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Showing results for tags '16mm'.
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Hello all! So i recently started working with a local artist for film photography. We got to talking and we want to film a short film using 8mm format. Camera wise i was thinking a Bolex D8L. I know you have to use double 8mm with this camera, and to be honest its one of the reasons that drew me to it. I plan on developing, splicing and editing the whole thing my self, i just had a few questions. 1. whats the chemistry should i be using? (same chemistry i use for developing my 120 film?) 2. whats the best way to split the film? 3. what projector should i be looking for to debut the film. 4.also if anyone could point me in the right direction to which film i should be buying that would be rad! We plan on premiering it at a gallery were putting together. Thank you!
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I'm just getting back into 8mm & 16mm filming. I stopped doing this back in the 70's. I'm wondering, are projection lamps still available for all projector brands....even the old hand crank versions? If so, where? Thanks
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Does anyone know if using anamorphic lenses on S16mm was common before the release of the Hawk V-Lite16 lenses? I'm looking to shoot a project on these lenses soon and am hoping to use an Aaton XTR, just wondering if it will be easy to find an anamorphic viewfinder attachment for the camera. Or if it would be better to go with a SR camera. A 416 seems to be out of the question for now due to budget reasons. I believe this camera shares the viewfinder design with the SR cameras anyway. (the 416 I used just had SR ground glass in it.) Alternatively what other (if any) Anamorphic 16mm lenses are available in Los Angeles. - M
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I recently purchased a 1930's VITASCOPE 16mm Hand Crank Movie Camera. It's in the mail so I don't have it in hand at this time. I like to produce "artistic" and primitive B&W silent films. I'm just starting to use vintage crank cameras. Questions: Dose anyone here have experience with the VITASCOPE 16mm Hand Crank Movie Camera? What film do you use? Any tips on using it? Any information on the VITASCOPE would be greatly appreciated. Thanks
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I'm shooting a project on Vision 3 250D & 500T 16mm soon, we will be scanning to 2K. I've only shot 16 mil once before and am hoping to get something that will look sharper than we got last time. This is what we ended up with last time. http://www.marzmiller.com/ghost (this was also a 1080 telecine, not a 2K scan, processed normally and telecined at Fotokem) Right now I'm thinking of shooting up a stop and a half and pulling one stop, as well as some de-graining in post. Any other ideas on how to get the look I'm going for? I guess the look could best be described as I want it to look like very clean 35mm. We just don't have the dough for 35 this time. - M
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What would be a good place to buy short ends in large quantities, at a good price, perhaps locally. Also I've some digital restoration on new super8 footage, it included sharpening, But It didn't have the artificial look I'm used to seeing with that kinda stuff. I'd like to do it with 16mm. Here it is done with avisynth. Thanks
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My Scoopic batteries have lost their will to live and no longer hold a charge. My local Batteries Plus wouldn't even take a look at them and I have a shoot coming up in a month so I'm hoping to find one or two good working batteries for a Canon Scoopic 16m. Thanks! - Hunter
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Dear Cinematographers, I was wondering if anyone could direct me to a website, or provide me with information of, film screenings in or near Indiana. I have developed an irreversible affinity for film projection, and delight at nothing more than seeing a picture the traditional, and therefore the proper, way, despite this inclination having developed at such a terrible time for the format. (And please - let's not turn this into an imagining debate, as so often happens.) I would thus be extremely appreciative of anyone providing me with information on local screenings. With Warmest Regards, Kurt Cassidy-Gabhart I measured my future with a Surveyor's Staff, And passed through it, as if through the mountains.
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Simple Questions, to begin with, Do you shoot in FILM or VIDEO? IF FILM or VIDEO, why? Do you believe that FILM costs more to use that VIDEO? Do you seek out Motion Pictures, (i.e., The Hateful Eight) shot on film? And if so, Do you seek out film-recorded Motion Pictures, such at The Hateful Eight, to see the PROJECTED on film? I am beginning a new production company and would like industry feedback. I will also post, throughout this discussion, facts such as... According to MPAA, in 2014, there were 14,526 ANALOG or Film projected screens in the World, 62,784 Digital NON 3D screens and 64.905 Digital 3D screens in the World. In the US alone, it 1,747 Analog, 25.372 Digital NON 3D and 16,146 Digital 3D screens. (http://www.mpaa.org/wp-content/uploads/2015/03/MPAA-Theatrical-Market-Statistics-2014.pdf) I am of the opinion, contrary that it may be that film is NOT dead, certainly not as a medium for Recording Motion Pictures. But I must agree that its most likely no longer a widely used medium for Projecting Motion Pictures. FYI, I shoot on 35MM and 120 FILM photography, as well as AD on 16MM & 35MM, and I would like to continue to use Film as my recording Medium. I don't believe its dead, just as OIL paints didn't 'die' when ACRYLIC paints arrived. Different mediums for different artists. I look forward to hearing for you. jGb
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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 83 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: - 83€ / can (preferably would like all 10 purchased) + shipping Message me if interested.
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Interested to add an Angenieux 50mm 1.5 S5 or Kodak Ekton 50mm 1.5 lens to my equipment. Would anyone have a nice copy offering for sales or know where I can get one? Thanks and Best regards, Teddy -
I would like to officially introduce the amazing optical-mechanical work of Marco Kroger of the former East Germany. He is not a member of this forum and may be contacted on Facebook. Marco studied at the Technische Universität Chemnitz and he is actively adapting, modifying, converting, retro-fitting optical-mechanical R8/S8/16mm/35mm lenses/cameras. He has also created SLR/stereo ultra-widescreen 35mm photography systems. He also has built controllers, strobe/flash systems, photo-cell triggers, etc. He also utilizes the term Panascope to describe his ultrawide modifications to Regular 8, Double Super 8 and Standard 16mm transports. He alternates between the two terms but the aspect ratio is identical to UP8 based Regular 8, i.e. 3.7 x 10.3mm. He was originally inspired by my numerous UltraPan8 films online. Here is the current list of his Panascope/UltraPan8 projects, i.e. 1. Zenit Quarz Double Super 8 camera converted to Regular 8 based Panascope/UltraPan8 C-Mount w/ Newton parallax viewfinder matched to 10mm Zeiss Jena Tevidon C-MOunt lenses (APO). He rejected a Double Super 8 based transport on account of the more common availability of Regular 8 film stock, i.e. 2. Panascope/UltraPan "8 Regular 8 based projector, i.e 3. Panascope/UltaPan"8" scanner, i.e. https://www.youtube.com/watch?v=4XHSn_H ... e=youtu.be 4. Panascope/UltraPan "8" directors viewfinder w/ C-mount. It appears to have a dioptre. To be confirmed. He recently suggested that it may used as twin-reflex C-Mount parallax viewfinder on his conversions. 5. Presently converting a Meopta Admira A (Czech Republic) 16mm electric to Panascope/UltraPan 8, i.e. His choice of cameras is based on weight (light), low cost and their general availability in Germany (common). All built over the last two years in addition to his multiple format camera projects. The year 2016 is shaping up with many options for film enthusiasts. Nicholas Kovats Toronto
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Hello, I'm currently working on a film experiment where I would like to process my film to have a midnight-blue & white look. I'm under the impression that I can process my negative normally and then experiment with processing the work-print. I have found some information online about Cyanotype processing (for still photography) but I am hoping to find some help on here -- recommendations to books on processing, uploaded examples of your own work, etc) To be clear, I am hoping to achieve a look that has white-whites, but where the deepest black goes to a midnight blue (and still retains some type of dynamic range) Cyanotype processes tend to look more like a bright or royal blue in their darkest tones. I haven't decided what B&W stock I will use yet, but have a short-end of 7222 that I will test on. -
Hello, I'm a new cinematography student and I'll be shooting part of my next project on 16mm film. This will be the first time I'm using film on an arriflex SRII, I was wondering if anyone could offer some advice or tips for shooting on 16mm like good practices, metering, bracket testing, etc. I'm very new to this experience so any kind of tips or advice would be greatly appreciated it. Mahalo, Robert -
I recently picked up a Bolex Unimotor with the Transformer box, but I'm a little unclear on how the box works. There are three pegs and multiple holes and I don't know what the results of the different combinations in the holes are. Does anyone know more about it or have a manual for it? I'm also missing the terminal plate that's used for hooking the motor up to 6v batteries in the case if anyone has an idea of where to get one or how to maybe come up with an alternative (I have the case, just not the terminal plate)
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For Sale: http://www.ebay.com/itm/-/111868638592? Cinema Products Crystal Sync 16mm motion picture camera package CP-16R camera body 10-150mm zoom in CP-mount Fully orient-able viewfinder - rare! Regular viewfinder - prisms needs re-silvered. 3x 400' magazines with core adapters 3-pin XLR Dummy Battery Adapter Custom AC adapter TWO Anvil Flight cases This camera and lens were completely serviced by Visual Products, back focus was checked on the zoom lens, and belts were replaced. This camera runs very well. This camera is NOT Super16, it has never been modified. The camera features a built in light meter which appears to register about 1/2 stop different from my hand held meter. Camera sync light, and mirror return work great. This camera does not include the sound head as found on some models. Please contact to see actual 2K scanned 16mm footage from this camera. Flat shipping of $55, it will likely cost more to ship, but I hate charging people too much for shipping. I make every effort to package items I sell as best possible. This camera will be packaged in bubble rap, placed in its padded flight case, and then shipped. The Lens will be wrapped, placed in its separate flight case and shipped. This item is listed on Ebay, feel free to message me about this item - if it sells here, I will pull the auction. For anyone on this forum, I'll throw in the Arri S/B to CP mount adapter from Visual Products ($475 I think is the current price) which lets you use any Arri standard or bayonet mount lenses on this camera. Some of the older lenses will interface with the spinning mirror, but the later serial numbers do not. http://imgur.com/a/jnnpv Please feel free to ask questions!
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Does anyone out there know of someone in Toronto that has the ability to service a Bolex H16? I recently received an old Bolex to my great delight as a gift that I want to shoot on and I have the resources (stock, access to processing, ect.) to do it, but it seems that the camera needs a bit of care in order to get it running again. It winds, the motor runs, and film moves through it properly, the issue though is that it does not keep a constant speed and will slow down at the end of the wind or if it’s in the middle of a roll of film, move very slowly as though the motor is weak. I don’t know nearly enough about the inner workings of this piece of gear in order to consider opening it up and I think that most likely it needs to be cleaned and lubricated. I’m hoping to find someone in the city to do it because I don’t have the money to ship it off somewhere else and get it serviced. It’s also a non-reflex model so it is quite old and I don’t know the history behind it so I can only assume it’s been a very long time since it’s received proper care.
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Film scanner - current manufacturer Open topic....
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How many professional film labs are left?
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Hey guys. Brand new to the forum and i joined specifically because i'm trying to find an answer to this question. Film usually runs vertically threw a camera but a few formats have it run horizontally to achieve a much larger negative. IMAX does this with 65mm and VistaVision does it with 35mm. Is there a 16mm equivalent?
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Hi everybody, Shooting a 2 1/2 minute shot in slow motion (30 fps or slower) but it's a shot of someone lip syncing an entire song. I'd like to do it on 16 or Super 8 but I'm not sure what the most budget-conscious way of proceeding would be. There's definitely no way of achieving this without crystal sync, right? So any advice on the cheapest camera system that can do slow motion (at 30fps or slower) and keep sync? Thanks so much for the help! - Ez
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Hi! I have been looking for a new 16mm battery for my Eclair ACL2, but no luck. My old battery is in the picture attached. I have tried this type DC 12V 4800mAh Super Rechargeable Portable Lithium-ion: Amazon.co.uk: Electronics , doesn't work at all. And this one 12V DC Rechargeable Li-ion Battery Pack for CCTV Camera: Amazon.co.uk: Electronics which works only up to 25fps, the camera stops working at 50 and 75fps. It seems to be a lack of strength. Any tips to help me finding an appropriate battery? I still have a few BW cans in my fridge! Thanks for your time! Luca
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Hi, I'm looking to shoot my first 16mm short with a Bolex H-16. Going for a cinema-verite/60's avantgarde feel in terms of low light/natural light. Nearly all of the shots will be interior at night. Going for a look very similar to the scene below from 1:40 to 2:07 Curious to see if anyone can narrow down what film stock was used for this (or what similar stocks made today could work in a similar way)?? Also any idea what f.stop he was shooting at in said scene would be helpful as well! Thanks! -
Just completed post on my first feature, "The Eastsider" (www.theeastsidermovie.com), a comedy/drama set in suburban Detroit. Shot it on Kodak 7222 with the Arri SR3, an amazing camera. Nothing will ever beat the look of celluloid. Here is the trailer (contains coarse language): I'm putting this thread in the "in production" section, since I don't even have a festival premiere date yet (not sure if this thread belongs elsewhere). -
Hi Everyone, I've got two 400' rolls of 16mm Ektachrome 100d for sale. Bought from Stanleys in London. Fridge stored for 1 year and freezer stored for the last two. £220 each. Cheers.
