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Showing results for tags '16mm'.
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For the purposes of future testing for a project, I would like to get some opinions on the various characteristics of some Super 16mm primes. Flares, bokeh, sharpness, contrast, color temperature, the works. Lenses in particular I would appreciate information on are... Zeiss Super Speed Mk 1 Zeiss Super Speed Mk 2 Optar Illumina s16 Cinema Products Ultra T Any other prime sets that have both 16mm & 25mm focal lengths. I'm really only interested in prime lens sets, no single primes like the Angenieux 5.9mm or any zoom lenses. -
Hello, (I don't have much experience in filmmaking). For a project, I am planning to make some 3d animations mixed with some digital footage. My plan is to then shoot the projection of this video in film (either super8 or 16mm). My questions are: is this doable? what kind of digital projector do you recommend? is there going to be any flickering problem? what about color balance? thanks.
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Hello all! I'm shooting a short on 16mm Kodak 500T Vision3 next month. I'm looking to get a cold look out of the film. Thinking blue hues in the shadows, while keeping low contrast in the image. Hoping for something along the lines of the look of the film Godless. Specifically inspired by the MSs of men at 01:33 and 00:33. I have interiors and exteriors, day and night. Planning on using natural light and LiteMat 4's for lighting, and Ultra Primes for glass. Planning on shooting regular 16mm to get the tall aspect ratio. I was thinking I would use an 81 filter to adjust the Tungsten stock for daylight scenes to keep some of the inherent blue from the tungsten stock. I was also toying with using an Antique Suede 1 filter for colour correction... but was wondering if anyone has any advice or would know how to get a look similar to Godless. Should I pull the film a stop? Any filters I could use I don't know about? Appreciate any comments! thank you Peter -
Hi there, I'm selling my Scoopic 16MS. The camera is in excellent condition, it really does look brand new. It comes with 2 batteries, both of these will need recelling. A charger, lens hood, 5 internal filter trays. An external battery box, and a fitted case. Happy to ship to the states. £450 plus shipping
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Hey everyone, I recently purchased an Arri SRII S16 and have really enjoyed re-familiarizing myself and learning to be more comfortable with film. I have some questions though regarding the video assist and power. Video Assist In the grand scheme of things, I would love to be able to use modern monitoring systems with my SRII such as a Teradek and SmallHD monitors. The video assist is of course analog, and I would need to convert the CVBS signal to SDI and I am having trouble doing so. I've tried Blackmagic's analog to SDI converter, but I believe it can only take analog over SDI for input so that did not work. I then tried Aja's V2Digital converter and had the same issue. I've tried contacting Aja's customer service, but have yet to reach anyone. Does anyone have any ideas as to how I can convert this signal? If not, looks like I'll just be going to traditional standard def on-board monitor. Power I have two 12v onboard Arri batteries that work great. But I was wondering what I could do to replace those with gold mount batteries? I know that I can get a goldmount plate with 4-pin xlr for power, but am concerned that if I place a charged 14v-16v goldmount on there, I'm going to fry the board on my camera. I would need some sort of 12v regulator, but am having trouble finding one so I'm thinking I could maybe build one? Thoughts? I know I could probably go with a battery belt, but I was hoping to keep everything compact. Thank you!
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Greetings Everyone! Need some advice here on a sailing documentary which I have shot on S16 with an Arriflex SR3 camera. After a lot of struggles and failures, I have reached 50% of what I really wanted to achieve. Anyways, I have started assembling the footage. Cinelab Mass., has done a good job. I have the negatives scanned to 1080p HD without timecode. Few editor friends of mine suggested that I get the negatives scanned again with a timecode and then with a final cut timeline get a 2K scan and grading done the way we do for movies. I wish to showcase the documentary in film festivals. Do you think an HD output won't do justice? Generally,what formats are documentaries shown in film festivals? advice and suggestions welcome.
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Hello, I bought a Krasnogorsk 3 off of Ebay and it shipped over from Ukraine this Monday. I have a shoot this Saturday so I know it is a bit of a rush but it arrived early enough for me to test the exposed film and I found out that there is a continuous scratch along the non-emulsion side of single perf super 16mm film... I thought since this is a regular 16mm camera, maybe the scratch is where the other claw is trying to pull down? It is not in the middle but rather the edge. But I know K3 takes both double perf and single perf and this scratch is very concerning, not really sure where it is picking up the scratches from. When it is going through the upper loop through the roller I see a single scratch and when it comes out from the lower loop and out into the take up spool, I see another scratch. (2 lines as indicated on the picture) So I am assuming it is from the main sprocket or release pin... Please let me know if I got a crappy one and if or if not this is fixable to start anywhere, because I am sure it is not a dust since it is consistent line all along the film. Thank you so much
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CP-16R 16mm Cinema Products camera. Its not the best, its not the worst. Its available in a flight case, but I can ship without to save on shipping cost. Includes Angenieux 10-150mm zoom in CP mount. Includes Arri B-mount to CP mount adapter Includes 3 mags Includes AC power cable Includes custom block battery Recent film shot on this camera / lens: https://vimeo.com/222511546 Name a fair price. I would love to get $600 shipped, open to offers.
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I have never been able to find the answer as to why film gates have rounded corners. The question pops up when ever a 16mm gate is widened to super 16. But I generally cannot find the answer. the only possible reason I could think of is if its trivial to have right angles and speeds up the machining processes after milling, not to have to go in and clean up the corners. Any Ideas anyone?
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<iframe src="https://player.vimeo.com/video/244517536"width="640" height="360" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> <p><a href=" ">iron sportster 883 hd</a> from <a href="https://vimeo.com/user18835395">Prashantt Rai</a> on <a href="https://vimeo.com">Vimeo</a>.</p> https://vimeo.com/244517536 I shot this long time back, early 2014 perhaps. Had the negatives scanned, graded, and 2k footage stored in a hard drive. The drive crashed. Data recovery guys were asking a lot of money. I got it scanned again now. I shot this with a focus puller and a driver one early morning on Kodak 200T.
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I just started with small gauge film this year. Here is an interesting 16mm film on Eastman House I just had digitized. Covers early photography. Although I'm an old school film photog, I don't know much about movie film work - am learning on the job. Opened a YouTube account at 10 minutes to midnight last night and put it up. Most of my film archive are probably not allowed on YouTube, so will put them up on the Internet Archive. Happy Thanksgiving!! Dan
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Hello, Nice meeting all of you. I been shooting a bunch of super8mm this past year, and really enjoying the process. Im just starting out to play with 16mm and will appreciate any answer or help. (no need in-depth or long replies) - I just got a "new" Krasnogorsk K-3 - I was wondering where can I send it to check up/service in Los Angeles Area. Any tricks and tips about that camera? - Where can I get a proper loop for it? - Where is the best telecine lab you guys know in the US? - Super8mm - where can I service my cameras? I got Canon 1014AZ that needing a service as the motor start to get weak. Thank you in advance, Benjo https://vimeo.com/benjoarwas
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Dear friends, I am sorry to part with this camera - but it is necessary! This tool Kingsman. The kit includes a body, an objective (it is capable of 5-), and a motor with 25 FPS The camera needs love, care and work. I checked the motor - it works, but I did not do any footage from this camera. but I do not think that something is wrong with her. I want for her $ 1200, but without a cassette and a bottom handle. Although this is also debatable. http://dom2.tw/ http://dom2.tw/ http://dom2.tw/
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Dear Cinematographers, Been carrying around two 100 ft. rolls of 16mm 500T film for the last year. It has been in a 10Ëš-20Ëš cooler for six months. Someone told me freezing negative film would cause the remjet to stick, so I then refrigerated it in about 40Ëš for six months. Now that I am ready to shoot it, the question presents itself: How am I to expose it in order to compensate for the yearlong stagnation? That is, if it not already too late. Sincerely Grateful, Kurt Cassidy-Gabhart -
I got a Keystone Executive K51 16mm movie camera from a friend. I'm familiar with vintage analog still cameras but have yet to use a movie camera. I'm eager to put it to use and I was checking out the features, but I can't seem to figure out how to focus this camera. There is no focusing ring on the lens, nor is there any indication of distance settings from the subject. The top of the camera has 3 settings for wide angle and telephoto, which changes the view in the viewfinder. Maybe this is the key to my concerns?! Does anyone have experience with this camera? I do not own the manual and there is no manual online. Thanks!!!
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I'm ready to do some tests with my Eclair NPR camera and I have some questions after practicing loading the magazines... Obviously I'm missing something simple and I've spent some time searching yet haven't found the answers so please forgive the basic questions: 1) Can someone explain the importance of the "loop"? It's very specific about 12 images with 6 on each side. I don't think the manual I have explains why this is important and what will happen if the frame count of the loop is incorrect or if it's out of alignment. Will it effect the image? Will there be flickering? 2) Assuming the loop is important, why is it necessary to then press the film into the magazine? (thus reducing the loop, I count 8 frames after my loop is pressed in). The videos I've seen go to some length to detail exactly how the loop is formed... only to quickly say "and then when you're done you press it in and load it onto the camera..." Again please forgive my ignorance and thanks for your patience -B
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Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
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Hi and still sorry for the translation ... I bought a film Plus X 16 mm dated 40 years (50 asa) and I wanted to know how much of asa should I expose it. If you can give me your opinion. Thank you...
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I just received a bolex h16 with all the bells and whistles etc including a rexofader. I cranked the camera with the levers at MOT and I, 24fps and then I hit the trigger.. absolutely nothing, is the spring busted? I've been prowling the forums and manuals, and can't quite figure out the problem?
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Hey there, i was just wondering what some of your favorite and most inspirational experimental film makers are. Mine is Hans Richter, the way he uses film as an extension of his paintings is, to me, life changing. I have had a film showcased in a film festival that was influenced by his work. i first heard about him in a documentary called "Free radicals: a history on experimental film". i want to know what you guys like because I am constantly looking for new ideas and influences for my work.
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People! Go spare parts for this rare camera. Need a counter that is in the camera. Battery compartment for the control unit (bottom part)
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Hi Everyone, I'm thinking of buying a Kowa 16H lens for my Bolex H16 REX5 in the aim of making cinemascope. If I have fully understand this lens is adaptable directly on my proper lens, like for example a switar, with a clamp. I guess that I can find several models of clamps in fonction of the diametre of the lenses I want to use. The thing is that I want after that to be able to project my film with an Eiki NT2, and I wonder if I could use the same lens, as it is apparently made for both, camera and projector. How can I adapt the Kowa on the projector? With an other clamp? Here are I am with my supposition...
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Hi, I bought these 16mm mags and thought they were all empty. I have a few of them still loaded (unexposed) and just wondering if anyone has any idea what type of film would be in them. I have no idea how old they are and havent seen any markings. Thanks in advance.
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Hello all! I'm new to this website and am excited to make my first post! I am going to be working on a project soon and want to shoot super 16mm. I have been looking at cameras online to buy and have come across some decently priced Aaton XTRs from various countries outside the U.S. My concern is that some sellers have mentioned that they are PAL cameras. Can anyone tell me if this will matter when shooting the film? I have heard mixed opinions about it just referring to frame, rate in which case I can adjust the camera's frame rate. Others have told me that I will constantly have flicker due to electricity in the US. Will I be able to use the camera or should I look for something else?
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...I sent my Aaton XTR XC to England for service, battery recell etc before I start rolling with it and Alan tells me the camera can't be converted to Super16mm as the "gate and ground glass have been swapped for regular 16mm only"...... so I stopped to think.....is it really worth all the hassle converting to Super 16mm after all?... Am I going to shoot a film on 16mm film that's going to appear in a large cinema theatre screen........prob never....and if what I shoot appears on Vimeo, YouTube, and viewed on tablets and smartphones - ironically the iPad Pro screen is practically the 4 x 3 ratio - should I not just stick with standard 16mm format? .....would appreciate thoughts.....no idea on the costs at this point to get the parts I love it by the way.....the design and ergonomics and the feel of the Aaton...glad I bought it
