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Showing results for tags '16mm'.
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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.
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Hey! We're looking for a DP based in London UK to work on a micro budget road movie (Set in the US) that will be shot on Andromeda DVX100, with Elite Letus 35mm adaptor. If the budget allows then we will be shooting on Aaton XTR, S16mm film, or combination of both. Synopsis and more info here: Awaken The Giant Within At the moment we're looking for the right DP and we want to, soon, start shooting some tests. You must have experience on micro/low budget productions and be based in London, UK. If you are interested please send an email with the following details: Cv, camera/tech skills, showreel. Email: info@volitionmedia.co.uk. Cheers -
Angenieux 12-120mm f2.2 Type 10x12B Cine Lens in Excellent condition. PL adapted. $550 OBO. Also available, wooden camera MFT- PL mount adapter. $200
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Hey, I'm looking for some technical expertise.. I have an Arri SR3 Adv, with a video assist - see pic. The output is an analogue phono cable which I have running into a small 7" monitor. The only practical use for the video assist, and all I need it for, is framing. All in all the set-up works pretty well, but it would be handy if I had a way to record the video assist image. Does anyone know a simple way to record the signal? Either an affordable small recording monitor with phono input, or I was thinking perhaps some hardware and software to turn the analogue signal to digital and record on a laptop. Has anyone had any experience with this? Thanks, Greg
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Another great article by Phil Rhodes in the June issue of American Cinematographer. This one is for all us film lovers. It discusses the making of a short documentary, the subject of which is a man who owns one of the last film shops in the world, devoted solely to Super 8 and 16mm. He hits all the salient points we talk about here. You can view the film here: http://www.liamsaintpierre.com/the-way-of-the-dodo/ Thanks, Phil!
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As I'm about to start cutting my 16mm short, I just wanted to share two pictures that will most likely seem pretty retro but, nonetheless, cool B) Finally put the rewind table together yesterday. And below it is my Steenbeck.
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So I bought the Angenieux 17-68mm f/2.2 c-mount lens for my MFT cameras and I am wanting to use my variable ND filter on it. Obviously I needed a step up ring adaptor. I read at vintagelensesforvideo.com in the comments section of the post about this lens that it was most likely a series 7 filter. So I bought a series 7 to 58mm adaptor; I was way too big. I then bought a series 6 to series 7 adaptor; this was barely too small. I've gone to all the local Dallas/Fort Worth camera shops and they all have no clue. Does anyone know what the front filter specifications are for this lens? Any help much appreciated! Alex
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Hi Guys, Just picked up this Milliken for $30 figured I give it a shot. Had some questions about the wiring. It has this cable coming out of the front and a Hi Lo Off switch on the back. Haven't seen any of them with this and was wondering if this camera has had any rewiring. Also what they are for. I assume that the cable might be for power if it has been rewired. Thought I check with you guys first before I did anything with it. Thanks Cody
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Angenieux Zoom Type 4x17.5B - 17.5-70mm F 2.2 With Arri Standard Mount (Comes with an adapter to M4/3) Asking Price $670 which I feel is fair The lens is used of course serial number 1211645 Has some superficial marks on the rear element, no fungus or marks on the inside lens. The iris blades are a shinny, no oil marks. The focus barrel has no play and is very easy to turn, might be a downside to some people the zoom feels butter smooth and the iris does not click. The adapter is fine but if you wanted to you could get a better one from ebay or something, but it does the job. I believe this is the only zoom that covers a s16 sensor, of course it works on the BMPCC. It is really a nice lens, I just don't use it enough, for my shooting style. I am just gonna stick to primes :) Paypal and I will only ship to verified accounts. PM me to discuss further. Shipping is from San Diego CA -
Hi! So I am new to the world of 16mm... I may well be the only student at my Uni shooting 16mm. I haven't shot much yet, but am eager to learn! This will be the summer of 16 for me! I bought a box of cans of 100' expired color Fuji 500D (from mid to late 90s guessing). I am planning on rating it at around 120 or so... But what is everyone's reccomended method of testing a roll? Shooting a annotated test card at several settings, then clipping that footage (Maybe 1 minute long?) and sending it to a lab would be my guess. From the lab tech perspective, what should I ask for in terms of processing this test? A flat pass? How to send the footage? In a 35mm still film container? I want to make this easy and hassle free for all involved. Basically, I want to know what to rate the film at and if there is streaking. Later on, the lab and I can decide to correct (or to amplify....) odd coloring, so I am not worried about that part. Any advice is appreciated. I am so excited my fingers are tingling! -
Hello, I'm looking for a few Eclair ACL bits & pieces and wondered if anyone has any that may be surplus to requirement and are looking to sell. I'm after a... ACL 200ft magazine (or 2) Heavy duty motor Orientable viewfinder (with mount) If any one can help, that would be great. Thanks, Mark -
https://www.youtube.com/watch?v=bPgZVTFzG3I --This's the link to a short 16mm film I did back in 2005, shot on bolex. I think it turned out pretty good, despite the choppy editing and a few -out-of-focus shots. Let me know what you think :)
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Can bolex be converted to super 16? If so, which models? Also, can bolexes be outfitted for crystal sync/ electric motor? Just curious, thanks.
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Hello. I have been making short movies all my life. Went to Pittsburgh filmmakers and shot a couple 3 min long films in 16mm. In 2007 I bought a canon hv20. It's a hdv camcorder that takes the old, small tapes. Anyway, here's my thoughts. The 16mm film I did (the one that turned out well and not grossly overexposed) looked phenomenal to my eyes. I''d/I've never done anything else that looked that good. It was done on Kodak 16mm color neg 200t. I used a bolex from school with ordinary, non zoom lenses. So, ff to 2007. When I took a few videos with hv20, I was floored by the quality. I compared it to the 16mm film I did. The 16mm still looked better, and handled colors better. However, with the hv20, after tinkering with it a while , I've gotten COMPLETELY mixed results. I've learned that if you're shooting on video, everything has to be PERFECT to get the same quality every time. It's almost as if the stars have to be right to remain consistent. I mean, I have lit it well and it looks like crap, and I've lit it poorly and it looks great. Vice-versa. I just got back some 16mm b and w reversal I shot with a bolex. Looks good. however, after comparing it to a few of my "good days" footage with the hv20 (b&w in post), the hv20 clearly stands out. So now I'm shaking my head, confused more than ever. The HDV tapes are exceedingly cheaper than film and do produce excellent image quality... if everything is done absolutely perfect every time. How do I do this? I just don't know what I'm doing wrong to get some things looks great and some things that look like a 1980s videocam.
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Hello, INFO: 1) I shot some R16mm/S16mm tests and had a telecine at two different labs. The R16 was done at Lab 1 and the S16 at Lab 2 (also a second telecine of the same R16 footage was done at the same lab, Lab 1.) 2) All the stills are shot in the exact same location. Meter: F1.2 and on 7219 3) The S16 is shot at F2 with a 9.5mm Zeiss Super Speed Prime 4) the R16 stills were both shot at F1.3 with a 16mm Zeiss Super Speed Prime. Shots: R16 Lab 1 (Tele 1) R16 Lab 1 (Tele 2) S16 Lab 2 Questions: 1) Why does the S16 image seem to have so much more light than the R16 images when it is actually closed a full stop down (F2 vs F1.3)? (Again the R16 was done at lab 1 and the S16 at lab 2) 2) Why is the S16 image much more green and then the two R16 images so different from one another, (one is redder and the other white, same footage)? How are these choices made at the lab? 3) Finally, based on the meter reading of 1.2 and the 7219, does one process/lab stick out as more accurate as far as exposure, obviously the more light the better. Could lab 1 have under processed? Could lab 2 have over processed? I assume they have the same processing times. But how do I know what I am going to get? needless to say I need some adepts here as this is pretty confusing I appreciate your time thank you
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Reduced price. Selling a mint-condition Arri SR- asking $3,500. Recently serviced. Comes with original Zeiss 10-100m 2.8, two 400ft mags, one original battery (with charger), new Belcor battery belt, core adapters and Porta Brace strap. Original case included. Refrigerated film stock also available: 15 rolls of 7222 negative film for sale for $25 per roll and one (1) 400ft roll of OWO b/w negative also available for $100. You won't find an SR in better condition than this one. Here's a short that was shot with it about two months ago in Vermont: Thanks!
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Hi all, I have recently been trying to practice loading film into a super 16mm modified krasnogorsk k3 and am coming up against some odd problems. Firstly I was not the one who performed the modification and the loop formers are removed. From what I understand this is to stop the film from getting scratched. When loading the film and feeding it through everything seems to be fine at first and I run off a good few feet to make sure it is going through okay. But then once the lid goes on and I press the trigger the film immediately jams. Here is a video of the issue. https://www.youtube.com/watch?v=HGuALakdNQY Can anyone make sense of this? Regards, Josh
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I found a super cheap switar lens on eBay. It's a 16mm lens. Below is a link. My question is.... Would this be relatively a "normal" lens for a bolex? I would rather get a ten mm, but don't want to pay 200.00+ for one. http://www.ebay.com/itm/Kern-Paillard-Switar-AR-f1-8-16mm-C-Mount-Camera-Lens-No-Reserve-/371264300473?pt=LH_DefaultDomain_2&hash=item567113a5b9
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Hi guys. Selling my lovely TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s. Bought from Du-All Cameras 2 years ago. never used, only tested recently, working like a charm. Asking price: US$ 900 (Paid US$ 995, receipt as proof). Can ship worldwide. Item is in Brazil. Can declare small value to avoid customs. Shipment costs is around US$ 60, ETA 2 weeks by normal postage. Can ship UPS if you'd like. Will post pictures here soon. Any questions, just shout. *** PLEASE CHECK MY 2 ARRI 16S KITS FOR SELL ON EBAY: http://www.ebay.co.uk/itm/2-ARRI-16S-ARRIFLEX-KITS-FULLY-WORKING-PRISTINE-CONDITION-/171665355148?#shpCntId -
Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade?
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Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade? -
Mixed Black and White Stock
Andres Pardo aka Gral Treegan posted a topic in Film Stocks & Processing
Hi!! Here is my small black and white stock ready to be shoot. 5600 ft!! As you can see it's a mixed stock, all expired. I've already shot RAR2496, Regiscope and Tri-X with good results. Don't know what could happen with Perutz, Orwo, Svema, Dupont, Tasma or with the oldest one Agfa Wolfen Ultra rapid. You think its crazy to ask the lab 1 stop push with this old stocks? Have you ever use any of this stocks? Any suggestion? Bests!! Andrés
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Hello, I'm posting this to see if theres anyone looking for or with an intrest in this lens I have a mint condition century 1.9mm fisheye that i would be willing to let go for the right price, This lens is extremely rare
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Hello, I'm posting this to see if theres anyone looking for or with an intrest in this lens I have a mint condition century 1.9mm fisheye that i would be willing to let go for the right price, This lens is extremely rare
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Found this on ebay. I have no real use for this but it looks like a great little custom-made item, so I thought I'd post it. http://www.ebay.com/itm/251803745368?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT
