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Showing results for tags '16mm'.
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Hello all! A few weeks ago, I put my first test roll through my new Bolex EBM camera. Unfortunately, it turned out the shutter and claw system were completely out of sync. I took it upon myself to do the repair as I couldn't not afford to send it for a general overhaul and fix abroad. I've spent many weeks going through the repair manual and reading plenty of helpful posts on this forum, to understand how the system operates before I even try to disassemble it. I got the right tools and after some time, I think I've managed to perfect it. Here are links to some slow mo footage of film passing through the system: https://www.youtube.com/shorts/1zNsxUi_lp0 (the first second when the film is passing through the gate, you can see the film move as the shutter is open, but that's only as the film is not yet engaged with the sprockets and claws, once it engages, it seems to properly stabilise). https://www.youtube.com/shorts/jiuQj3iaar8 I was wondering does this now seem to be properly in sync? Obviously I'll have to have another test roll shot and developed before any conclusions but I was wondering what's your opinion just by looking at the footage above. Many Thanks!
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Look at this 16mm print of Taxi Driver that sold on eBay. With shipping and sales tax, it is about $420 for a faded red print. Film collectors would rather project a faded print than watch a restored version on Blu-ray or 4K. Now, I got lots of faded red films. But usually they cost $5 - $20. And the only reason I have them is there are no other options, and they are rare. But I'm talking about short subject films, not feature films that are available on disc. I'm thinking if this was a pristine, grade A color 16mm print it would be $2,000 - $2,500...but just guessing. Full rundown: https://archive.org/search?query=taxi+driver+teoli On the Blu-ray bonus features, Martin Scorsese talked about having to desaturate the blood at the end of Taxi Driver to avoid an X rating. He never did fix it and come out with an uncensored version. Maybe he is waiting until 50th anniversary in 2026. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography -
Hi all! I'm selling my fully functioning Arriflex 16BL with its original lens (Angenieux 12-120mm) and plenty of original accessories. Quite a unique collection of items that include: - 3 400ft magazines (two functioning - one untested) - 1 1000ft coax magazine - Blimp for prime lenses - Minilock for crystal sync (untested - motor in the camera is different) - Two motors (untested, one is 42v for use with power supply) - Camera top handle - Multitude of filters (can provide more details by email) - Plenty of magazine cores for the 400ft plastic cores - Remote control for camera - 4-pin XLR to D-tap for power - Original box - Power supply for 42v motor - Periscope viewfinder for when operating with a shoulder rig Most recently used for a short film that was shot in 2022 and 2023, no issues at all with the camera. Very stable gate, great image. I can ship to UK and maybe EU but collection in London is preferred. This is the eBay link for the camera: https://www.ebay.co.uk/itm/374789398236 There are some pictures on the eBay listing too. Happy to receive offers through eBay or directly on here if you prefer. Sad to see this one go because I really love shooting on the 16BL, but I'm selling it to finance my next short film! -
I’m having a problem loading my film. When I load the feed side of the mag and run the film through the take up side, I plug the mag into the camera and do a test run but there’s a bad sound and the film gets spooled up in the feed opening, there’s too much slack that doesn’t go away when winding, and the stock gets punctured. Is there any way to fix this? I changed to a different mag and it’s still a problem.
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I entered a local Ministry of Culture visual arts competition a week ago…..and I won the ‘video’ category with this piece (originally just intended as a family heirloom). I re-edited the footage processed for me by Cinelab London in DaVinci Resolve. Not many entries from our 33,000 population, so not exactly a Cannes winning equivalent haha but the prize money will be used to shoot something else on my beloved 16mm film. Watch in 2K if you can. The grain is a bit sludgy no thanks to YouTube…..and no I will not be adding ‘award winning cinematographer’ to my legend hahahaha wtf as if -
Survey of expired film prices eBay 2022. Expired 16mm Sealed Film eBay 2022 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hello all, I am hoping that someone can answer my questions here. I am planning on shooting a 20 min. narrative short on a BMPCC 4K Cinema Camera. I will be using the BRAW 3:1 at 2.6K in a 16:9 aspect ratio, at 24 FPS. Once it is edited and color corrected and sound design is applied, I will take a digital file and send it to either CineLab in Massachusetts, or Colorlab in Rockville, MD for a filmout negative and a 16mm print. I am thinking that the lab will be able to make a 4:3 squeezed print from the 16:9 image. Is this even possible? -
COIFFEUR EXTRAORDINAIRE - WAITING FOR LEGROS teaser: This was a very challenging film project! Three years in the making! How do you bring 1700s France to Colorado? Movie magic, of course... Shot on film with a 16mm Aaton prototype of the Aaton 7 model and with a Double 8mm Keystone K 27 Capri. Film stocks: KODAK 500T 7279, 250D 7205, 500T 7219. We pulled out all the stops to make this film spin-off the BOB: NON-UNION PSYCHIC graphic novel. Many old-school film techniques were used in order to bring Coiffeur Extraordinaire - Waiting for Legros to life: shooting on real film, elaborate costumes, amazing wig constructs, miniatures, paper cutouts, green screen, live action, illustrations, still photography, digital effects, and more. People are asking, "Where do I see the film?" Well, the film has just begun festival submissions, but a private online screener will be available to all those who buy the BOB: NON-UNION PSYCHIC graphic novel. When you purchase the book, paperback or digital, you will receive a GOLDEN TICKET, which will grant you a link and password to watch the film. The screener will be unlocked this Friday at 10:00am Mountain time. Go here to get the book: https://asapimagination.com/collections/bob We can't wait to share this epic short film to our fans and colleagues! Thank you for your support! FILM ROCKS! -
Hi all, I wanted to share what I've done with my Bolex EBM regarding the battery and maybe help any other people out there. I've done a lot of searching online, but I realised I would love to power it from a V lock type battery, for ease of use. I purchased a SmallRig battery plate (SmallRig Battery Adapter Plate 3204). I went for this one as it wasn't too expensive and after sending them an email, confirmed that the outputs on the plate are regulated (as the Bolex EBM requires 12V). Another benefit of this plate is that it has a power button, meaning the you don't need to get a cable with a switch to power on/off the camera. The button makes it much cleaner too. The plate was screwed on the back of the camera. This required a bit of modding and making the existing holes on the back of the camera a bit bigger (took me 3 minutes to do this). I made a custom cable, using a simple 5.5mm x 2.5mm DC barrel plug, and a Amphenol Tuchel connector (T 3475 005). Pin 3 is +12V and pin 4 is ground. This connector is really well made and fits perfectly with the camera, worth it in my opinion. Once the cable was made, I simply plugged it into the 12V output on the plate, and the camera works perfectly. Currently I'm planning on adding a small monitor and a small video assist as well, which will both be powered from the 12V outputs on the battery itself with a Dtap cable. The only drawback with this method is that you in reality need to use a video tap, as the viewfinder is blocked by the battery/plate. With a smaller plate and battery, it could have probably been avoided. So far I'm quite happy with this setup!
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Decent condition, shows some wear. Focus is smooth, aperture stops lock in nicely. No lens caps. $420 NZD
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When I got my K-3 back in 2015, I seem to recall it being able to run for about 30 seconds at 24 fps on a full wind. I've always tried to take very good care of it and can only think of one occasion where I accidentally started to overwind it, which I promptly stopped doing. Still, nowadays I seem to only get about 10 seconds out of it, maybe about 15 if I'm lucky. Does anyone have any advice on how I can get longer takes again? I know 30 seconds is about as much as you can hope for with these cameras, but lately I have felt particularly limited with the camera. -
Or are there any tools available for shooting Arriflex SR 16mm handheld, like shoulder rigs, etc?
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I am trying to find out which battery adaptor this is in the photo attached. I know there is the Elokuvakonepaja gold mount option....but, I am worried about weight with the added SDI/HD convertor. I need this to stay as simple and as light as possible. I also like the fact that it looks like there is a brace that holds this adaptor in place. Any info would be greatly appreciated.
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Hey everyone, I recently bought an Angenieux 5.9 f1.8 to be used on an Arri SR2 N16. It seems like the lens is just about too long and touches the mirror - not allowing the standard mount to 'click in' and lock the lens. Another thread on the forum addressed a similar issue with a PL mount, and more interestingly, highlighted a custom adjustment made to the lens's rear element: It seems that this element has been custom filed to allow extra space to fit between the mirror and internal elements of the camera. The lens I have received has the same element without the filed adjustment: Alternatively, I have noticed another version of the same lens with a different rear element, probably taking in account the need for extra space for both mirrors and internal components in the camera mount: My questions are: - Shall I return the lens I bought in the hope to get one with the right rear element? - Shall I try to dismount the final metal ring and file it as seen in the first example - Can the last rear element be bought separately and swapped, fitting it myself. Thank for any insight and help, I'm pondering whether sending the lens back or not. Thanks, Val
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Hello there ! I am wondering about the scan part of the production for upcoming tests on an eclair gv16. Am i suppose to ask to the lab to make the Scan or TC at regular 25fps recommendation or am i missing something ? I understand that it is good to match the frame rate to the scan/TC 'rate' for 25 fps and under, but for the rest, i don't have an idea. thanks in advance Jordan -
I've seen an article with Eliot Rockett saying he shot it on 16mm but can't find what camera/lenses were used or even a behind the scenes photo.- 2 replies
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Hey all, I’m having an issue with the A Minima where the film doesn’t roll tight onto the take up spool in the magazine. This eventually will push film out of the mag and into the sprocket/gate area. I’ve also noticed sometimes it will spool around the feed sprocket. Is the film supposed to be loose on the take up spool? I made sure many times the film was correctly threaded and loaded. Even when the problem is happening it’s still locked onto the sprockets and still in the gate area. But it just bundles up and may eventually rip. I’ve managed to get it to thread tight on the take up spool twice but I did nothing differently so I’m unsure what’s happening. Any thoughts would be helpful thank you!
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Hello Community ! (picture from the aaton ltr7 manual) - This might sound like basic questions but i must ask : 1) HOW DOES THE BEAM SPLITTER ON THE AATON LTR 7 WORKS what does the manual means by 'aaton VR30' system in the first paragraph ? 2) how do i know the one inside my LTR works ? how do i get the beam splitter signal out on a monitor ? 3) there is no connection whatsoever for video output on my ltr (no BNC - as it is sometimes apparent downside the magazine near the iso adjustment - or connector apparent near the beam splitter and so called aaton VR30), i do understand this beam splitter has an on/off position. I also do not possess the m3 allen wrench mentionned in the second paragraph but i can't even find the screw i should access to switch the BS position , or maybe it does not exist ? 4) Should i consider a better and easier alternative way to video tap on my aaton ltr7 with a micro camera through the viewfinder ? what camera and lense model is best suited for this configuration Thanks in advance, J aaton manual p20 png.zip
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I really haven't seen much 16mm Ektachrome footage out in the world so I wanted to share this film I shot earlier this year. Filmed in the Boundary Waters Canoe Area in the Summer of 2022. Shot on a Bolex Rex 5 with turret mounted 10mm, 25mm, and 75mm Kern-Switar lenses. I lugged around a 15lb pelican case in on the week-long ~25mi canoe trip in the deep backwoods of northern MN so some of the shots are less planned out (and shakier) than others. I need to figure out a lightweight tripod system in the future. Full disclosure I've only shot reversal a handful of times so the exposure was not as tight as it could have been. I shot 5 rolls of fresh Ektachrome 100D (ordered directly from kodak). I metered with my Sekonic L-308B which limited me to incident metering. In the future I'd like to upgrade to a spot meter so I can more accurately meter landscapes. I received a flat raw 6K scan from thenegative.space and did final color in Davinci Resolve. It was an HDR scan (which comes standard now) which gave more dynamic range in the shadows/highlights which is especially useful for reversal. That said, I still probably pushed the film in color a bit more than I would have liked which is why you'll notice more noise on some shots than others. I also lost a bit of resolution in my 4:3 crop to reduce the edge framing. It's all a learning experience! Each new project is an opportunity to learn and grow as an artist.- 13 replies
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hey all. wanted to share this film cost calculator that I've been working on for a while. www.filmcostcalculator.com Eventually I'd like to add more equations that can list out alternative results to compare various perf options. Also working on a 1000' roll calculator. Hope it helps! Feel free to comment with any notes and ideas.
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Photos: eBay - Fair Use No wasted BS or space on it. Anyone ever use one? What was your experience?
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Hey all, I've decided to sell my Beaulieu 2016 It's been recently serviced by Björn Andersson and runs so smooth. If anyone is interested, DM for pricing etc. Pictures Here: https://drive.google.com/drive/folders/1CeHOFgvdKuZYfhADuBWXv39FeKQdy0QR?usp=sharing
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Hi, I see that the arri made the 416 as an upgrade to the sr3 specifically so the 416 could accommodate larger lenses without hitting the viewfinder. The problem is the pricing difference between the two cameras is crazy, the 416 being nearly 4x the price used while on average only garnering 2x the price in rentals, I would without hesitation go for the sr3 but the problem is I frequently use larger lenses so if anyone has come up with a solution to use larger lenses like on the 416 but on the sr3 please tell me. -
Proud new owner of a recently overhauled Aaton LTR, early model but running like new! On the hunt for a blimp for this camera, and also for any info regarding the possibility of getting a video signal out for monitoring. Lastly, are there any S16 aperture plates out there in the wild?
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Hi, Can anyone suggest how I should treat rust on the inside of an Arriflex ST's door (see photo)? If I run my finger along it leaves a residue. Also, there's some very fine paint flaking off inside the camera and some fine dust/rubbing in the corners of the magazine cavity on top of the camera, which falls and collects inside the camera where the 100ft film is. Any suggestions on what I should do to maintain it would be much appreciated. Thanks. IMG_0302.heic
