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  1. 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)
  2. 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.
  3. 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).
  4. 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
  5. 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!
  6. 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.
  7. 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
  8. 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
  9. Is it just the eyepiece itself? Something internal to the viewfinder? Jean-Louis? Dom?
  10. I am selling 15 rolls of 16mm Kodak Vision3 200T 7213. I got these directly from Kodak 3 years ago. They are factory sealed and have been in a humidity-controlled dedicated film fridge for that entire time. I would love to get $100/roll for them and sell all of them at once, but I am willing to negotiate if you are interested and even more willing to negotiate if your a student. Captain Phillips, Beasts of the Southern WIld and Hurt Locker are just a few great films in the last few years shot on the robust format of super16 :) Nathan
  11. 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
  12. 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.
  13. 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
  14. I'm selling my 16mm Arriflex 16M camera with 3x 400' mags and variable speed motor. Camera was purchased from forum member Tim Carroll maybe 2-3 years ago if I remember right. I had it checked out by a technician and shot a registration test after I got it and it checked out fine. I like the 16M for it's hinged door, simple threading and gear-driven mags (as opposed to the 400' mags for the 16S which have their own separate torque motor). Please see, I'm also selling a beautiful fiberglass blimp that will fit this camera, and crystal-sync motors. I don't have a case for the camera but there is a case for the mags. More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633331322365/ $400 O.B.O. __________________________________________________ Consider this a listing for a great Tobin Crystal TXM-22 motor. It comes with a camera, but just think of that as a bonus since the camera may not be worth a whole bunch. I've never shot with it, or with the included mags. I bought it off Craigslist from a DP/Operator on the other side of the country about a year or two ago and one technician who looked at it told me some of the design choices in converting this camera to S16 looked risky and shooting with it may not be worth the risk. I've heard this is one of two or three 16S cameras converted to S16/PL mount by Van Diemen in the UK. It seemed to run fine and the previous owner promised he shot lots of footage on it with no problems so maybe I'm just being paranoid. But! It came with this awesome motor. I actually like it better than the final refinement, the TXM-22A, since the "A" model can't run in reverse. Also included are two of the rare 200' mags for the 16S, although as I mentioned, I never tested them, so this is all "AS IS". There are also two 400' 16S mags. Each mag has it's own torque motor, and I was told by the person I bought these from that they've all been upgraded to be 12V compatible. There is no case for the mags. The camera body case is a bit old looking but still latches closed firmly. The foam is a bit of a mess. No power cables or batteries or lenses are included. More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633331237723/ Selling for only $600!!! __________________________________________________ For sale here is a TXM-22A, one of Tobin's last (newest) crystal motors ever made for the Arri 16S or 16M. Runs forwards only. Crystal speeds: 12, 20, 24, 25, 30, 40, 50 fps. This was bought new directly from Tobin and has only been run to test a few of times. More information from the Tobin website (a pdf download link) http://www.tobincinemasystems.com/TCS_Public_PDF/TXM22A.pdf More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633331298455/ Available for $400 O.B.O! __________________________________________________ I'm also selling one of Tobin's last (newest) Variable Speed motors ever made for the Arri 16S or 16M. Runs forwards or reverse, 0-50 fps. This was bought new directly from Tobin and has only been run to test a couple of times. More information from the Tobin website (a pdf download link) http://www.tobincinemasystems.com/TCS_Public_PDF/TM23.pdf More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633346734096/ Available for only $200!!! _________________________________________________ All of the above is available to see in Montebello, California through Tuesday 12/3. If that's too soon, I can coordinate another time for a relative of mine to show it to you since I'll be heading back out of town. For convenience, preference will be given if there is a buyer in the Los Angeles area who will pick up in person and pay cash. Please send me a private message if interested in any of the above. Thanks for looking! Rich
  15. 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.
  16. 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
  17. So I'm pretty new to 16mm stuff, I've gradually been making the switch from digital. It's been pretty fun. Right now I'm using a Bolex as my A-Cam and two old Keystones as my crash cams. Yeah, I'm working on filling the gap between those two, but that's not the point. One thing that I've given up since making the switch was my anamorphic lenses. I love them to pieces, they're just awesome. However, I've had trouble finding a conclusive solution for a c mount anamorphic lens. It's kind of frustrating, and I was wondering what my options realistically are. I've heard several different ideas on this forum, one of which is using projector lenses. I've never really had to do that, so would that be a good option? I don't know that I've encountered much projection glass well-suited for shooting, but maybe I just haven't seen enough. I would really like to stay away from anamorphic adapters. I guess if that's the best option then I can use them, but I've always stuck to the real thing. Last thing, cost is a big factor here. I'm a big fan of quality glass, but I don't use these cameras enough to drop a lot of money on one lens. So if that means I should just get a lens adapter and use some cheap anamorphic glass for a different mount, I can do that. I just want to know what my options are for an adapter-less setup, if that's even possible. Thanks much!
  18. 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.
  19. 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
  20. 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
  21. 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
  22. 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.
  23. I'm looking into buying a K-3 on Ebay, and was wondering what people's experiences have been like buying them there, from sellers in Eastern Europe and Russia. Anything to look out for in particular? My goal is to end up with a body, a couple of lenses, and a Super 16mm gate. I've seen the American website that sells them converted already, but it's just more than I can afford right now, so I'm hoping the Ebay route is actually feasible.
  24. 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
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