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Hello, Im selling five (5) sealed 16mm reels: 2 x Vision 3 250D (7207), 3 x Eastman Double-X (7222). Stored in a refrigerator. Price for all reels with postage worldwide - 150 EUR. I will send from Lithuania. Payment via Paypal. Thanks

I have a "Retro16 Pro" scanner for sale from "Moviestuff.tv" Practically NEW, I transferred 5 rolls of film, then bought the Universal one. I'm asking $2100 OBO with free shippig to Lower 48 states and 6 month warranty from Roger (manufacturer). Let me know if you're interested. Roland

Hi cinema lovers, I've been a lurker on these forms for a while now, and I'm not sure if this is the right place, but but this is my first post! I'm a 3rd year film student at Falmouth University (UK) and I'm directing a short film called Philistine. I'm here to both share with you my kickstarter and receive any valuable information/tips on shooting with film (it's my first time). We'll be shooting on a Bolex H16, using Kodak 16mm Double X Black & White Negative (7222). It's Tungsten 200 and Daylight 250. SYNOPSIS: Cinema projectionist Marcelle works for an independent, arthouse, and old-school cinema. Though, the theatre is forced to close and he’s made redundant; the digital age has no use for disciples of the past. Down on his luck, his fate is bettered after an encounter with a young woman, Anna. His optimism is short-lived, though, and he becomes the victim of a different kind... On the surface Philistine is about a cinema projectionist who loses his job, but deeper down it's a film about film, cinema history, and a respect for the past. My viewpoint is that we, the younger generations, are becoming detached from the history of cinema - which I feel is a bad thing. Although the topic is dramatic, and when written "loses his job" sounds like a cliche student drama, the narrative and stylistic approach is absurd, abstract, playful, comical and shocking. As I'm posting on a cinematography forum comprised of cinema lovers, I assume it may mean something to you when I say that both the writing and directing of Philistine have taken heavy inspiration from the work of the French New Wave. For those that aren't familiar, their stance was particularly anti-Hollywood, and so they would make their films in the most rogue fashion possible; both in terms of narrative and technical approach. This is something I too believe in. I also feel as if many student films are the same (partly down to the use of the same cameras and partly down to their pursuit of replicating formulaic narrative and stylistic hollywood standards) and so with this film, and anything I create in general, I tried to stray as far from the 'norm' as possible. I hope that people see that in the kickstarter. 16MM FILM: The choice to shoot on 16mm was there from (almost) the very beginning. Following from the birth of the concept - old-school celluloid cinema projectionist being ousted by the digital - I knew that it would be hypocritical of me not to shoot on film. It's a film about film and the impact that the easily accessible digital has on it. And so, not only does film LOOK beautiful, it serves the story. I flirted with the thought for a while until I saw a 16mm film that my tutor had made and was promoting. After research I gathered some figures to see if this dream was actually possible; and it is, though I can't do it on my own. What's more, after seeing the 'Kodak deal' go down in February of this year ("Disney, Fox, Paramount, Sony, NBC Universal and Warner Bros all pledge to continue buying filmstock from the company, even as the majority of directors and cinemas choose to go digital"), I feel now more than ever it is important that we, the younger generations, keep film alive. BUDGET: The proposed budget for the kickstarter is £2000. Film costs (stock, camera, development) comes to just over half of that at £1100. Now, film in the digital age is of course an aesthetic choice, and we could easily just use a RED digital camera, but I hope those of you reading do see the reason for and passion behind the use of film for Philistine. The camera rental company and developing lab are extremely enthusiastic about my choice to shoot on film and are really helpful in answering questions and teaching us and taking us through the process. If any of you like the sound of my film and could spare some change towards it we'd be forever grateful; we have a lot of money to make in short amount of time and so every little helps! All feedback is welcome and thanks for your time! KODAK DEAL ARTICLE: http://www.theguardian.com/film/2015/feb/05/film-studios-kodak-deal KICKSTARTER: https://www.kickstarter.com/projects/sophiehurry/philistine-16mm-short-film?ref=video FACEBOOK:https://www.facebook.com/PhilistineFilm/?fref=ts TWITTER: https://twitter.com/PhilistineFilm

Is it just the eyepiece itself? Something internal to the viewfinder? Jean-Louis? Dom?

Hello guys. Need help finding a focus ring to adapt into my Schneider 16mm lenses. The problem is the circumference of the focus ring on the lens is 165mm. Redrock Micro has the type "A" ring with the minimum of 180mm. Years ago I've bought from Shoot35 in UK a model that fits perfectly, but they dont' have it anymore. I need 3 more. I know there are the universal 'malleable' rings, but I need the ones that have a larger diameter outside, to reach the follow focus gear. I've been looking around all the web, not even on eBay I could find, new or used. Any help much appreciated. Regards, Flavio

Hi! I'm downscaling my Super 16-kit and it's time to let go of these beautiful lenses. First got them to use with an Ikonoskop A-cam dII but lately I've used them for s16 film cameras (Arri Sr2, Aaton a-minima and Arri 416). Actually also tried them on a Gh4 (with mft-pl-adapter) and from 12mm and up they cover the sensor in 4k mode. They are in really good mechanical and optical condition. Some paint wear on the housings but all focus marks and text is clearly visible. So what I've got is: Zeiss Super Speed mkII Super 16mm lenses. All T1.3. 9,5mm, 12mm, 25mm and 50mm. Will sell individual lenses or all at once. I'm hoping to get a deal done quickly so first come first served (hope that's the correct english expression for it…). Prices reasonable, please contact me if you are seriously interested and we'll discuss it. Lenses are located in Stockholm but I will ship world wide (but EU preferred). Best regards/Kalle Folke, Sweden www.kallefolke.se

Hi, I'm selling my trusted Zeiss zoom for 16mm and Super16 (as well as digital) format. Everything is in the describtion on Kitmondo. https://www.kitmondo.com/used-carl-zeiss-vario-sonnar-10-100mm---mutar-2x-tc-for-sale/ref608357

Hello, I am preparing to shoot a project where I what to use both 16mm and 35mm stocks. The plan is to shoot the CS to MS sized shots in16mm (7203) and the wider angle shots in 35mm. I am looking for advice about which 35mm stock to use that will best match the 16mm 7203 in grain, contrast and color. Any suggestions would be much appreciated. Thank you. Steven Holloway steven@shfilms.com

Hey, So i recently did a registration test on an SR3, and I got back some curious results. For the test I shot 25' @ 24fps 25' @ 48fps 25' @ 75fps then rewound and did the same thing again with the chart moved a bit. I was expecting the 24fps to be rock solid, and the 48 and 75fps to have a little play, but it was the opposite. 75 was super solid, and 48 was a hair more wobbly, and 24 was loose. is that normal? and secondly, and i know this is hard to describe over text, but how steady should i be expecting a super 16mm to be? maybe it's a totally acceptable amount of wobble at 24fps and i am just expecting it to be better than it should be.

Hi, first time posting here. Has anyone tried to shoot 2x anamorphic lenses with 16mm film (let's say kodak 7219 stock) and how did it go? From what I knew, 16mm has 1.37:1 ratio. So use with 2x anamorphic lenses it's gonna be 2.74:1 which wider than 2.40:1. So I have more room to readjust a frame in post right? What about the image quality, does it look good? I did a research online but I haven't seen any decent one yet. FYI: I'm planing to shoot on Arri SR-II, Kodak 7219 and Kowa Prominar anamorphic prime set. Thanks in advance.

Hey everyone, Recently I shot a student film with 16mm Kodak 200t 7213 stock. It recently came back from telecine and it looks much more grainy than the footage I've seen previously online of 7213 or even 7219. A Spirit Data cine was used for the transfer and I got the footage as HD pro res 4:2:2. We rated the film at 200 and underexposed -1 stop. My question is, is this the noise from the telecine or is it just 16mm grain? I attached some screenshots below. Thanks in advance Best Regards Yunus

Hi! I recently got a Arri 416 so I've decided to sell my Aaton A-minima kit (I can't have it all, haha). It's ex-rental and was inspected by Aaton themselves before I bought it at beginning of 2015. Batteries have new cells. Everything works just perfect except for the built in light meter dome that I choose to not have Aaton fix since it's more of a gimmick then a useful feature in my opinion. Would prefer a Eu-sale, but I may ship world wide depending on the circumstances. Pick up in Stockholm, Sweden would be great :) Great kit to pick up and start shooting. Contact me if you're seriously interested and we'll take it from there regarding price etc. Best regards/Kalle Folke, Sweden www.kallefolke.se List of the kit: 1x Aaton A-Minima 1x PAL b/w video assist 3x magazines with covers 1x Aaton Cha-3 charger with cables 2x A-Minima batteries (new cells) 1x top-handle 1x Aaton power base 2x rods for power base ca 2,5tum 2x rods for power base ca 5tum 1x manual 2x extra rubberbands for eyepiece 1x cover for video assist port Cables: 1x 4-pin lemo - 4-pin xlr 1x 4-pin xlr male-female 1x long start/stop-cable lemo-lemo 1x "super long" start/stop-kabel with switch 1x start/stop-kabel for top-handle Also empty spools and film cans for re-spooling of film.

Filmmaker Panel at Independent Film Week to Focus on Producing Low-Budget Features on Film NEW YORK, September 22, 2015 — A panel featuring award-winning filmmakers Ferne Pearlstein (Imelda), producer Adam Piotrowicz (Listen Up Philip), director Ari Taub (79 Parts) and cinematographer Franco G. DeMarco (Hedwig and the Angry Inch Worm) will explore the process of creating low-budget features on film here at IFP’s Annual Independent Film Week. Kodak, a Premier Sponsor of IFP Week, will host the seminar on September 23 at 11:00 a.m. in the Bruno Walter Auditorium (111 Amsterdam Avenue, at 65th Street). “Realizing Your Vision on a Budget,” which is open to conference-goers, will explore the panelists’ real-world experiences in bringing their project to the big screen on motion picture film without breaking the bank. Moderated by Scott Macaulay, editor-in-chief of Filmmaker Magazine, the panel will focus on the filmmakers’ choices and the benefits they reaped. “This is a great opportunity for filmmakers to hear first-hand about how easy and affordable it is to tell their story on motion picture film,” says Andrew Evenski, president and general manager for Entertainment & Commercial Films at Kodak. “We’re committed to helping independent filmmakers tell their unique stories and realize their vision on film.” To attend the panel, you can purchase passes to the conference at http://www.ifp.org/conferences/filmmaker-conference/purchase-pass/#.VAoL3mRdVEk. For more information on Kodak, visit http://www.kodak.com/go/motion. For more information on Independent Film Week, visit www.independentfilmweek.com. # (Panelists are subject to availability) About Kodak Kodak is a technology company focused on imaging. We provide – directly and through partnerships with other innovative companies – hardware, software, consumables and services to customers in graphic arts, commercial print, publishing, packaging, electronic displays, entertainment and commercial films, and consumer products markets. With our world-class R&D capabilities, innovative solutions portfolio and highly trusted brand, Kodak is helping customers around the globe to sustainably grow their own businesses and enjoy their lives. For additional information on Kodak, visit us at kodak.com, follow us on Twitter @Kodak, or like us on Facebook at KodakNow. About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). (Kodak is a trademark.) 2015

I have a 16mm processing machine for disposal - made by Arri for ECN-2 process, in storage in Devon. Needs to go immediately. Mostly complete and relatively easy to move due to the modular construction. It's been in storage for a few years. Anyone interested? otherwise it gets recycled. Images available on request.

Hello Everyone, I am a T.A. in a cinematography class at Arizona State and I convinced my teacher to do a workshop with a 16mm camera. Being how new our Film School is we have no film cameras, only digital, so we are renting an SRIII to show the class and possibly shoot some stuff. My professor and I wanted to show everyone what it's like to shoot on film and how careful you have to be with exposure, how to use light meters, etc., and implementing these structures for when you shoot on digital. Rather than the typical status quo of students just blindly shooting and guessing on exposure. I was reaching out to the cinematography community for help, if anyone has any short ends or exposed super 16 film we could use to help the students with (show how to load the magazines, etc.) that would be amazing. Kind of a long shot to ask on here but I thought it wouldn't hurt. Thanks, Danner Gardner

Hey everybody, I’m shooting a short on Super-16 film at the end of October in Los Angeles and I’m looking for a DP. I’m hoping to shoot on an Arri 416. (The last time I made a Super-16 short I used the Aaton A-minima, which I loved, but apparently that is now defunct.) So... I would love to talk with anybody who has extensive experience with the 416 -- loading, etc. Also, if any anybody HAS the 416, that would of course be a double bonus. Or if anybody KNOWS a DP with his own 416, please pass this along. We are low budget, but THIS IS PAID. Please contact me privately and I can tell you more about the project. Tone wise, it’s (hopefully) a mix of “Willy Wonka” and “Jackass”. You can see a link to some of my previous shorts below. Thanks so much! Bo Price Www.boprice.com Boprice@gmail.com

Hey Guys, Firstly, just wanted to say hey as this is my first post on here! Right, basically I received my Krasnogorsk K-3 yesterday from an ebay seller. Whilst the description did not note anything regarding my issue, i found as I looked through the viewfinder that there appears to be a fair few marks/hair/dust etc. Now, is this something that will affect my picture at all, or is it something thats purely on the glass of the view finder? ( I can learn to live with it if so) Failing that, how easy is it to take apart and clean said effected area, and which tools would be best for the job? Sorry i couldn't really supply any decent photos as the viewfinder is terribly dim and I can barely see through it, let alone my poor iPhone camera, but you might get the jist! Thanks in advance, Nick

Hello, I am preparing to scan 610m of 16mm color negative in 2k. The telecine operator offers uncompressed ProRes, DNG, and DPX. I will be editing /grading on a macbook pro that can't run DaVinci. I have graded raw files before (RED and Black Magic), but never a scanned negative. My question is, which format should I ask for? I want to be able to adjust the color and exposure to the same extent I was able to with RED and cinema DNG files. The operator said that these DNG's are not the same as BM DNG's please help!

I have 2 Moviola film rewinds for sale. They are in good working condition and works with 35mm, 16mm and 8mm film reels. Some surface wear but does not affect the operation of the equipment. Comes with 2 spring locks and 6 spacers. Asking $45.00 US plus shipping.

Hello, I am a filmmaker who inherited a Super 16 Arriflex SR2 with lenses. I can not afford the cost of film so I would like to sell it and the lenses and use the money to hire a cinematographer. The lenses are all in great condition. If there is any problem with them I will take them back and refund you $1,000 per lens. For sale: Zeiss 9.5mm Distagon 1:12 T1.3 Superspeed Zeiss 12mm Distagon 1:12 T1.3 Superspeed Zeiss 16mm Distagon 1:12 T1.3 Superspeed Zeiss 25mm Distagon 1:12 T1.3 Superspeed Zeiss/Optex 12-120mm T2.4 All have PL mounts and are from the MK II series. Includes case Price $5,000 includes shipping. Please email about anything you would like to know! (The Arriflex SR2 I have is also for sale. Please email for more information!) Listed on Ebay! More photos on Ebay! http://www.ebay.com/itm/Zeiss-lenses-for-arriflex-16mmSR2-Set-of-5-9-5-12-16-25-12-120mm-/161790335402?hash=item25ab7499aa

Music video looking for cinematographer (as well as anyone else in camera dept.), who has experience shooting super16 and can work locally in central/south Texas. Ideally, looking for someone who owns their own equipment. Pretty tight budget, though me, label, artist are fairly committed to shooting celluloid. It's been kind of difficult finding people who are still shooting film in this part of the country, very much looking for someone I can continue to work with in the future. PM or email (matgerbs16@hotmail.com) for more details. Thanks. Matt

I shot a short roll of Kodak 500T (16mm). Upon finishing I noticed, much to my dismay, that the ISO on my light meter was set to 50. So, the fast film's exposure index is rated at 500T and I overexposed by how many stops? Can either push or pull (pull, right?) processing save this spool? The negative is probably pretty dense too, right? I saw a latitude test where film was overexposed by 5+ stops and it looked nice. Hoping there's a way to remedy this problem.

Hi all, After starting out my "follow the 16mm dream" journey with a Arri Sr2 one and a half year ago I've now reached the wonderful position to own both a Aaton A-Minima and an Arri 416! Now nothing can stop me spending (loosing) money on personal projects that will go on forever… but every roll is a joy and a great learning experience! Today I encountered a problem with one of the magazines (or with my loading of it maybe?). The film was taken up unevenly and eventually started scratching the sides of the take-up chamber. It made a noise that was quite unusual for the normally super quiet camera. When looking (feeling) for the problem in the changing bag I noticed that the film was cone/wave-like. I tried to even out the film and loaded the mag on the camera once again. After some meters of shooting the sound came back and I unloaded the exposed film. I evened the roll again when putting it in the can. Maybe that will cause scratches on the film? It's only the fourth time I load these magazines so I may have done something wrong that didn't create enough tension. One thing I've noticed is the the lay-on roller arm isn't touching the film and core straight away. There's a small screw that keeps it from coming all the way down. After some more film has rolled up on the core it does engage (or how to explain it). This screw functions like this on all my three mags, and from what I can tell from videos and pictures online this is the way it should be, so not sure if that could cause the problem. The film I used is a expired Fuji Eterna 400T that has been in the fridge at my local lab before I got it. It did feel a bit loose when I loaded the feed side also, can this have anything to do with it's age? I'll keep testing to find out more, but I only brought this mag with me now, so can't compare and test the other mags yet. Anyone who can think of a logical explanation and a solution? Thanks!

Greetings, I've been searching this site for days trying to dig up information on the best practices of doing a photochemical project. I would like to do my next project on film, start to finish. I would like to edit workprints, and learn to conform a negative. I would like to go through the process of optical audio on answer prints. I understand that in this day, it is a practice that is generally not done. I am familiar with the D.I. process and how those types of edits get back out to film, but I am less familiar with the analog side of the art. If there is a book (surely?!) or other resource that could help me along, that would be welcome. Please see if my understanding so far is correct: 1. shoot principal on film 2. send to lab for processing 3. get one-line/timed print (this is the workprint) <-- Audio is recorded to 16mm mag stock at this point from origial source? 4. edit workprints to make a complete project 5. create internegative?? 6. create answer print? I don't really understand this A/B roll thing 7. conform negative to final answer print using edgecodes 8. release print struck from conformed negative? 9. I can always have a conformed (or original for that matter) negative scanned if I want to go digital... I'm sure thats wrong. But it's a start. I have access to 2 Steenbecks (16mm), 4 gang syncros, hot splice, tape splice, rewind tables. I own a 16mm projector with optical sound, but it may be mono only? Finally about the cost; processing and workprints seem to be about $50 more expensive than scanning. Thats fine with me. Am I dumb for trying to learn this stuff hands on? Thanks for your help.

Not a very uplifting update from Ferrania. It's beginning to sound like there was very little pre-planning from the start. http://www.filmferrania.it/news/2015/the-domino-effect