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Showing results for tags '16mm'.
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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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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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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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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 -
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 -
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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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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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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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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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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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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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: -
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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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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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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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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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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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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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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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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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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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.
