my eyes. I''d/I've never done anything else that looked that good. It was done on Kodak 16mm color neg 200t. I used a bolex from school with ordinary, non zoom lenses. So, ff to 2007. When I took a few videos with hv20, I was floored by the quality. I compared it to the 16mm film I did. The 16mm still looked better, and handled colors better. However, with the hv20, after tinkering with it a while , I've gotten COMPLETELY mixed results. I've learned that if you're shooting on video, everything has to be PERFECT to get the same quality every time. It's almost as if the stars have to be right to remain consistent. I mean, I have lit it well and it looks like crap, and I've lit it poorly and it looks great. Vice-versa. I just got back some 16mm b and w reversal I shot with a bolex. Looks good. however, after comparing it to a few of my "good days" footage with the hv20 (b&w in post), the hv20 clearly stands out. So now I'm shaking my head, confused more than ever. The HDV tapes are exceedingly cheaper than film and do produce excellent image quality... if everything is done absolutely perfect every time. How do I do this? I just don't know what I'm doing wrong to get some things looks great and some things that look like a 1980s videocam.
-
Hello, INFO: 1) I shot some R16mm/S16mm tests and had a telecine at two different labs. The R16 was done at Lab 1 and the S16 at Lab 2 (also a second telecine of the same R16 footage was done at the same lab, Lab 1.) 2) All the stills are shot in the exact same location. Meter: F1.2 and on 7219 3) The S16 is shot at F2 with a 9.5mm Zeiss Super Speed Prime 4) the R16 stills were both shot at F1.3 with a 16mm Zeiss Super Speed Prime. Shots: R16 Lab 1 (Tele 1) R16 Lab 1 (Tele 2) S16 Lab 2 Questions: 1) Why does the S16 image seem to have so much more light than the R16 images when it is actually closed a full stop down (F2 vs F1.3)? (Again the R16 was done at lab 1 and the S16 at lab 2) 2) Why is the S16 image much more green and then the two R16 images so different from one another, (one is redder and the other white, same footage)? How are these choices made at the lab? 3) Finally, based on the meter reading of 1.2 and the 7219, does one process/lab stick out as more accurate as far as exposure, obviously the more light the better. Could lab 1 have under processed? Could lab 2 have over processed? I assume they have the same processing times. But how do I know what I am going to get? needless to say I need some adepts here as this is pretty confusing I appreciate your time thank you
