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Background Hello all! I am a young film maker seeking some advice. I’ve been shooting still photo film for around 4 years now, and have been shooting Super8 for about 3. I have a Nikon R10 Super and have loved using it. My background has been primarily in photo, but in the past 6 months, I’ve really stepped into video and have learned quite a bit, but there is loads more for me to learn, I’m sure of that. My cousin and I have written and shot, 75% of a short (sub 5 minute) film on Super8, but some issues with the main character have delayed that. That said, we are in pre-pre-production of a much larger project, that we will hopefully be able to get made 🙂 I would like to shoot it on film both for my love of film, the process and the authenticity, and for the subject of the film, which is going to be more raw and gritty. The main character was farmed out as a teenager during the Great Depression. That being said, Super8 is the largest format I’ve shot, and I haven’t worked on anything this large ever. The Arriflex 16SR2 caught my eye about a year ago, and I’ve been infatuated with it ever since. More recently, however, I’ve been looking into 35mm cameras, and would like to consider one for this project. I’ve done a lot of different research on these, but a lot of the posts are old, and things have changed. No longer are these cameras going for “next to nothing” and neither are the rental houses renting them for nothing. While I might rent something like an Arricam LT for something one off (the LT is most certainly not in the budget), I can’t justify spending $1000’s renting, when for a bit more I can own something that I can use on a multitude of future projects. That said, I want to hear from you guys, DP’s and AC’s who have worked extensively with these cameras, and hear your thoughts on them. I’ve laid out below my thought process on narrowing down cameras, as well as some requirements. Due to wanting to have something I can use versatilely in the future, but also very much on this project, I need something with sync sound. I will be doing interviews for a portion of the film, and also want to be able to capture dialogue in scenes, etc. As for lenses, I may rent something, but I will likely have access to, or purchase some DZOFilm Vespids and maybe a Pictor zoom. I’ve rented them in the past, and while I’m sure, compared to higher end lenses they don’t compare, I was happy with the results. Camera Options Things to consider: Ease of loading, viewfinder, video tap, weight, sync sound Requirements: PL mount, Super16 or Super35 I’d be lying if I said price wasn’t my biggest constraint. I am 20 and married and work a full time job. I get that this is ambitious for such constraints, but this is a project I’m passionate about, will help me grow in my work, and is a subject thats close to me. I plan on trying to do some sort of fundraising for it, but that being said, again, this is pre-pre-pre(?)-production. While I realize that 35mm is an exponential increase in film stock, I’m leaning more towards that as opposed to locking into 16mm for the same upfront cost for the body. Due to price constraints, but also just my style, most shots will be handheld, with some tripod shots. I may see about getting something like an EasyRig if the weight is too much. 16mm - all sync sound Arriflex 16SR2 - Best price point, PL and Super16 depending on package, third party video taps Arriflex 16SR3 - Interchangeable Super16 and 16mm, PL, third party video tap Arriflex 416 - Best ergonomics, stupid expensive, simple loading, built in SDI out. 35mm Arri 35 BL-4 or 4s ~35 lbs without film, very heavy, sync sound Arriflex 235 MOS, half the weight of the 435, Built in SDI out Arriflex 435 MOS, ~15 lbs, Built in SDI out Arriflex 535 A or B Sync Sound, A is quite heavy, B is about ~25 lbs over ~35. Arricam LT Sync sound, very light, most modern, very expensive. Questions! Video taps??? While I am going to be the only camera operator and probably the one pulling focus, doing everything etc, I would like the option to have a decent video tap for future projects, but also so my cousin (co-director/co-writer/something like that) can see what’s being recorded, as well as options for positioning the camera places where it would quite uncomfortable to get my eye to the eyepiece. For someone that has used these cameras, I’m sure the video taps are somewhat unique for all of them, but is there anything to note about certain ones? Ideally HD video. Other than weight, what are my differences between the 235 and the 435? Other than weight, what are my differences between a 535B and Arricam LT Is sync sound really an issue with the 235 and 435? If I’m booming all my audio will that still mater. - A quick search says yes. Conclusion So I’m basically down to 235 (90% of my work is going to be handheld, and I don’t mind a heavier rig, but if I can help it, I will) unless the 435 offers me greater features *that* I will use, if I could somehow get away with MOS or sub 16mm for the sync sound portions… which while I like the idea of both of these cameras, they probably just don’t make sense without Sync sound. … so the 535B. Or Super16. I’ve found a 535B for cheaper than a 16SR3 and on par with the 16SR2, which is why I’m leaning there, but it is around 10lbs heavier and the 16SR2 was my “first love” to say, although maybe I should hold that title till I’ve actually shot on one. And yes, I’m sure I will get recommended to go and rent one of these for a weekend before buying… I will (probably). I’m just trying to narrow down 10 options down to two, before I go spend excessive money on renting. For anyone who read through this, and offers some advice, thank you. Just typing all of this out has helped myself narrow these down to the 535B or one of the 16SR’s, but I still want to hear the thoughts of people who have actually used them, and make sure I’m not missing something. I’m very passionate about film, and not that many people around me are able to discuss it with me, let alone motion picture film cameras. So thanks, rant over 🙂 - Moses

I know there are many Krasnogorsk haters on this forum but I wanted to share this awesome project by Russian DP Max Ivanov. It's been 2 years in the works and so much effort has been put into this with a ton of custom machined parts and boards. Here are the specs as shared on the Instagram page for the project: - Camera works with 7-12V batteries (it has a 2-pin lemo connector for power input) - Swiss 100 watt BLDC Motor. (BLDC motors have longer service life and were installed on the Aaton A Minima, XTR Prod, Arri 416.) - Motor controlled and stabilized by a microcontroller - Sync is accurate to 0.001fps at 25fps. (between 0.01-0.001 at other framerates) - Framerates: 1-50 fps - Video tap is based on GoPro internals which allows to record the tap feed in-camera. (Max said he will be adding a cable clamp / adapter since it uses the unreliable micro-hdmi connection from the gopro internals) - Optical viewfinder can be used at the same time as the video tap - Wi-Fi control which allows to set framerate and run/stop wirelessly via your phone - Electronic footage counter. (Maintains footage count after being powered off and has a reset button) - Super 16 gate with ground glass adjustment mechanism. FFD can now be easily tuned and will be precisely set on every model. Max will also be selling a set of tools for calibrating the FFD on this camera so you will be able to calibrate it yourself (I can already hear some of you complaining about how nobody should attempt to do this on their own unless they're a trained technician) - Super 16 viewfinder with correct markings - PL Mount Obviously not a camera for every situation, like narrative projects or basically anything with dialogue. However, I think it's perfect for more abstract projects like music videos or fashion films, especially when you need to move fast and do dynamic handheld stuff. I have one preordered and am super excited to test it out once it's ready! (I think the current eta is March/April)

FOR SALE: I am am hoping to sell this all as a kit and am hoping to get $3500 USD. I am selling the following: -Bolex H16 Rex 5 w/ 10x viewfinder. The camera was just CLA’d by Abdul at Cinerepair and has a brand new govenor. It runs like a top with a very strong spring. It is in excellent condition. -Kern Vario Switar 16-100 POE f/1.9 C Mount Lens. glass is very clean. Zoom, aperture, and focus are all smooth -SOM Berthiot 10mm Cinor f/1.9 for Bolex RX -Bolex 400ft magazine with torque motor and roller bearings -Sekonic Studio Deluxe 2 analog incident meter If interested, please send me a DM. I can provide pictures and video. I can piece out items if needed. Because of the cost, I am only shipping this kit in the US. I am only accepting PayPal at the moment.

Hello there ! I am wondering about the scan part of the production for upcoming tests on an eclair gv16. Am i suppose to ask to the lab to make the Scan or TC at regular 25fps recommendation or am i missing something ? I understand that it is good to match the frame rate to the scan/TC 'rate' for 25 fps and under, but for the rest, i don't have an idea. thanks in advance Jordan

Hello, has anyone made a pl mount to pl mount focal reducer for super 16 cameras? I want to use larger format lenses on super 16 film cameras with lenses like the 12mm master prime, or the 18mm tokina and it's derivatives. I don't want to pigeonhole myself into buying a whole bunch of super 16 primes (before you ask, no one in my area offers any motion picture film cameras), but I want to use them to their fullest image circle wise while on super 16 as I feel it within the world of the available film stocks like vision3 it still has texture comparable to old film stocks but I want the perspective that shooting a super 35 or larger camera would force me to do in terms of distance from the subject relative to the field of view. So y'know how there's pl to pl focal expanders? Has anyone made a pl to pl focal reducers then? Also, can you convert a 416 to shoot regular 16mm like you can with an sr3? I just want to know as another element of which to buy.

Hi, Can anyone suggest how I should treat rust on the inside of an Arriflex ST's door (see photo)? If I run my finger along it leaves a residue. Also, there's some very fine paint flaking off inside the camera and some fine dust/rubbing in the corners of the magazine cavity on top of the camera, which falls and collects inside the camera where the 100ft film is. Any suggestions on what I should do to maintain it would be much appreciated. Thanks. IMG_0302.heic

Hello, I have 3 packages of 16mm cameras to sell. They are supposed to be sold as a sets, but I will also consider offers if someone would like to buy a lens or camera separately. Cameras are located in Warsaw, Poland. SET NR 1: 1. Camera: - Bolex EBM Super16 2. Lenses: (all those lenses were serviced, lubricated and collimated. All covers Super16 format) - Kern Vario Switar POE 16-100mm F/1.9 - Switar 10mm f/1.6 - Switar 16mm f/1.8 - Switar 25mm f/1.4 3. Accessories: - 2x 400ft mags and 1x MM motor for 400ft mag - Battery charger - Power grip + power grip battery (I don't think it needs re-celling, never had a problem with it) - Remote control cable - Battery container - 7 filter frames with filters (ND 0,6, ND 0,9, ND 1,2, 85/ND 0,9, 85B/ND 0,3, 85, 85B) - Set of Kodak wratten gelatine filters and ND gelatine filters - Bolex bayonet to C-mount adapter - Bolex bayonet to Nikon adapter - 4x 200ft spools - 2x100ft spools - Metal case Here are a few shots made with that camera throughout the last three months: Asking price: 4500 euro SET NR 2: 1. Camera: - Bolex SB Regular16 2. Lenses: - Angenieux 12-120mm f/2.2 Cameflex mount - Angenieux 12-120mm f/2.2 Bolex bayonet mount (this one has glasses in perfect condition, but it needs some collimating. I can arrange it in Poland, before shipping) - Angenieux 12-240mm f/3.5 Cameflex mount 3. Accessories: - Bolex MST motor and battery pack - Pistol grip - Bolex RX-Fader - Bolex bayonet to cameflex mount adapter - 2x100ft spools - Metal case Asking price: 2500 euro SET NR 3: 1. Camera: - Krasnogorsk-3 2. Lens: - METEOR-5-1 17-69mm f/1.9 3. Accessories: - Filters - Lightmeter - Pistol grip - Bag Here a few shots made with that Krasnogorsk and 30 years old ORWO stock (I was surprised that anything came out of it): If you will have any questions or you would like me to send you photos of the cameras, please contact me by email: janbujnowski1@gmail.com Thanks!

Looking to buy an Eclair NPR. PM me if you have any leads. Thanks~

CAMERA ARRIFLEX + SCHNEIDER CINE-KREUZNACH SET aSKING PRICE : 6000 Euros / Location : Paris, France THIS KIT IS TESTED AND READY TO ROLL. The camera number shows it is one of the latest model, the body and the mags are in perfect condition, so as the lenses. This kit contains : - 1x Camera body ARRIFLEX 16 s + Matteboxe - 4x lenses + focal extender x2 : 16, 25, 50 & 75 - 2x 300ft Magazine (122 meter) - 1x 8 volt Battery + case - 2x Motors (1x 25fps motor & 1x Variable speed motor from 8 to 48 fps) - 1x Viewfinder extension - 2x Flycase All the material are like new, no sign of use (NO SCRATCH, NO TECHNICAL PROBLEM). The photo tripod in the pictures is not included in the kit. Here is some pictures of the hole kit, and multiple footage that i shot with it, it includes an audio sync shot with the 25fps motor : https://drive.google.com/drive/folders/15O28olFOoT8RYyXCPoNKTD2SjgrYUTBi?usp=sharing Here is the ebay link to the offer : https://www.ebay.fr/itm/144256898217

Hello, I am looking for an Eclair NPR Crystal Sync motor. My motor had some issues and I cannot rely on it for filming. It seems almost impossible to find one these days on eBay or in any store that sold it in the past. I am asking here to see if anyone can help to shine some light on my search. ? Thank you, Leo

Hi all, Just got a Krasnogorsk-3, having an issue with the film slipping up the sprockets as I run it through (at least I think this is the issue but may be wrong) Seems like the sprocket roller isn’t attatched properly on the on the top side? I've tried adjusting with the position of the release pins but even when the film seems to be proplery in place, the film still shifts up and then pulls out the pressure plate as soon as I start to shoot.. Very new to this so any help would be much appreciated, Thanks so much.

I am looking for the instruction manual of PATHE ELECTRONIC DUOLIGHT in any language. Thank you very much for your attention!

Hello, I have a question about Hawk-Woods MDV Link system. I have a 16mm camera which requires a 12v 5-7A power source with 4-pin XLR out. At the moment I'm using a sealed acid motorbike battery, but it's heavy and it takes ages to charge it. The question is: can I use a Hawk-Woods DV-F970 LLithium-Ion Battery ( which is 7.2V 47W 6600mA) and Hawk-Woods DV-XLRR MDV 12V Step-Up Power Adaptor to power the camera? I'm not really good at electricity, please help me. Thank you.