Search the Community
Showing results for tags '16mm'.
-
Hey everyone, I apologize if this topic has already been exhausted in previous threads. I'm looking for examples of pull processing for an upcoming project. A few came to mind but I want to continue building a reference library as I prep. If you know of any films/examples please let me know! B
-
Dear Cinematographers, Testing out Krasnogorsk-3. I need dummy stock in order to practice loading it, therefore does anyone know where I can acquire some? Sincerely Grateful, Kurt Cassidy-Gabhart
-
Hello Everyone. I just wanted to let everyone know that I am selling a Great little Bolex H16 EBM Camera Package on eBay. eBay item number: 222563920707 http://www.ebay.com/itm/BOLEX-H16-EBM-Electric-16mm-Movie-Camera-Kit-AMAZINGLY-GOOD-CAMERA-PACKAGE-/222563920707?hash=item33d1d7eb43:g:JscAAOSwHLNZVGvt There is a link to a Youtube video demonstrating its operation in the description for the eBay listing. I have many detailed photos of all the items in the Auction, drop me a message and I will gladly send them to you.
-
Hello Everyone. I just wanted to let everyone know that I am selling a Great little Bolex H16 EBM Camera Package on eBay. eBay item number: 222563920707 http://www.ebay.com/itm/BOLEX-H16-EBM-Electric-16mm-Movie-Camera-Kit-AMAZINGLY-GOOD-CAMERA-PACKAGE-/222563920707?hash=item33d1d7eb43:g:JscAAOSwHLNZVGvt There is a link to a Youtube video demonstrating its operation in the description for the eBay listing. I have many detailed photos of all the items in the Auction, drop me a message and I will gladly send them to you.
-
Selling a like-new Precision Speed Control 2 that is currently selling for $3000 on CE's website. This one has the LED display and the 3-perf option. Link here: https://cinemaelec.com/products/precision_speed_control_2/ This connects to your film camera and gives you control of your frame rates for over and under cranking, flicker reduction, TV scan line issues etc.. The display also serves as a digital tachometer and footage/meter counter. Works on Panavision, Aaton, Arri, Moviecam and more. Comes with a cable but you may need a different connector for your specific camera. Only uses the one cable, no other power cable is needed. $350 and will ship for free to the lower 48 or you can pick up near North Hollywood. Camera Compatibility Aaton 7 LTR, 54 LTR, LTR-X, XC, XTR, XTR+, XTR Prod, XO+, X Prod, 35MM (Type 1, 2, 3) Arriflex 16SR (1, 2, 3), 16SRHS (1, 2, 3), 35BL (1, 2, 3, 4, 4S), 35-3, 35-2A*, 35-2B*, 35-2C*, 35-3C*, 435, 535, 535B Panavision 16MM, Gold 1,2, Millennium, Panaflex, X, Platinum, Panastar 1,2, PSR Moviecam Compact*** Mitchell Fries** Showscan Showscan Beaumonte Vistavision llm Vistaflex Msm Vistavision Wilcam Vistavision * With Cinematography Electronics 2C CRYSTAL MOTOR BASE ** With Cinematography Electronics FRIES/ARRI MODIFICATION *** With Cinematography Electronics COMPACT PRECISION SPEED PLUS -
Hello, I know this may be a long shot, as I'm struggling to find a 16SR3 for sale in the UK, but I am looking for a good condition 16sr3 for sale preferably in the UK. With accessories, on board batteries, chargers, more than 1 film mag would be minimum depending on the price of the item. I'm planning on using the camera for a future project so would be great to hear back from people soon! I am also interested if the item is in other countries inside Europe, but due to shipping costs it would be easier if UK based. If people also know of a 416 for sale in the UK, that would also be interesting, depending on the price as I know the prices between a 16SR3 and 416 can be fairly large. Many Thanks Will
-
Hey guys, As my last quest for Aaton accessories on here proved successful, I thought i'd try my luck again in my search for some 15mm Aaton XTR screw in aluminium rods. Would anybody happen to have a set lying around? Ideally looking for the short ones, but not the 4", 6 would be ideal. Thanks, Nick
-
Hello, I am looking at buying a 16SR3 within the next two months and have read all the ARRI downloadable manuals and am stuck on which lens would be best for shooting with relatively low light conditions and still have a sharp image and some flare. What has confused me was that I was always interested in the T1.3 Zeiss Super Speeds, but i have been told that these wont work on this camera. But I thought the T1.4 was for 35mm and T1.3 was 16mm. What about the Zeiss CP2 T1.5 super speeds. One last thing is the Zeiss Ultra 16 lenses, I know they work best with the super 16 416 models, but can they also be used with a 16sr3 if converted to super 16. Thank You!!
-
Hello everyone, I would love to hear your opinions on the following.... I'm waiting for a Russian K3 16mm camera to arrive which I bought recently and ordered some Kodak 16mm stock for it.... .....in the meantime (as one does in this day and age) I've been thinking about 'upgrading' to an Arriflex SR +....then I started thinking....why? which is where you all come in I hope to offer advice, knowledge.... An aside.....I used to shoot stills with a Hasselblad 503CW back in the day and now I have a standard 500CM but using the same excellent Hasselblad zeiss lenses = same quality of images.....the lenses give me the quality NOT the model of the Hasselblad I am using....thats a fact with me..... So i was thinking of how this relates to the K3 or Arriflex SR (whatever) scenario.... If the K3 gives me the 24fps without variation (it is a winding mechanism after all) using my beloved zeiss glass on it via the M42 mount..e.g. my superb 50mm aus jena f1.8.....or even using a Hasselblad V mount to M42 adapter (also in the post).....surely I will get the same results as using the same glass on an Arriflex.... my question really is, as long as the film is moved in front of the gate properly and at the correct speed does it matter what camera body I use (variable) given the quality of the lens???? or even simpler....would I get the same quality of image if I use the same lens on a K3 and an Arriflex SR3? There is a lot of garbage shot on 16mm which probably degrades the 'image' of the medium, sure this has to do more with the fact people do not know how to shoot film as opposed to cheaper cameras....cos the film is the same quality as long as a great lens is in front of it but sensors on digital cameras...well, we all know how different those all are.... (obviously the above is assuming I don't want internal light metre, video monitoring, audio capabilities, timecode, and any other advanced features that have nothing to do with image quality) Thank you for your time I look forward to replies.... -
Looking for a complete ARRI 416 Package. Based in Los Angeles. I also have a ARRICAM LT with 3 x 400ft mags and 2 x 1000ft mags I might be willing to either sell or make a trade (depending on items included) Message me if anyone has any leads Thank you Matthew Chuang www.matthewchuang.com
-
FS: Arriflex 16SR, Arri Sound Blimp & Bolex Accessories
T Sanders posted a topic in Cine Marketplace
Hello Everyone, Well last year I was selling a bunch of gear before moving to South America. Some of it never sold and I'm back in the States for a short visit and still need to go ahead and try to get rid of it instead of letting it sit in my storage unit. I need to have all this sold before May 12th. I've tried to price them as low as I can to get rid of them quickly. There is some wiggle room for some of the more expensive items. Reasonable deals can be made if buying several items. There are no shipping costs for local pickup in Valrico, Florida. Arriflex 16SR + Accessories - $800 + $50 shipping It works fine and it works great with the blimp below. I bought this used from a dealer. The viewfinder is clear with no yellowing. The camera runs smoothly. 1 - Arriflex 16SR 16mm motion picture camera 1 - Eyepiece with eye cup 2 - 400' cartridges 1 - Battery Adapter 1 - Power cable 1 - Power adapter for plugging the camera into an outlet, NO LENSES ARE INCLUDED. ARRI BAYONET MOUNT. THIS IS NOT A SUPER 16 CAMERA. Arri Talbot SR Sound Blimp - $400 + $50 shipping 1 - Arri Talbot SR Sound Blimp with connector cables inside I'm selling a very unique Arri Talbot Sound Blimp for the Arriflex 16SR camera. It reduces the noise level to absolute ZERO! When the camera is inside, you plug in the wires and you are able to completely control the camera from the buttons on the outside of the blimp. The blimp also has rails on the front. I've never seen one of these anywhere else. It's extremely heavy so you'll have to use it on a heavy duty tripod. If you want to buy the Arriflex SR16 and the Sound Blimp together - $1000 + $100 shipping https://www.etsy.com/listing/195118392/arriflex-16mm-film-camera-sale-arri I also have some items for the Bolex Rex5 & Rex4: Bolex Rex 5 Film Magazines - $250 + $40 for shipping You can own two film magazines for your Bolex Rex 5 including a leather sound cover and vintage carrying case today! These film magazines allow you to use 400' rolls of 16mm film with your Bolex Rex 5. They are in good condition and work great. *Note the grey & color cards and scrims in the pictures are not included. https://www.etsy.com/listing/287265553/bolex-film-magazines-sale-16mm-film Sound Blimp for a Bolex Rex 4 - $200 + $40 shipping You can own a custom made sound blimp for your Bolex Rex 4 today! It reduces the noise made by the Rex 4 to near zero. There is a non-crystal sync motor inside that works. Only a Bolex Rex 4 will fit inside this housing. A replacement rubber collar is needed for the power cable to seal it in the opening. Front glass is cracked (not shown in the photos) and will need to be replaced. https://www.etsy.com/listing/273635904/bolex-sound-blimp-sale-custom-16mm-film Shipping costs listed are for buyers in the lower 48 states. I know many of you may be in other countries and as long as we can work out shipping costs, I will ship to most counties if using Etsy to pay. You must cover the full cost of shipping. If in doubt, please ask. Thanks. Shipping for heavy items will be done via Amtrak: Amtrak is a great, safe way to ship heavy items. You can pay by credit card or Paypal through Etsy. If you don't want to pay through Etsy, and you want the item(s) shipped to one of the lower 48 states, I can accept payments via Stripe as well. Billing and shipping addresses must be the same. Please feel free to ask me if you have any questions about any of these items and I will answer as best I can. -
Hey Guys, I've recently become the proud owner of an Aaton XTR Prod, however the camera unfortunately has a few items missing, which i'd like to acquire. With that said, i'm on the lookout for original Aaton accessories including: - Walnut handgrip & cable - 2x screw in 15mm rods (short) - Heated eyepiece cable As the purchase of the camera used up a fair amount of my budget, i'm looking for reasonable prices, however I completely understand that these are getting harder to come by, so happy to play fair. I also have a few accessories that I don't think i'll be needing - such as the Origin timecode device, that i'd be happy to swap if people are searching for one (tend to slate anyway). I'm based in the U.K, if that helps too. Thanks! Nick Lee-Shield www.nicholasleeshield.com
-
Hi, I'm planning on applying to a film school this summer, for a directing course. My main focus has always been directing, with cinematography being both a fascinating hobby and something I've had to do for the ultra low budget films I've made. Now, the requirements are that you submit at least two films, of which at least one "made on film (16mm, super 16mm or 35mm)". I've got plenty of digital films to submit, but nothing on film. So I have to make a new one. I've never shot anything on film and, as much as I'd like to have this experience, it would be very expensive. Even with clearance stock, if you factor in renting the camera, developing, scanning, then making the final prints, it would run into the thousands. So I've thought that, since I would be scanning the film anyway and edit it in an nle, I could forgo shooting on film and shoot digitally instead, making a final print on film. The Blackmagic Pocket Cinema Camera has the right sensor size, dynamic range and resolution, so the way I figured, it would look very close to film. And the grain would be in the final print anyway. Might be a weird or crazy plan, but that's why I'm running it people who've worked on film before. Any suggestions welcome! Thanks, Paul. P.S. Regarding the ethics of it, I'm applying to a Directing course. Directing is the same, no matter the medium. If it was a Cinematography course it would've been a different story, but as it is, I seems like a pretty random requirement.
-
Hello all, I'm not familiar with this forum's etiquette, so please feel free to correct me if starting a new thread is unnecessary. I thought I would start a dedicated thread for this topic, as I previously commented on another member's post and not all of my thoughts/questions were germane to her/his native post. So, please forgive any repeated thoughts! I have a few questions regarding shooting on 7222. Throughout my searches, I've been observing mixed responses in regards to how problematic the lack of rem-jet backing on the film is for shooting on the SR3. Some say that the reflective back plate in the film gate can cause extreme halation effects, whereas others have had no problems. I ask, as I will be filming a short, approximately six minutes in length, on an Arri SR3 in the early summer. The majority of the shots will be exteriors, ideally on a somewhat diffused overcast day. The camera will be making a few large dynamic movements, so I was thinking of using a fairly wide angle lens (9.5mm Zeiss Prime Super Speed). Though, I am concerned with focus pulling while the camera makes a few of these longer movements. My thoughts on this problem are that pull focus issues can be minimized by maintaing a deep focus with the wider lens. Though, I'm curious as to how well 7222 performs when stopped down. I've read that, for Super Speeds, the sharpest image is obtained when shooting close to wide open - which would run counter to my desire to retain a deep focus. It is entirely possible that, given the speed of 7222, deep focus and image sharpness have an inverse relationship. Yet, with most shots being exteriors, it's entirely possible stopping down would not affect image sharpness if I were to refrain from using any nd/polar filters. Thoughts? I have experience working with colour negative stocks, but this will be my first attempt at shooting on black and white negative stock. Suggestions for complimentary filters are also welcome! Finally, from the many online examples I've seen, there seems to be a large variance in the sharpness, contrast, and grain of 7222. I would expect this, as there is a large variance in the intention and skill of film makers, but it is making it difficult to assess the limitations of the stock. I may do some tests on a 100' roll, but I thought I would see if anyone had thoughts on how to retain a sharp, low grain, image on the stock. I will likely be purchasing about 500' of film for approximately six minutes. That amount of film does not afford a great deal of latitude as it is about a 2:1 shot ratio. I know that in order to achieve a gamma slope coefficient of 0.65, Kodak recommends exposing at an ISO of 250 for exteriors. In practice, has this proven true? I will have a light meter on hand, but would like to minimize potential problems beforehand. I'm also open to suggestions regarding push/pull processing as a solution. Finally, here are a few examples of films that achieve a similar effect. Although all of these cinematographers were shooting on 35mm, I would like to approximate the richness of detail as close as possible. Thanks for taking the time to indulge me and I look forward to reading your recommendations. František Vláčil, Bedrich "Beda" Batka - Marketa Lazarová This first still is interesting, as it seems to be predominately backlit - yet, the features of Marketa are defined, while the horse is but a silhouette with no front lighting. Mikhail Kalatozov, Sergey Urusevsky - Soy Cuba Andrzej Wajda, Jerzy Wojcik - Popiół i diament
-
Hello, I am wondering if anyone can tell me what mount this could possibly be. I purchased this Angenieux 9.5-57 thinking this was a PL mount, but it's far too small for the opening. Ultimately I would like to use it on my PL mount camera, but if it's not capable I would try to sell it, but knowing the mount type would go a long way for both plans. any help would be appreciated!
-
Selling 4 cans of new, unopened 16mm Kodak Vision3 250D film. Bought from Kodak three weeks ago, stored in temperature-controlled condition. $150 (+ shipping) per can Pickup possible in Los Angeles 90012
-
Looking to find parts for my Arri SR1. right hand grip base plate mounting adapter for the hot shoe (not sure the correct name, but to connect rails) mag covers
-
I've been shooting on a K3 for the past year or so, and decided to pick up a Scoopic (Gray model). The camera definitely needs a CLA, but overall seems in decent condition. The main problem is power, which I understand is common with scoopics. It came with a battery and charger. The battery is charging now, though I'm assuming it will need to be recelled. I was curious as to what other options there are in terms of powering the camera. Specifically, I was wondering how simple it would be to make an external power source to connect to the four pin connector on the camera. I'm no electrical engineer, so I assume it would be more complicated than finding a 12V battery and soldering it to the proper cable. I've also seen some tutorials on making internal battery packs using 10 1.2V AA batteries, though they all seemed a little insecure to me. What goes into making an external power source for the camera, and what should I look for?
-
Looking to have a bolex looked at/repaired. Anyone out there still servicing? Thanks! - Hunter
-
Hi everyone, first post, long time lurker. I recently bought an Aaton LTR-7 and have just ran my first test film, the result is as follows: https://vimeo.com/210062910 (Excuse my great readings...) We shot with a standard 16mm Angénieux 12-120mm but recorded to super16 as we knew the long end of the lens would cover the s16 frame and wanted to see the extent of the vignettes. What we were not expecting were the red light leaks that crop up on both sides but more so the right side of the frame... I wonder if there any tell tell signs to this type of light leak? I did the S16 conversion myself via instructions from http://cinematography.net/edited-pages/Aaton16mmRegtoSuper.htm - I have a sneaking suspicion the leak could be from where the viewfinder seats on to the top of the camera, I had to move the 'wedge' over and reseat the VF to complete the s16 conversion.. I would love to know your thoughts, - Francis
-
Rare chance to own a complete Arri SR3 Advanced camera package just serviced and regularly maintained by Clairmont Camera. Includes premium IVS video assist. Package Includes: Arriflex SR3 Advanced S16mm PL Mount Camera Body S/N: 4070 1.78/1.33 Combo Ground Glass Arri 30mm Eyepiece Arri Heated Eyecup Arri FE-4 Extension Eyepiece S/N: 1007 Arri Eyepiece Leveling Rod S/N: 1072 Arri IVS S/N: 5079 Arri BP-7 S/N: 5929 Arri 12" Dovetail S/N: 5079 Arri DC/DC2 Box S/N: 1434 Arri Right Side Grip w/ Start/Stop S/N: 340 Arri "Piggyback" On-board Battery Adapter S/N: 9615 Arri 15mm Clip-on Mini Rods Mag Port Cover Lens Port Cover 2qty. 24v Y Cable (Camera Power) 12" 24v 3pin to 3pin Cable (Eyepiece Heater) Backup Fuse For Camera 3qty. Arri 400' SR3 Magazine S/N: 3130, 1564, 2102 3qty. 400' SR3 Magazine Throat Cover Custom flight Case For Camera Body Flight Case For 2qty. 400' Magazines Full SR3 Package - $4,695 Also Available: On-Board SR3 Batteries (New re-cell at time of purchase) $295/ech - 3x Available 24v SR3 Battery Charger (Built Into Case) $250 Located in Hollywood, CA. Happy to demo the camera in person. Willing to ship at purchasers expense.
-
Hello all, I've run across an odd reel of 16mm and am trying to identify the type of sound track. It looks like the reel has 6 tracks of optical sound squished into the optical track, but that's absurd and ridiculous. Has anyone encountered this before or have a better idea what I'm looking at? Assuming this is what it looks like, anyone know what sort of setup would have been used to create or or play it back originally?
-
I bought this ARRI SR3 Super16 camera at the end of 2015 in the Visual Products eBay Store, it is an excellent acquisition, the camera is fully functional and ready to shoot. I use it in 2 shorts and everything is great, I love this camera and I do not want to sell it but I need the money for other projects. Arriflex SR3A Camera Package Package Includes: Arriflex SR3A (Advanced) Camera Body (with port cover) PL Lens Mount (centered for Super 16) 1:78 HDTV Groundglass (3) 400' Magazines IVS Flicker-Free Video Tap Arri RCU-1 with Cable SRIII Eyepiece Arri FE-4 Eyepiece Extension Arri EL-2 Eyepiece Leveling Rod Arri BP-7 Studio Sliding 15mm Baseplate with (2) rods Arri Sliding Dovetail Arri DC/DC-2 24/12 volt Splitter w/ Right Side Camera Run Switch Arri Right Handgrip with Camera Run Swtich (2) Freshly RECELLED Arri Onboard Battery Onboard Battery Adapter (1) Arri Dual 24-Volt Battery Charger (1) Fitted Pelican Camera Case with wheels and slide-out handle (1) Fitted Magazine Case ARRIFLEX 16SR3 FEATURES: The ARRIFLEX 16SR3 Camera System is designed to meet all modern film production requirements. The Integrated Video System (IVS) offers maximum video quality. With its off-set PL lens mount it is easy to change the recording format from Regular 16 to Super 16. Format Normal 16 / Super 16: The format change from normal 16 to super 16 is fast and simple. With the off-set design of the PL-mount, the center of the image is precisely adapted to the format required. This guarantees optimum lens performance for Super 16. To convert the universal film gate only a small change is necessary. There is no need for a new film gate, which also leaves the original adjustments untouched. Fiber optic screens with all common markings and format combinations can be interchanged. Control Panel with LCD-Display: A large LCD-display on the left camera side clearly shows information of all adjusted settings. Below the display, a control panel is integrated offering simple and precise access to the most essential camera functions. Arri SR 16mm cameras are world-renown for their rugged reliability and time-tested performance. Arriflex SR cameras set the standard for a small, lightweight, flexible 16mm camera. From the introduction of the first SR camera in 1975 to the current day, no other 16mm camera has been used to shoot more documentaries, commercials, feature films and television programming than the Arriflex SR line of cameras. ARRIFLEX SR3A Details : The ARRIFLEX 16 SR3 Advanced incorporates all the elements of the ARRIFLEX SR3 with the enhanced features of a brighter viewfinder with ARRIGLOW, a modified gate design that makes the format change from Standard 16 to Super 16 fast and simple, a control panel with LCD display and Time Code. CAMERA SPECS: Frames per second capability: 5 to 75 fps (crystal accurate to 0.001fps) Shutter: 180°, 172,8°, 144°, 135°, 90°, 45° Film format: Super 16 mm, conforming to DIN 15602 and ISO-5768-1998 Lens mount: 54 mm stainless steel PL mount Sound: 20 dB(A) + 2 dB(A); Viewfinder magnification: 10 x (10/17 times with viewfinder extension) Dimensions: L 264 mm B 172 mm H 195 mm (viewfinder in horizontal position) L 264 mm B 100 mm H 298 mm (viewfinder in vertical position) Weight: app. 7 kg (15.4 lbs) with loaded 400 ft magazine and on-board battery 24 V Power Requirement: 24 V Temperature range: -20°C to +50°C (+4°F to +122°F) Product Description:This is a very complete Arri SR3 package with many accessories not found in many SR3 kits. It is a turn-key system that will arrive READY TO WORK!! A lessor, "bargain" camera that fails on a shoot (when time truly is money) can be the hardest way to learn the old adage: "Sometimes cheap is expensive." Actual camera and accessories shown. Any item not pictured will not be included.
-
Hi, I've got for sale my trusted Super16 camera kit. I've bought it in fall of 2010 from Mr. David Odd. as his personal camera. He had it converted to Super16 by P+S Technik in 2008 and had installed color video tap by Visual Products, inc. Since 2010 I've shot with this camera about 10x 400 ft of film. Here is footage What's in kit: Arri SR1 Super16 camera, 180 degree fixed shutter - HDTV 1:1,78 gate (brighter, from SR3) - Visual Products color video tap PAL - PL mount - wideangle PS Technik eyepiece (made by Voigtlander) 3x super16 magazine 1x spare magazine (not converted to super16) 1x SR3 magazine (with TC) LWS 15mm support rods (2x) Arri BP-7 base plate (for 15mm studio) CE - Precision Speed Control 2 (for other frame rates than 24 fps) Arri VSU - variable speed unit (not as exact as CE) 2x 12V old batteries (as spare, needs recelling) 12V NiCd charger 12V discharger handle, incl. remote switch --------- I live in Bratislava, Slovak Republic. Shipping only in EU. Price is 1700 € + 150 € for shipping --------- PHOTOS
-
For sale TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s and 16-M Cameras Bought from Du-All Cameras 3 years ago. Used a couple of times and tested recently. Works flawlessly. Item is in great Condition, with only minimum scratches here and there, barely seen. Serial number 9440 Paid US$ 995.00 (see price label on picture). It's on eBay at US$ 800, but open to Make Offer: http://www.ebay.co.uk/itm/TOBIN-TXM-22A-CRYSTAL-MOTOR-FOR-ARRI16S-and-ARRI-16-M-CAMERAS-/172541639598? Feel free to contact me with any questions.
.thumb.jpg.9cec609792a303cb7dc83348473331d1.jpg)
