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Showing results for tags '16mm'.
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Hi, I was wondering whether anyone knows a good place to buy 2 inch plastic film cores for an Arri SR2? I can only see a few for sale on eBay with quite high shipping prices. Quite a lot to pay for something that will be sent off to the lab. Also, could anyone enlighten me to the different uses of 2 inch vs 3 inch film cores? are 2 inch to hold 100' rolls and 3 inch for 400'? Many thanks!
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In my opinion the look of 16mm Kodak film is the most unique look in movies......with DCP projection obviously.....and thus I would call it THE filmic look bar none. ....digital is nowhere near looking like 16mm as opposed to digital being used alongside 35mm in many films and more successfully copied by Arri Alexas etc with all the subsequent manipulation in post. I read it all the time in American Cinematographer how DPs want to mimic film look etc when not allowed to use film for whatever budget reasons etc. For fun I watch movies and determine what they were shot on checking IMDB for confirmation. To me Arri Alexa stuff all looks the same (big generalisation but I'm sure u know what I mean) and 35mm stands out to me with colour palette mainly plus the way highlights look....65mm I can't tell the difference in the small cinema screens where I come from and less still on my TV.....but 16mm screams out at me as unique and unmatched no matter how big or small the screen. Don't pick out my generalisations and argue them but rather the spirit of the debate I am hoping to start..... -
"The number of ads shot on film and processed at Cinelab doubled in 2018 to around 350, and there was an increase in pop promos to 50-plus, many shot on Super 8 and Super 16 as well as 35mm." https://www.broadcastnow.co.uk/tech/film-stages-digital-fightback/5135915.article#.XEHdhn_xPh0.twitter So film is far from dead.
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Hey All, I'm looking for a Bolex H16 SBM in good condition. These seem to have become quite rare and are sold on ebay for ridiculous prices above the 3000$ mark. So if any of you can offer me a good deal for one, I'd be very happy. I'm located in Germany and willing to pay for shipping. Thank you!
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Im planning on shooting a double feature sometime soon on 16mm and I was wondering what the best film stock is for emulating the colors you see in movies like The Texas Chainsaw Massacre, The Evil Dead, Etc.
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Hi I'm a student in Scotland. I'm looking to partly 3d print and machine my own super 16mm camera, preferably silent. I have the machinery and materials its mainly about documentation and info, there doesn't seem to be too much of it out there. The main problem I can see just now is the view finder, everything should be alright to figure. Can't wait to hear back. Finlay
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Selling my pride and joy. I upgraded cameras and need to part with this one. I'm just going to copy and paste the ebay description and a link. Included: -Arri SR2 with super 16 modification -Gold mount piggy-back adapter with working D tap -3x Batteries -4x mags -Side handle (not working) -1x Dual Charger -Power/ misc cables -Arri T Bar -electric eyepiece warmer -Cinematography Electronics SR speed controller. 2-75 fps -extra fuse -start/stop cable -niner splitter box Please see listing for more details and photos https://www.ebay.com/itm/Arri-SR2-Super-16mm-Camera-Package-Fully-Functional/223314481085
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I'll be shooting a short hopefully this autumn or winter. It takes place in a forest and I want to shoot it in natural light. But because of the weather these upcoming months, I've started to wonder if I'm actually able to do so. For so far, I'll be using my only lens, a zoom lens which its widest aperture is f 3.8. And a 0.6 ND filter, because I love the DOF touch it gives. I'll be shooting on Vision 3 7222. What can I do to avoid using a lighting setup?
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I tested Vitafilm film treatment to see what curative effects it has, if any, on film decomposing with vinegar syndrome. films tested: Kodachrome B&W stock Test results: https://danieldteolijrarchivalcollection.wordpress.com/2018/11/25/test-results-for-vitafilm-treatment-of-vinegar-syndrome-16mm-films/ Notice: Weblink is safe for work. Website is not safe for work. If you are offended by adult topics do not wander from the link and you will be fine. -
I've been trying to set up my gmt-s to drive a smart slate. the Origin C+ is definitely feeding data to it (show ID, start TC etc), however I've noticed that the FPS is definitely controlled by the tiny dial inside the GMT-S (see attached photo). Does anyone have a diagram or know what dial settings = what base timecode FPS?
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Does anybody happen to know where I might be able to find a working 400' magazine for an Eclair ACL II? I haven't been able to really find any on ebay recently. Thanks!
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Managed to get a couple rolls developed, this being the first time I've shot 16mm. There is some grading, any tips are greatly appreciated!
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Hello, I'm looking for a super16 lens that would be equivalent to 35mm in 35 format. Preferably I would want either an Optar Illumina or Zeiss 16mm since I have other Illumina lenses and it would match well. I would be open to something a little wider too like a 12mm. If there are no sellers, does anyone know a good source to buy such lenses?
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I've had a lot of fun with this camera, but would like to upgrade to a Bolex after discussion on this forum. Up on ebay at the moment: https://www.ebay.co.uk/itm/273566611007 For examples of footage from this camera see http://www.vimeo.com/16mmlondon (Not all clips are from this camera, but are clearly described if they are) PM me if interested as I will giver preference to people on this forum. Cheers Glen
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I currently have a Krasnogorsk K3 (converted to S16) and a Canon Scoopic 16M. I've used both several times over the last couple of years and have learned a lot with them. I've managed to get some good results, however, although there are things about both that I like, they each have things about them that I dislike. K3 + Rugged, cheap, large choice of M42 lenses available, Super 16, stable speed control, compact, reflex - Wind up, tricky to load, light leaks, Standard Meteor lens 'soft' (i.e slightly out of focus) at widest settings, unstable registration, reliability issues 16M + Easy to load and use, electric, affordable (but not cheap), reliable, good registration, reflex (but dim in low light), good macro, not too bulky, - Fixed lens - soft at widest setting, speed noticeably unstable (probably fault with my camera), dim reflex at higher f stop The common problem with getting sharp images with wide angle views is the biggest problem I have with these. So, I'm still looking for my 'perfect' camera. I'd like a hand held, reflex, electric camera with changeable lenses. Hopefully easy/quick to load. Super 16 preferred, but not essential. I'm also on a limited budget, maximum £1500 I guess. Two possibilities I can think of are: Beaulieu R16 and Bolex EBM (£££?) I nearly got a R16 with an (Angineux?) motorised lens, but I was put off the motorised lens due to reliability and dislike of controlling lenses with motors rather than manually. I don't know much about either of those, would they be better choices or do they have their own issues that cause user's problems? Have I missed other possible options that may be suitable? Thanks for any help you can give.
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Beaulieu R16 Brochure https://photographysgoldenageii.wordpress.com/2018/10/18/beaulieu-r16-brochure/
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Could anyone help me understand what microfilm is? One of my professors just gave me a roll of this.
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Hello, Does anyone know of a camera technician in Los Angeles who works on 16mm cameras, specifically Eclair NPR and Beaulieu? I need someone to remove the ground glass, mark it (with a pencil is fine), and replace it in an Eclair NPR camera that's already been (partially) modified to super 16mm. The eyepiece has an issue as well, where one side of the frame is cut off, I assume because of the lens re-centering in the super 16 conversion. The image on my test reel looks great, but my framing was off because of the inaccurate ground glass markings and eyepiece problem. Also, I have a Beaulieu 16mm clockwork camera and need to figure out why my focusing has been occasionally off even though I've got the eyepiece diopter calibrated - at least the way I think it needs to be calibrated. I'm looking for a camera technician in Los Angeles who would go over the camera with me and possibly convert it to Ultra 16mm. The Eclair has been to Bernie O'Dougherty who gave it a clean bill of health, but he was too swamped to do mark the ground glass. The cameras and I are in Los Angeles. Thanks for reading and considering this! -Roko (brand new member)
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Hi everyone! I have an upcoming shoot where we need to have a 180° rotation (around the lens axis) It´s a short film with very low budget so expensive options such as Cartoni Lambda Head or Weaver Steadman are not going to be posible We´re shooting on an Arri SRII with Zeiss Primes T1.3 Any thoughts on a low budget solution? Thanks in advance! Joaquin
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Hello, Newly graduated cinematography student is looking to buy Bolex camera (SB, SBM, EL) at a reasonable price. I'm interested in S16, but because of budget send me message if you have regular 16 Bolex :lol: Or veeeeery cheap Arriflex SR2. :unsure: Location: Belgrade, Serbia (but I have friend of mine in Berlin, Germany) PM.
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I have a box of (6500 feet) discontinued properly-stored Fuji Reala 16mm 500Daylight film. LOOKING FOR LOCAL TORONTO, CANADA SALES!!!! Will entertain shipping bulk. Was used to shoot ETERNAL SUNSHINE OF THE SPOTLESS MIND, SLUMDOG MILLIONAIRE and WALK THE LINE... The World’s First Motion Picture Film with Fujifilm’s 4th Color Layer Fuji Reala 500D is the world’s only 500-speed daylight-balanced negative film. Its high speed allows shooting in very low-light daylight and also at f-stops offering greater depth of field. Its speed compensates for the wider apertures required with anamorphic lenses and the effective light loss attendant on “over-cranking” for slow motion effects. This is the world’s only film with Fujifilm’s patented color optimized 4th layer technology. A special advantage is the ability to remove “green spike” from un-corrected fluorescent and sodium lighting mixed with daylight sources.
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Hey! I've got a box full of Fuji Reala 500D I know is expired.. but I can't seem to find any info on the can or online with regards to the actual date of expiry. Any help? Thanks!
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Hi all, wondering if anyone has any insights on this problem I'm having. I got my hands on an Xtera that's been in storage for 5+ years, and while its in darn good condition its got one weird problem - attaching the battery results in the camera instantly running. The test/run wheel's position seems irrelevant to this behavior. I've swapped the body fuses, but theres no change in this behavior. Im using the only battery that will actually charge, attached the VHR shows the battery at 13.7v Anyone ever experienced this or something similar and have any insights? Any chance Im doing something dumb and not realizing it?
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Dear friends, I am sorry to part with this camera - but it is necessary! This tool Kingsman. The kit includes a body, an objective (it is capable of 5-), and a motor with 25 FPS The camera needs love, care and work. I checked the motor - it works, but I did not do any footage from this camera. but I do not think that something is wrong with her. I want for her $ 1200, but without a cassette and a bottom handle. Although this is also debatable. http://dom2.tw/ http://dom2.tw/ http://dom2.tw/
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I have some questions regarding at home Spiral Tank processing. I have been mixing 2 litres of chemistry for 100' rolls of color reversal(ORWO/Svema & Kodak E-6) and, just recently, color negative(ECN-2) 16mm film. After running the first devloper, the solution is sometimes black and seems to effect the image of the bottom 50' layer of film (dark and muddy). Should I only run 50' at a time at the top spiral? Should agitation be constant to mix chemistry, or maybe try to filter the developer before running the other 50'? You advice would be greatly appreciated. Thanks
