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Showing results for tags '16mm'.
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I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!
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I am looking to buy a Canon Scoopic in good working order. MS or M preferred, but grey model considered. Would also consider other 16mm cameras - looking for easy to use, suitable for hand held work and ready to go. Electric preferred, but would consider wind up cameras (K3 etc) if price was right. I am in the UK so would prefer a UK seller, but would consider buying from abroad, subject to assurances that seller & camera are OK. Cash waiting. Thanks Glen
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Hello all! I've been searching the internet for 16mm courses or workshops in Europe for this autumn or next spring. I found these interesting workshops on experimental 16mm work in Australia: http://www.artistfilmworkshop.org/workshops/ Does anybody here know of something similar in Europe? Thanks in advance, Oona
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Cameras éclair
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Hey guys, So I've recently purchased an old SR2 modded to shoot super 16. It's a solid package but the only thing missing is a video tap. I've contacted a guy that used to build Jurgens taps and he has the parts but it can get pretty costly. My other idea is to purchase another camera I have found (An SR1 with a tap) and install it in my SR2. The price would be far better taking this route. The bodies are almost identical as far as i know on the viewfinder/eyepiece side of things. My only concern is that the tap on the SR1 won't cover super 16. I know the old Jurgens taps would cover both but I am not sure about this one. The wonderful gentleman who is selling the SR1 has been kind enough to send me a video detailing the camera. Here's my dilemma: The tap isn't labeled and my google research to identify it (and get specs on whether it will cover S16) have come up short. Does anyone know what this tap is, its history, and if it covers S16 or not? (images attached: apologies for the quality. They were taken from a youtube link) Thanks everyone!
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18k = IMAX 15-perf (or 36K?) 12-13k = 70MM 5-perf 6K = 35MM 4-perf 3K = 35MM 2-perf 1.8K = S16MM 1.5K = 16MM 720p = S8MM 480 = 8MM I had to share this with someone. I found so many people including myself looking for these numbers I had to compile this list. I cannot find anything close to this on the internet all in one place. Digitally, IMAX is referred to as being three times better/larger than 35mm (18k / 6K). On Film, IMAX is three times larger then 70mm and 70mm is twice as large as 35mm therefore it should be six times as large. This is of course the best possible scenario of each format. These are all comparables, they cannot be absolutely perfect. I'm comparing category to category. So much in the real world changes these numbers, for example cropping 16mm to a release format reduces the frame size and corresponding resolution or finding a camera and lens that can shoot S8mm or 8mm and come close to 720 or 480 quality.
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I'm curious if film schools give away old cameras. I'm interested in using a 16mm camera, but the cameras are expensive and even the cheapest (good) ones listed on eBay are usually 2-3 times the price of a Super 8 camera. I can certainly afford it, but the price might be a bit too much to start off. This is why I am interested if film schools are willing to give away (or sell for a lower price) their old cameras. Especially since most schools are focusing on digital and only limit film cameras to a few courses, perhaps it's possible. Similarly, are there any other places, like news stations, that will give away their cameras?
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Hi everyone, i recently have been working with an Aaton XTR Prod camera, and the footage has light leak stripes. I wonder if someone had the same issue with this camera? Stripes have frequency, moving from bottom to the top of frame, which makes me think there is light hitting the film after the gate. My first thought was not properly attached magazine. Any other ideas?
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Hello, finally got round to processing some 35mm still tri-x at home using R09 one shot and leaving if for an hour with a little agitation at the beginning and middle. Then stop and rinse. I liked the results but I fear this might be too much for smaller formats. I've got a dusty lomo tank and I was thinking it may be better with Acufine, do I need to use any other chemicals? I want to get as fine results as I can before sending them off for a telecine, also if anybody as any tips on how to store them afterwards so them don't get damaged that would be great. A long time film lover, but I'm very new to processing at home.. Thanks for any help. David
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I apologize if I'm posting in the wrong section but I've just received a mint Bolex p3 and I was hoping for some tips/information on using the camera. I see that it takes 25 ft reels of 16mm film and it's my understanding than it exposes one side (8mm) then it is flipped and the other side is exposed? Does this mean special processing instructions? Any sort of workflow insight would be appreciated. Thanks! - Hunter
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Looking to buy some canon scoopic 16m batteries. Mine are done for and I'm hoping to buy some as I'm not sure I'm capable of re celling. Thanks! - Hunter O'Shea
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Updated and reduced price from earlier this year. I currently have a small inventory of factory sealed cans of Kodak 16mm negative in storage in France. I had planned to shoot it myself, but the need is no longer there, so I'm willing to sell it at a discount. If you're interested, and located anywhere in Europe, it would be easy for me to ship it. I have in proper storage: 9 brand new sealed 400' cans of 7203 50D 1 brand new sealed 400' can of 7207 250D 200ft shortend of 7219 500T 100ft shortend of 7203 50D 240ft shortend of 7203 50D The new cans are 70 euros each and assuming someone wants to buy alll 10 cans I'll throw in all of the shortends for free. You have my guarantee they are just as shootable though. The shortends where made at the end of shooting days when film was still remaining in the camera mag but it needed to be loaded with a different stock for the following day. The rolls were cut with scissors in a changing bag and put back in their cans, still on a core. To reiterate: - 70€ / can (preferably would like all 10 purchased) + shipping Message me if interested.
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Hi all, Just a question: WeIl I still have three unopened 100ft rolls of 16mm Kodak Ektachrome 100D in my freezer. Love that film stock! Got it still at reasonable prices a few months back. One is © 2001 and two are © 2009. No exp. date. I'm planning on using one roll (the 2009 stock) for shooting our band during sound check on stage, run and gun style (outside, sunlight - very likely the weather will be clear skies). The film stock seems to have been stored properly. Still: my Q: should I compensate for film speed (sensitivity) loss? If it was neg, I'd simply rate the 2009 stock about 70-80ASA and the 2001 stock about 50 or even lower. Kind of afraid to blow my highlights, since it is reversal, but underexposed it would look very grainy (at the moment I only can afford a 2K scan with the Muller HD at Gauge Film, UK. They always do a really great job, maintaining the grain structure and look, but compensating in post for wrong exposure only goes so far). The footage will be Super 16mm and meant to be used for 1080p uploads (YouTube, Vimeo). Any tips highly appreciated! Thanks! Cheers, Christian -
Hi guys. Selling my lovely TOBIN TCS TXM-22 Crystal Sync Motor for Arri 16-S and 16-M. Bought from Du-All Cameras 2 years ago. Only tested, but never used. It´s as new. I will come up with a price and post pictures very soon. Just checking who might be interested. Please get in touch. Cheers. Flavio -
Hello, for my extra low budget short project I'm searching one of these cameras. Our budget is very very low, we are from Lithuania, so please, if you have any working, but not perfect cameras - write to me. Thank you very much nojusdra@gmail.com -
Hey everyone, I am currently selling an Arriflex SR Regular 16mm camera package. Here are the contents: Camera: Arriflex 16SR Regular 16mm Camera in Arri B/S mount Three magazines Batteries XLR cables Other power cables and battery chargers Magazine covers Eyepiece cup Handgrip Monitor: Sony B&W monitor Accessories Mounting equipment Cables Film: Some 16mm scratch film Crystal Control Speed: Crystal Control Speed that allows any framerate up to 75p. Cables for that and other accessories PM me with your best offer or if you want to see pictures! Or email me at tonymdupre@gmail.com Thanks!
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Hello all, Planning on doing some time lapse of clouds in the sky, summer afternoon sun, deep blue sky, well formed clouds, moderate telephoto, on Super 16mm color reversal (E 100D, dated 2009) How to measure the light with my Sekonic L-398-A? Measuring incoming light or pointing at the sky to be exposed (white dome) usually leads to underexposure. This light meter lacks spot metering. Any advice or even "rule of thumb" highly appreciated. Cheers, Christian
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Hello everyone, i wonder if there is someone who knows of rentals or camera owners in Scotland who have 16mm equipment. Arri SR, 416 or Aaton would do it. I'm going to Edinburgh in July for a film shoot but the budget is tight and bringing everything from London is also an issue. Any suggestions or comments would be highly appreciated. Thanks, Arseni
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Dear Cinematographers I just shot a roll of Fuji 1600 Natura film and was exceedingly pleased with the texture and color-contrast. The muted colors were prominently mute and the bright colors prominently bright; and on account of this and the high granularity the photographs almost resembled watercolor pictures. And so my question is - is there any way to replicate this effect on modern motion-picture stock, especially 16mm stock? Sincerely Grateful, Kurt Cassidy-Gabhart
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For rent are 2 ARRICAM's A package deal to rent a Lite and Studio in outstanding condition for $100 per day. Also ask about 3k Scanning to DPX at $200 per hour! Feel free to contact for more details. ARRICAM LT 3 Perforation: Arri Metal Flight Cases ARRICAM Lite 35mm Camera Body PL Mount Filter Mask 18,7 x 24,9 Camera Aperture Cover Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 RS Block 24v RS Block 12v LT Camera Handle LT Center Handle Magazine Port Cover LT to ST Magazine Adapter LT Viewfinder Top Finder Block Short Eyepiece + Rubber Eyecup Extension Eyepiece LT Frame Glow Frame Glow Mask Format 1.85 LT S35 LT IVS Color Video Tap Case Containing (3): 400' LT Shoulder Magazine 400' LT Shoulder Magazine 400' LT Shoulder Magazine ARRICAM ST 3 Perforation: Arri Metal Flight Cases ARRICAM Studio (3 PERF) 35mm Camera Body PL Mount RS Block 24v RS Block 12v Filter Mask 18,7 x 24,9 Gate 1.33 full aperture ANSI Ground Glass Format 1.85.1 ST Top/Rear Load Adapter ST Top/Rear Load Adapter Cover Handle ST 3 Part Camera Handle (Long) Magazine Port Cover ST Viewfinder Top (SPHERICAL/ANAMORPHIC) Finder Block Short Eyepiece + Eyecup Extension Eyepiece Long (ST SPHERICAL/ANAMORPHIC) Frame Glow Frame Glow Mask Format 1.85 ST + LT S35 Footage Counter (2) Flexilight ST Rear Load Adapter ST IVS Color Video Tap Case Containing (3): 400' Studio Magazine 400' Studio Magazine 400' Studio Magazine Case Containing (2): 1000' Studio Magazine 1000' Studio Magazine -
Dear Friends, i am Michel From india and i would like to SHOT with mini DV and then covert into TELECINE into 16mm / 35mm kodak stock.
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Thousands of feet of 35mm film for trade. 16 rolls. Most of it is 400' rolls and a couple 1000' rolls. The film was handled and stored correctly by a studio and always refrigerated before I acquired it a week ago. 5 Canisters 400' Stock 5279 500T 3 Canisters 400' Stock 5218 500T 2 Canisters 400' Stock 5248 100T 3 Canisters 400' Stock 5246 250D 2 Canisters 400' Stock 5277 100D 1 Canister of 400' High Speed Color Reversal Daylight 7 rolls unopened 4 rolls are re-canned 5 rolls opened for clip test I'm looking to trade it all for a 16mm camera.
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Yes, another 16mm question :) I have two 16mm color double-perf Kodachrome prints (less than 400' each) that I've been storing at the Academy archives in Hollywood. These prints from 1965 & 1968 document two world premieres here in Los Angeles and the color & condition of the both rolls are stunning. I don't think they've ever been projected. When we found them, we originally screened them on a flatbed Moviola and thought we had color reversal film. Closer inspection of the film over the light table revealed it was, in fact, Kodachrome. My question is: what is the best way to both archive this & digitize it for use in Final Cut Pro? There is lot of discussion on the forum regarding 2K vs 4K 16mm scans, but I'm presuming this refers to NEGATIVE, not print. Any tips, pointers or advice? Many thanks :)
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I develop new and expired reversal 8mm and 16mm films, black and white - ORWO (ORWO UP15, UP21, UP32), ADOX, FOMA, KODAK etc. Go to: http://www.8mm-16mm-film-developing.com/index.html I develop for Customers from all the world. I develop films exposed even 40 years ago. I happened to develop film exposed in 1965 with success! It is possible to obtain good image from such films. I specialize in the developing of such films - have decades of experience. I treat each film individually, depending on age and type of a film. I make the chemistry baths on my own, adapting to the age of the film. Of course I develop new films in the normal process also. -
Up for sale: Large Harrison Film Changing Bag - $90 - very good condition, there are a couple tiny spots where you may notice the reflective coating has come off (<1mm). Large Harrison Standby Camera Cover - $75 - great condition, only used literally a couple days. Perfect for 3D rigs or a Panaflex w/1000' mag $150 if you buy both I have 100% feedback on the DVXuser.com marketplace and have been a member there for 10 years. More AC gear coming soon (lemo cables, panavision brackets, magliner brackets, etc - ask for details to save $$$ shipping multiple items at once) Large Harrison Film Changing Bag: Large Harrison Standby Camera Cover:
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