Search the Community
Showing results for tags '16mm'.
-
hey everyone, here is my latest work, shot on 16mm film stock and arri sr3 film camera: https://vimeo.com/62775779 please check and tell me what you think ;)
-
Hello everyone! I've recently come across a Bell And Howell 200EE camera and I've been dying to try it out. The only problem is that it didn't come with a reloadable mag. If anyone can point me in the right direction to where I could possibly find one, I'd greatly appreciate it.
-
Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it knocks the color and saturation all out of whack. According to the scopes I am using (inside color and FCP) I have to drop the blacks way down and stretch the whites and the midtones way up in order for the spread to register correctly. In fact, it seems to take too much correction to add contrast to my footage. Is this the case? Am I doing to do much? I'm turning to you guys for some help and advice. Right now I'm not worried about grading the footage - just correcting it so it doesn't look flat. Below are some screen grabs from my project which should give you a good idea of what I'm dealing with. If you have any suggestions or comments please feel free to share them with me. I'm also happy to provide more screen grabs or answer any questions if you think it will help. Here's some shots from the 50D footage, all take in full sun around f16. http://www.flickr.com/photos/25291579@N00/9007383279/ http://www.flickr.com/photos/25291579@N00/9007384281/ Here's some shots for the 500T footage. Two were shot under fluorescent light at around f2, the last was shot using a practical tungsten fixture at around f4. http://www.flickr.com/photos/25291579@N00/9007385761/ http://www.flickr.com/photos/25291579@N00/9008568480/ http://www.flickr.com/photos/25291579@N00/9007388485/ I should mention that these screen grabs appear much darker than my actual footage. The blacks are not as strong in the 7219 footage as shown here, but they are very strong in the 7203 footage and these stills make them look even darker. I should also mention that this project will most likely be corrected using Apple's Color. Thanks in advance for your help, Aaron Martin -
Hi everyone, greetings! just shot an experimental short, a motivational short film on Running on S16mm. you can have a look at the link below. thanks n regards Prashantt cinematographer Mumbai
-
I have a Krasnogorsk-3 camera that I purchased for cheap at an estate sale. I have no idea how to shoot on film and have absolutely no experience with film cameras. I had a stupid question. Can you shoot on used film? The Krasnogorsk-3 calls for 100 ft. Daylight film spools. Thanks!
-
Can one put a matte box on: a K3, Kinor 16mm and/or Scoopic MS? Do I need to know a particular thread size. Forgive me if this is a dumb question Also can one load short ends that are under 400ft into a 400ft magazine, so say for example a 290ft short end into a 400ft magazine?
-
Heading into the field shortly to shoot some sync sound camera tests-- I'm interested in trying to use as much of my "new" camera as possible, including the Pilotone and the start mark system. Has anybody had success recording this Pilotone, especially going to a digital recorder? If it's possible, I'd love to be pointed in the right direction for cables, 5-pin DIN to 3-pin male XLR. Thanks!
-
Hello all, I've recently acquired a Bolex h16 non-reflex camera to try shooting a bit of film. I'm new to it. The camera serial # is 88806 and according to the bolex collector website this is a camera from 1936-1937. It does not have the octometer for parallax correction or top viewfinder cup. All I have is the camera itself with no extras. My hope is to use a m42 to c-mount adapter on the camera so I could use my pentax still photo lenses, but I don't know how this would work on this type of camera or if it is even possible. I'm trying to figure out: - If I would be able to focus correctly using the pentax lenses and adapter by looking through the top viewfinder. - How the octometer works. How do you compose shots using different focal lengths with this system and would it be possible using the m42 lenses? Thanks, Austin
-
My brother and I own a modified Arri SR1 and would like to get some accessories for it. I apologize in advanced- we are more familiar with lighting and grip than with camera. We are looking for the following items: -New right handle w/trigger (we have one, but the trigger is sticky so we'd like to find a new one, possibly a left handle as well) -Back body cap (right now we keep a magazine on it to keep it covered up) -Shoulder pad (we could build our own little pad but were hoping to find something that can mount tot he camera) Also looking for a vintage tripod and head too if anyone knows any places in LA (or San Francisco) that sells old film camera parts and accessories. Thanks! -Phill Matarrese
-
Hi Everyone, After buying a fridge full of Ektachrome last December, I now realise I've got too much for my needs, so I've put a few rolls on Ebay UK - item no 300895327438 All the rolls have been fridge stored, since purchase. Many Thanks.
-
For sale here is 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 Please see my other listings, I'm moving and selling a bunch of gear. Available for $600 O.B.O! Available for pick up in West Hollywood through this Saturday. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633331298455/ Send me a PM if interested. Thanks for looking! Rich -
I'm selling my very rare Arriflex 16 Fiberglass Blimp. This is for use with either a 16S or a 16M and and mounting plates for both are included. This was purchased a few years ago from forum member Tim Carroll who also ran the great website www.arri16s.com. Tim did a beautiful job of restoring this gorgeous piece of filmmaking history. The lens pictured is not included. The 16M camera and mag is not included, although they are for sale separately (see separate listing). They are in these photos only to demonstrate how a camera would fit inside the blimp. I also am separately selling a Tobin TXM-22A motor that would go very well with this blimp. The blimp's shutter advance knob seems just a few mm too short to reach the Tobin's knob, so you may want to fashion an extension on the rubber knob that reaches toward the motor on the inside of the blimp. One of the two latches is broken on the wooden shipping case but everything made it to me ok with that broken and it's always held shut firmly enough with just the one latch. Also, the power cable that connects a 12V battery (4-pin Cannon) to the outside of the blimp will need to be rewired if you intend to use the blimp for anything besides decoration. This cable provides power for the camera inside to run, as well as power for the interior lightbulbs so you can push buttons and see things inside like the fps tachometer. The cable was just old and brittle and started melting in one spot (a couple of photos are included). The connectors both look fine, so I would guess a technician could make you a replacement cable or two. I just haven't had time to get that done. The seals on the two doors (the top magazine door and the side camera body door) don't seem quite as tight as they were a few years ago so that may be one other thing to have checked if you intend to use it for the purpose it was designed. When I first got this from Tim, it did an amazing job of silencing a very noisy 16S, but I have not tested it recently. The thought that went into the intricate design of this blimp is really impressive. It is in excellent condition. I would love to keep this as decoration for my apartment but I'm moving and I know I just won't have space, so I'm selling it. $800 O.B.O. Please send me a PM if interested. It's available to see in West Hollywood through Saturday. If that's too soon, I can coordinate another time for you to check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633332383091/ Thanks for looking! Rich
-
Ok, here's the deal. 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. The camera has been upgraded with a 4-pin Cannon (aka XLR) power connector instead of the old Arri 2-pin "banana plug". It's also been fitted with a 80fps max tachometer (I believe taken from an Arri 2C H.S.) There is no case for the four 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. Selling for only $800!!! Available to see in West Hollywood through this Saturday. After that, get in touch and I can coordinate a time when you can check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633331237723/ Please send me a private message if interested. Thanks for looking! Rich
-
Hi there, I am currently creating a research project for my final piece at university on the evolution of the cinema camera and how cinematographers deal with the ever changing technology. In particular the transition from 35mm celluloid to digital. I am looking for people who have worked with film stock and digital and wish to answer a set of questions I have prepared. The questions below have been sent out to various D.O.P's and also camera companies such as Arri, RED and Panasonic. During your time in the film industry, what do you believe to be the main changes in the technology used, especially in regards to the shift from celluloid to digital? What do you think the benefits are of digital cameras? Do you feel celluloid is dead? If so, do you feel moving away from celluloid is a good idea? If not, then why do you think this? What do you prefer yourself, celluloid or digital? Please explain your as detailed as possible. When you started out in the industry what camera were you using? How does this compare to what you are using now? Do you feel the digital age of cameras has opened the door to younger filmmakers due to the technology being cheaper? On top of asking D.O.P's themselves, I also want to open these questions up to various forums and find out what the community thinks in regards to celluloid vs digital. If any of you would like to answer the questions above (you dont need to answer all of them if you dont want to) then that would be brilliant and I would be very grateful. Also, if any of you have any other points that you wish to make in regards to the evolution of the cinema camera then please feel free to comment. Thank you for your time. Alun.
-
Hello, I am a film student working with the A-Minima for the first time, we are renting the equipment from outside the school so I'm trying to find answers about a few problems we've had with the camera. We've had two jams- one about 100ft into the roll, where the film wrapped around the camera at least 8 times ruining about 15ft of film. The second, in the very beginning of the roll the film broke off and none of the film advanced. We heard the first jam happen, but the second we did not. Wondering what might have caused this problem? When we took off the mag to reload after our second jam, the magazine would not snap back onto the camera. I've read a number of threads where people have mentioned the hastle of loading and threading the A-Minima, but none with specific problems. Does anyone have an idea of what might be wrong? And how to tell if the film isn't advancing? Thank you!
-
Hi everyone, I would like you to critisize this short. I know for sure there are some issues (a lot) but probably you will find some more, and specially, you will be harsher than my classmates :) Thanks in advance PS: it was shot in 16mm, ArriS, 500t
-
Bolex Anamorphot Lens 16/32/1.5x This hard-to-find BOLEX MUELLER 16/32/1.5x Anamorphic lens with holder for H16 Bolex cameras is in nice condition...I don't think it was used very much. Cosmetically it looks great, with no “brassing” to the black parts. The glass is clean, the front element has a small scratch, maybe 1/4” long, off toward one side. The rear element has some very slight fogging around the edges Lens serial number is 768491 The leather case is in fair to good condition, with a bit of wear inside but looking nice outside. The parallax compensating viewfinder seems to function as it should, but could benefit from some cleaning. The chrome plated pin at the front mount has a bit of rust and chrome loss. This set includes the lens and mounting hardware, front lens cap, leather case, and viewfinder, as shown. Everything will be securely packaged, padded and double boxed for shipment. I will ship within the USA only. I do not claim to be an expert on photographic equipment. Although I have described this lens as accurately as I can, it is nonetheless a used item, and I must sell it As Is, with no returns. $1000.00. I can take PayPal, but I prefer Postal Money Order. If you are local to the Dallas, TX area we can meet in person (cash.) If you are seriously interested, contact me with your zip code and I'll determine the shipping charges and we'll take it from there. Thanks, Henry www.auldooly.com
-
Alright, where to start... I'm a young aspiring filmmaker whose had a passion for making films ever since I was 6. Self-taught, I've made films all on the digital format, and recently, I've been shooting short films on the Canon Rebel T2i. I'm all for manual control, and I'm a pretty big hater of auto focus. Being that most of the filmmakers that inspire me shoot on film, and that it's (sadly enough) slowly dying, I've decided I want to move from digital to film. Now I understand that a great place to begin is with film photography. I've signed up for a photography class (showing you how to shoot and develop film) for my Junior year, and I've also been reading through the web and these forums to understand the film process. My first set of questions are: What still film camera should I begin with? What type of film should I use? Anyway to make a cheap DIY dark room setup? After some practice with that, I wish to begin filming short films (after some more tests of course) on a motion picture film camera. I have in mind using a Super 16mm camera, however that may not be the right choice depending on your responses. So here is my big set of questions for you guys: Which Super 16mm (if I should even use a Super 16mm) should I shoot with? Which film stock should I shoot on? What are the differences between types of film stock? I understand that there's the 'Ultra' modification to convert 4:3 to 16:9, is there any other way to do this (2x anamorphic lenses)? Or could the gate be easily modified on my own? Should I use light meters? If so, which ones do you recommend? What's the best and affordable way of a HD DIY telecine? I understand you can send in your film to get it processed and telecined, but which one is the most reliable and affordable? How to properly light an indoor scene? How to shoot at night (EXT and INT)? Recommended books or websites? __________________________________________________________________________________ As for my tastes and interests (as it could help you answer my questions more specifically): I love Hitchcock, Welles, Nolan, and Kubrick. Film noir has always intrigued me, and I love the look of it. I guess you can say I love low-light photography and cinematography. A modern DP that I dearly love is Wally Pfister, and I understand he shoots on film. If I asked him these questions, what would he say? I also understand Chris Nolan shot Following with an Arriflex BL 16mm (don't know which model). I love the community here, and I hope you guys can understand my switch to film as I think its the true magic of cinema. Thanks ahead of time for checking this post out and taking the time to respond to newbies like myself. I hope to deliver my style and form of storytelling with film. Thanks so much guys! *do note that I own a Bell and Howell MS 30 Super 8mm (no stock)*
-
Greetings, I recently purchased two Sylvania Sun Guns, I mainly shoot on the following: Bolex 5120: Super8mm Bauer C5 XL: Super8mm Krasnogorsk 3: 16mm Canon Scoopic: 16mm The Sylvania models are: The Sun Gun I and II models Is there a safe way to use a diffuser with these bad boys? I am interested in the Sun Gun made by Slyvania that is both a flood and spot light. What can these features offer me?? I know these bad boys can get dangerously hot. Is there a way to take a device that plugs into get power into an outlet and make it plug into a portable battery? Also whats the deal with these things: Cine 60 Sun Guns? How would LED lights effect super8 and 16mm filmmaking? I recently held on for a friend who was shooting with Canon 5D or 7D not sure but it was fun and I enjoyed shifting the temperature and viewing the viewfinder of the camera to see the effects when I shifted the temperature knob. I would like some advice and general input from this community.
-
Hi, I'm offering my camera set for sale, it includes: BOLEX EL mk.II normal16 camera body. last user had it sent to Bolex switzerland to complete service. Since then (4 years ago) only about 25 rolls of 100' film have been shot with camera. Camera runs without any problems, and it's really in great shape. Kern Vario-Switar Compact 18-75mm f3.5 zoom bolex bayonet mount. Lens is in mint condition and has great image quality. Angenieux 15mm f1.3 C-mount lens 2x Bolex <> C-mount adapter one genuine Bolex, and one "heavy-duty" from Andrew Alden - Bolex.co.uk Arri Standart <> C-mount adapter 4x behind the lens filters 1x with 85 filter 1x with 85N9 filter 1x with ND6 filter 1x free Power cable to 4pin XLR All fitted in PELI case ----- I'm selling this set, because I've got SR1 ant LTR sets and don't use Bolex any more. I'm located in Slovak Republic, Europe PRICE: € 850 + shipping
-
PRICE: €600 -------- Here is my set. I don't use this camera any more, so maybe someone could be happy with this old workhorse. It is still in good working conditions. And it's regular 16 format. ECLAIR NPR 16mm body Kinoptik viewfinder Angenieux (orientable) viewfinder Perfectone 24/25 sync motor 3x magazines 1x spare magazine (not working) C-mount - Canon FD adapter CA mount - Arri bayonet C-mount - Arri standard 4pin XLR cable 12v battery 15mm rods I can give for free Canon 15-150mm c-mount lens - in bad shape - hazed images. here's part of film, I've shot with this particular camera: I'm located in Slovak Republic, Europe. The camera set is heavy so I think shipping fee for E.U. could be about €100
-
My listing is in the for sale section: http://www.cinematography.com/index.php?showforum=6 -
I am selling off a large part of my 16mm collection. I've got 2 REX-5 bodies, in perfect working condition and super cosmetic condition. Comes with rewind knob and eyecup. $700 OBO. Am also selling off these lenses, also usable on 4/3 (Four-Thirds) sensor digital cameras. Listed are prices for each. May be open to negotiating. Switar Kern-Paillard H16 RX 10mm f/1.6 - $200 Wollensak Cine Raptar 50mm f/1.5 w/ hood - $200 (3x) Switar Kern-Paillard H16 RX 50mm f/1.4 - $500 Switar Kern-Paillard AR 50mm f/1.4 - $500 Yvar Kern-Paillard AR 75mm f/2.5 - $250 Yvar Kern-Paillard AR 75mm f/2.8 - $200 Inquire about the pieces you're interested in. Will sell separately. Can give discounts for buying a bunch of stuff. **I've also got these few lenses that are quite rare, I'm not really looking to sell them but will consider if the price is really right: *Switar MC 10mm f/1.6 Macro *Bell & Howell/Angenieux 25mm f/.95 *Macro Switar H16 RX 50mm f/1.4 *Angenieux Type S5 50mm f/1.5 *Schneider-Kreuznach makro-tele-xenar 75mm f/2.8 If you're in NYC area, we can meet up, otherwise, Paypal (must have verified address). Let me know if you're interested in anything! I have photos of each piece.
-
Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (uh, yeah, ok), I want to shoot one of the three acts on film. The story lends itself to this as we need a different look for each act. I also want to be able to say "we shot on film" not only because it's an interesting talking point, but also because before long I think it won't be possible. What I need to know is this: What would you advise as the cheapest solution and workflow for shooting on Super 16? 35mm is out, naturally, due to cost. I like the look of super 16 and it's easy to find lenses in the NYC area. Back in 2001 when I shot my first short the negatives were processed, given a one light with time code and we edited in AVID. Then the negative was cut AB style and we bypassed creating a positive (because I was out of money) and made a 35mm print from the AB rolls. (For a feature we clearly would not have been able to skip the positive step) It is now my understanding that traditional negative cutting is almost never used today. ??? The people involved with this planned film are almost 100% RED and 5D people and as you can imagine, mostly low low budgeters. Those that have shot on film were not in any way involved with post. So I go to you for ideas! I hear things like, "It's too expensive to scan all that negative and color correct it." So how about photo chemically, like it used to be done? "No that's too expensive too." Etc. etc. Thanks for your help. -
Hi, I have a couple of questions for our next (student) short we will be shooting in the first half of April. At first we wanted to go 16mm (anamorphic), but it's quiet expensive for us. And wide angle anamorphic is a problem with 16mm. We're still thinking about it though. But it's probably going to be the digital way. Now the short is about half and half daylight and nighttime. Probably a bit more at daylight. We're thinking about renting a Red-epic since it's a lot cheaper (than an Alexa). But I'm a bit "scared" for the nighttime shots with the epic. We will be passing neon street lights, in car shots which can get pretty dark, etc. What do you think? Will it be ok? Second question is about post production. We love the (16mm) celluloid organic look, and specially for this film. We were wondering how this is professionally emulated/achieved. Are there a couple of ways? I add professionally since we were thinking about festivals etc. (I read somewhere that adding a random grainy look is okay for youtube videos but not for more serious stuff.) Thanks ahead,
.thumb.jpg.79369da59c0c9d8dbabb45f178b6f21c.jpg)
