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Showing results for tags '16MM'.
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Hi all. I have an Arri 16mm Set for sale. Beautiful condition: 1 Arri S Body + 2 Magazines (1 8v + 1 12V) + Tobin TXM 23 Motor + Original Arri 8V Motor + Original Matte Box I'm accepting offers before putting on eBay. Let me know how much would you offer. Pictures sent on request. The body has just been serviced by Les Bosher in UK. It's fully working and proper lubbed. Thanks, F
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Hi all, i am heading to the Patagonia in a couple months to start production on an installation piece i am working on - i am shooting film footage on a 16mm Krasnogorsk-3 movie camera and wanted to get some tips or advice on what colour films that you might suggest for such a project. i am taking landscape shots which i plan to project and play on loop in slow motion to the point where the movie footage will appear to be a 'moving photograph' I'm based in Sydney and have done a small amount of research and have found a lab in victoria that offers Aviphot 200asa at 100' for $45au. does anyone have any experience with this film? or would you recommend it for landscape shots? any advice on this would be really greatly appreciated. thanks very much. -
Hello everybody, Came here today to ask for advice on building a set of Schneider Primes (arri st or c mount) for use with my black magic pocket camera. I have these both Arri ST mount primes: Schneider-Kreuznach Arriflex-Cinegon 16mm f1.4 Schneider Cinegon 10mm f1.8 So I was thinking on a 25mm and a 50mm to complete the set. Maybe a 75mm or up as well. And I need to know which ones should I get (the names, please) to have a set where they could be interchangeable, meaning I could keep a balance in the quality/looks. So I can chase around to buy them. Thank you all in advance.
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Hello all -- Posting this on this forum in case anyone is interested. The buy-it-now on ebay is no longer available but I will let this one go for $2799 and end the auction early. It's a real steal at this price and am letting it go for cheap. http://www.ebay.com/itm/ARRIFLEX-Arri-SR3-Advanced-Super-16mm-Film-Camera-PL-Mount-S16-/271279445838?pt=LH_DefaultDomain_0&hash=item3f2983d74e Great camera, but there are a few quirks that are cosmetic don't effect the image quality or ergonomics, but I'd prefer to have a camera in better shape, that is why I'm letting it go. Here is a video of it running recently (9/15/13) : Item is located in NY and will ship domestically. Contact: ekyfilms@gmail.com ---- For Sale Arriflex SR3 Advanced Super 16mm Film Camera All items included with this item are pictured. Besides a few cosmetic wear marks this camera is in working condition. This was recently tested at a camera house (9/15/13) and is fully operational and works as intended and runs smoothly. A video can be sent of the camera running. Included items are: • Arriflex SR3 Advanced S16 film camera body • (2) 400 Foot Arriflex SR2 S16 mags • Arri SR3 Handbook • Light-weight Flightcase • 20/80 Prism For a Videotap (no port cap) Features of this camera include: • 5 to 75 fps • Manually adjustable Shutter angles 180°, 172,8°, 144°, 135°, 90°, 45° • 54 mm stainless steel PL mount • Heated Eye Cup
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I just bought krasnogorsk-3 and while i'm waiting for it to arrive i started to search for some data about it. To be quick here are the two main questions that i can't find any reliable answer to: 1. When did the production of k3 start and when did it end (- i guess with the collaps of ussr)? 2. Are there any movies that were shot with k3 (- i'll have to wait for a week or two until it arrives from Russia to Croatia, so i would like to watch some movie filmed with k3)? Sorry if there's already a post that answers this questions, i went through a lot of posts about k3 but i couldn't find anything.
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Dear Fellow-Filmmakers! For a Blow up of Fujichrome Single 8mm to 16mm I am trying to find some rolls of FUJI ETERNA CI - 16mm - intermediate film stock (or FUJICOLOR FC-I ). I have tried Fuji international and Frame24 - without success... Does anybody have This filmstock for sale? Does anybody know sources where I might find it? Any ideas, links or tips? Please let me know! Thanks a lot! Regards, Tobias kojak@schmuecking.com -
hey everyone, here is my latest work, shot on 16mm film stock and arri sr3 film camera: https://vimeo.com/62775779 please check and tell me what you think ;)
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Hello everyone! I've recently come across a Bell And Howell 200EE camera and I've been dying to try it out. The only problem is that it didn't come with a reloadable mag. If anyone can point me in the right direction to where I could possibly find one, I'd greatly appreciate it.
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I have a Krasnogorsk-3 camera that I purchased for cheap at an estate sale. I have no idea how to shoot on film and have absolutely no experience with film cameras. I had a stupid question. Can you shoot on used film? The Krasnogorsk-3 calls for 100 ft. Daylight film spools. Thanks!
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Hi everyone, greetings! just shot an experimental short, a motivational short film on Running on S16mm. you can have a look at the link below. thanks n regards Prashantt cinematographer Mumbai
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PRICE: €600 -------- Here is my set. I don't use this camera any more, so maybe someone could be happy with this old workhorse. It is still in good working conditions. And it's regular 16 format. ECLAIR NPR 16mm body Kinoptik viewfinder Angenieux (orientable) viewfinder Perfectone 24/25 sync motor 3x magazines 1x spare magazine (not working) C-mount - Canon FD adapter CA mount - Arri bayonet C-mount - Arri standard 4pin XLR cable 12v battery 15mm rods I can give for free Canon 15-150mm c-mount lens - in bad shape - hazed images. here's part of film, I've shot with this particular camera: I'm located in Slovak Republic, Europe. The camera set is heavy so I think shipping fee for E.U. could be about €100
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Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it knocks the color and saturation all out of whack. According to the scopes I am using (inside color and FCP) I have to drop the blacks way down and stretch the whites and the midtones way up in order for the spread to register correctly. In fact, it seems to take too much correction to add contrast to my footage. Is this the case? Am I doing to do much? I'm turning to you guys for some help and advice. Right now I'm not worried about grading the footage - just correcting it so it doesn't look flat. Below are some screen grabs from my project which should give you a good idea of what I'm dealing with. If you have any suggestions or comments please feel free to share them with me. I'm also happy to provide more screen grabs or answer any questions if you think it will help. Here's some shots from the 50D footage, all take in full sun around f16. http://www.flickr.com/photos/25291579@N00/9007383279/ http://www.flickr.com/photos/25291579@N00/9007384281/ Here's some shots for the 500T footage. Two were shot under fluorescent light at around f2, the last was shot using a practical tungsten fixture at around f4. http://www.flickr.com/photos/25291579@N00/9007385761/ http://www.flickr.com/photos/25291579@N00/9008568480/ http://www.flickr.com/photos/25291579@N00/9007388485/ I should mention that these screen grabs appear much darker than my actual footage. The blacks are not as strong in the 7219 footage as shown here, but they are very strong in the 7203 footage and these stills make them look even darker. I should also mention that this project will most likely be corrected using Apple's Color. Thanks in advance for your help, Aaron Martin -
Can one put a matte box on: a K3, Kinor 16mm and/or Scoopic MS? Do I need to know a particular thread size. Forgive me if this is a dumb question Also can one load short ends that are under 400ft into a 400ft magazine, so say for example a 290ft short end into a 400ft magazine?
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Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (uh, yeah, ok), I want to shoot one of the three acts on film. The story lends itself to this as we need a different look for each act. I also want to be able to say "we shot on film" not only because it's an interesting talking point, but also because before long I think it won't be possible. What I need to know is this: What would you advise as the cheapest solution and workflow for shooting on Super 16? 35mm is out, naturally, due to cost. I like the look of super 16 and it's easy to find lenses in the NYC area. Back in 2001 when I shot my first short the negatives were processed, given a one light with time code and we edited in AVID. Then the negative was cut AB style and we bypassed creating a positive (because I was out of money) and made a 35mm print from the AB rolls. (For a feature we clearly would not have been able to skip the positive step) It is now my understanding that traditional negative cutting is almost never used today. ??? The people involved with this planned film are almost 100% RED and 5D people and as you can imagine, mostly low low budgeters. Those that have shot on film were not in any way involved with post. So I go to you for ideas! I hear things like, "It's too expensive to scan all that negative and color correct it." So how about photo chemically, like it used to be done? "No that's too expensive too." Etc. etc. Thanks for your help. -
Hello all, I've recently acquired a Bolex h16 non-reflex camera to try shooting a bit of film. I'm new to it. The camera serial # is 88806 and according to the bolex collector website this is a camera from 1936-1937. It does not have the octometer for parallax correction or top viewfinder cup. All I have is the camera itself with no extras. My hope is to use a m42 to c-mount adapter on the camera so I could use my pentax still photo lenses, but I don't know how this would work on this type of camera or if it is even possible. I'm trying to figure out: - If I would be able to focus correctly using the pentax lenses and adapter by looking through the top viewfinder. - How the octometer works. How do you compose shots using different focal lengths with this system and would it be possible using the m42 lenses? Thanks, Austin
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Hi, I'm offering my camera set for sale, it includes: BOLEX EL mk.II normal16 camera body. last user had it sent to Bolex switzerland to complete service. Since then (4 years ago) only about 25 rolls of 100' film have been shot with camera. Camera runs without any problems, and it's really in great shape. Kern Vario-Switar Compact 18-75mm f3.5 zoom bolex bayonet mount. Lens is in mint condition and has great image quality. Angenieux 15mm f1.3 C-mount lens 2x Bolex <> C-mount adapter one genuine Bolex, and one "heavy-duty" from Andrew Alden - Bolex.co.uk Arri Standart <> C-mount adapter 4x behind the lens filters 1x with 85 filter 1x with 85N9 filter 1x with ND6 filter 1x free Power cable to 4pin XLR All fitted in PELI case ----- I'm selling this set, because I've got SR1 ant LTR sets and don't use Bolex any more. I'm located in Slovak Republic, Europe PRICE: € 850 + shipping
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Hi Everyone, After buying a fridge full of Ektachrome last December, I now realise I've got too much for my needs, so I've put a few rolls on Ebay UK - item no 300895327438 All the rolls have been fridge stored, since purchase. Many Thanks.
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My brother and I own a modified Arri SR1 and would like to get some accessories for it. I apologize in advanced- we are more familiar with lighting and grip than with camera. We are looking for the following items: -New right handle w/trigger (we have one, but the trigger is sticky so we'd like to find a new one, possibly a left handle as well) -Back body cap (right now we keep a magazine on it to keep it covered up) -Shoulder pad (we could build our own little pad but were hoping to find something that can mount tot he camera) Also looking for a vintage tripod and head too if anyone knows any places in LA (or San Francisco) that sells old film camera parts and accessories. Thanks! -Phill Matarrese
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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 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 filmmaking history. The lens pictured is not included. The 16M camera and mag is 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 to fashion 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'm moving and I know I just won't have space, so I'm selling it. $800 O.B.O. Please send me a PM if interested. It's available to see in West Hollywood through Saturday. If that's too soon, I can coordinate another time for you to check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633332383091/ Thanks for looking! Rich -
Hi there, I am currently creating a research project for my final piece at university on the evolution of the cinema camera and how cinematographers deal with the ever changing technology. In particular the transition from 35mm celluloid to digital. I am looking for people who have worked with film stock and digital and wish to answer a set of questions I have prepared. The questions below have been sent out to various D.O.P's and also camera companies such as Arri, RED and Panasonic. During your time in the film industry, what do you believe to be the main changes in the technology used, especially in regards to the shift from celluloid to digital? What do you think the benefits are of digital cameras? Do you feel celluloid is dead? If so, do you feel moving away from celluloid is a good idea? If not, then why do you think this? What do you prefer yourself, celluloid or digital? Please explain your as detailed as possible. When you started out in the industry what camera were you using? How does this compare to what you are using now? Do you feel the digital age of cameras has opened the door to younger filmmakers due to the technology being cheaper? On top of asking D.O.P's themselves, I also want to open these questions up to various forums and find out what the community thinks in regards to celluloid vs digital. If any of you would like to answer the questions above (you dont need to answer all of them if you dont want to) then that would be brilliant and I would be very grateful. Also, if any of you have any other points that you wish to make in regards to the evolution of the cinema camera then please feel free to comment. Thank you for your time. Alun.
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Hello, I am a film student working with the A-Minima for the first time, we are renting the equipment from outside the school so I'm trying to find answers about a few problems we've had with the camera. We've had two jams- one about 100ft into the roll, where the film wrapped around the camera at least 8 times ruining about 15ft of film. The second, in the very beginning of the roll the film broke off and none of the film advanced. We heard the first jam happen, but the second we did not. Wondering what might have caused this problem? When we took off the mag to reload after our second jam, the magazine would not snap back onto the camera. I've read a number of threads where people have mentioned the hastle of loading and threading the A-Minima, but none with specific problems. Does anyone have an idea of what might be wrong? And how to tell if the film isn't advancing? Thank you!
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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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Hi everyone, I would like you to critisize this short. I know for sure there are some issues (a lot) but probably you will find some more, and specially, you will be harsher than my classmates :) Thanks in advance PS: it was shot in 16mm, ArriS, 500t
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My listing is in the for sale section: http://www.cinematography.com/index.php?showforum=6
