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Showing results for tags '16mm'.
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Hey everybody After getting my Black Magic Pocket Cam, and a bunch of accessories, I'm about to start delving into the wonderful world, and perform some lens tests. I have 4 Schneider Prims, and 4 Kern Primes. The gear is almost complete. But I'm stuck in finding a solution for a ND Filter for these little primes. Any suggestions? I'm not sure if there's any that could fit a Matte Box? Not sure if that is still used. Thanks, F
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To cinematography.com community, I recently just purchased an m42 krasnogorsk 3 off of ebay for 17.50 (which was a steal) , but i want to know some things. 1st- What lenses are compatible, any m42 or will shorter focal lengths cause vignetting? 2nd- What film works best with the k-3 unmodified? I want something balanced for tungsten but can be shot in daylight with a filter. 3rd- Is it worth it to get the light meter battery adapter, or should i use an external meter? 4th- Is the super 16 mod worth it? Thanks, J.M.
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I just got a Bolex H-16 Blimp in the mail today. I bought it on Ebay. The seller really didn't do this thing justice. WOW! I can't wait to test it and see if I can get my Rex5 in there or if I can swap out the motor it came with for the Tobin sync I have. It's roomy in there and everything can be unbolted out if need be. Worse case, I can use it as is with a regular H-16. Anyone familiar with these? It was made by some engineering company called Sonex. These photos make it look small but it's pretty huge... I have to put this on one of my big beast/crane tripods.
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£449 ARRIFLEX 16S + 2 MAGAZINES (8V) + ORIGINAL ARRIFLEX MATTEBOX + ORIGINAL 8V MOTOR + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in good condition. Magazines have some signs of use and acrylic pieces (on footage meter) cracked, but does not affect performance. Serial Number: 6587 £499 ARRIFLEX 16S + 2 MAGAZINES (1 12V, 1 8V) + ORIGINAL ARRIFLEX MATTEBOX + TOBIN TCS TM23 + ORIGINAL CABLE Fully working. Just serviced by Les Bosher in South Wales. Pristine and clean inside and outside. Original Mattebox is in very good condition. Magazines have some signs of use and both acrylic piece (on footage meter) cracked, but does not affect performance. Serial Number: 8467 PLEASE CHECK DOCS ATTACHED WITH PICTURES. CAN SHIP WORLDWIDE. WOULD LOVE TO KEEP THEM, BUT NEED THE MONEY.
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Hello, I am selling NEW rolls of 16 & 35 mm FUJIFILM that we received early April for a shooting that took place this summer. Since we bought them with a significative discount, we did not have a return option. The following are available for purchase: 17 rolls of 16 mm ETERNA VIVID 160 are available at a unit price of 65 € + Shipping 11 rolls of 35 mm ETERNA VIVID 250D are available at a unit price of 110 € + Shipping These rolls have been stored in a cold and dry place. They can be picked up in Brussels or shipped at your location. A more detailed listing including pictures for these film rolls can be found on Ebay: http://www.befr.ebay.be/itm/NEW-FUJIFILM-35mm-ETERNA-VIVID-250D-122m-400-feet-ARRI-AATON-KODAK-/111182279217?pt=FR_JG_Photo_Camescopes_Cameras&hash=item19e2faf231 http://www.befr.ebay.be/itm/NEW-FUJIFILM-16mm-ETERNA-VIVID-160-122m-400-feet-ARRI-AATON-KODAK-/111182279220?pt=FR_JG_Photo_Camescopes_Cameras&hash=item19e2faf234&_uhb=1 If have any questions, don't hesitate to ask. Rolls can be bought online though Ebay or directly by contacting me. :) Jonathan -
Comrades, I have some footage I shot that I would like to add sound too but I am totally baffled as to how to do it. When it comes to Final Cut Pro I am a total neophyte. I shot using a Canon Scoopic MS. I shot it on 24fps. I then got my footage processed and then transferred to HD 1080 @ Pro Res. I recorded audio from the day using a ZOOM H4N but it my stupidity I forgot to put the windscreen on my H4N, so the audio footage has a lot of what I call blow-outs from the wind. I asked my friend to re record all the songs from that day and I have all the songs re-recorded. The problem I am running into is how to sync the footage with the newly recorded audio. I should of gotten my camera modified by the film group to shot shoot crystal sync but at the time I could not afford it. The 24 fps marking on the Sccopic MS is probably not exactly 24, correct? However once I got my footage digitally transferred to HD wouldn't the frame rate change? Basically I am asking how can I change the footage frame rate in FCP so that I can match it up with my audio? Also what are some basic tips/things to do when editing film transferred to HD on FCP? Like for instance: getting rid of the edges that show the perfs so that I just get the (4:3) box? On some of my transfers I get a little beyond the pert, so I get a sliver of white, I am sure I can crop it out but I do not know how to do this operation :( Can I enhance my footage, perhaps make it look sharper? Lower the grain/noise ( I got good exposures. I figure ask anyway.) Can I play with the colors? My main goal is to sync the audio with the footage. I almost matched the audio with the footage but it comes undone at some point and then is out of sync. I did this in the crudest manner just by moving the audio to the point where the musician starts playing the guitar. I normally edit in camera( i started out using super8 and really dig the straight8 thing but I now I ready to actually EDIT). I plan on learning how to edit the original way, splicing and taping/glue/film cement my film but I acquired some computer programs and really need to learn how to use them, I also plan on taking some courses in the various programs (after effects/fcp x/ compressor/etc). For now I figure I come here and ask. Please excuse my ignorance/stupidity. here is rundown of my gear used and available: Canon Scoopic MS 16mm camera *unmodified Regular 16mm* non-crystal sync ( not for long, like i mentioned earlier I plan on sending my camera to get the crystal sync mod) Final Cut Pro X Compressor Adobe After Effects Adobe Audition I got the film processed over at PacLab digitized at DiJiFi I just acquired these programs as a gift but I am computer illiterate. Sincerely, Rudy
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Hey gang, I've got a roll of expired Kodak 500T EXR 7296 in my fridge here that I'd love to shoot. Trouble is it's a) pretty freaking old and b) probably hasn't been kept in a cool, dry place for a large part of its life. This particular film was discontinued in 1995 but could have been made anytime between then and 1989. Naturally there are too many variables to really know how it'll look but is there anything I should keep in mind if I want to shoot it? Rate it faster? Slower? Any thoughts would be great. Cheers, James.
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Hey Gang, I just purchased a Canon Scoopic MS off eBay. It came loaded with a Pro DV. 6X Wide Angle Adapter on the lens. I've shot a test with it on to test out the camera itself, I will have to do another without this adapter lens. This film is currently at the lab so I've yet to see it. When the lens is on the camera I can not use the zoom feature but it appears (at least thru the viewfinder, to me) that it is wide angle lens. (I am used to K3's so when you want a wide angle you get a Peleng 8mm fisheye or a Zenitar 16mm fisheye lens.) With the Pro DV .6X Wide Adapter on my lens the focus is for just I was wondering if this would make my camera a wide angle lens, but by how much? What is Pro DV .6x Wide Angle Adapter C62766? Is this similar to a Wide Angle lens adapter? P.S Has anyone ever used or have for sell a Canon Scoopic 400ft magazine adapter. The Scoopic takes CP 16r magazines and Mitchell 400ft Magazines, any one have a spare one of these they wanna get rid of ?
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Hey folks, I'm shooting a music video on an SR3 soon with some superspeeds. I had a look through the viewfinder the other day, wide open at t 1.3 and I 'seemed' to be able to pick the focus fairly accurately. I don't want to eyeball the whole shoot however and get back soft rushes. Has anyone judged focus by eye and been ok? Or should I always be measuring? By the way, I'm not going to be shooting the clip at t1.3! Cheers!
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As some of you may know, we recently acquired a Lasergraphics ScanStation at Gamma Ray Digital. We're putting together some demo videos, and would like to include as many formats as the scanner can handle. We're all set with Regular 8, Super8 and 16mm, but if you have high quality (sharp, well lit, G-rated) footage in Super 16, Ultra 16 or Max 8, please send me a PM. We're looking for things like landscapes/cityscapes, architectural footage, nature footage, slow motion or timelapse. Basically, footage with relatively little camera motion so that we can easily put titles over it. In exchange for letting us use your footage on our website and YouTube/Vimeo channels (with credit, of course), we'll scan a couple rolls (50 footers for Max8 or 100 footers for Super/Ultra16) at no charge to 2k DPX, TIFF or ProRes files - your choice. As a thank-you, we'll also give you a deep discount rate on additional scanning. We can only offer this to the first couple of people who send us film in each format, so if you do have this kind of footage, please let me know so we can make arrangements. Here's an example of one of the videos we've already made: I hope this doesn't come across as spammy - we're really just looking for some footage to show off the machine and I'm too impatient to wait for the right material to come along! Thanks! -perry -
Hi all. I have an Arri 16mm Set for sale. Beautiful condition: 1 Arri S Body + 2 Magazines (1 8v + 1 12V) + Tobin TXM 23 Motor + Original Arri 8V Motor + Original Matte Box I'm accepting offers before putting on eBay. Let me know how much would you offer. Pictures sent on request. The body has just been serviced by Les Bosher in UK. It's fully working and proper lubbed. Thanks, F
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Hi all, i am heading to the Patagonia in a couple months to start production on an installation piece i am working on - i am shooting film footage on a 16mm Krasnogorsk-3 movie camera and wanted to get some tips or advice on what colour films that you might suggest for such a project. i am taking landscape shots which i plan to project and play on loop in slow motion to the point where the movie footage will appear to be a 'moving photograph' I'm based in Sydney and have done a small amount of research and have found a lab in victoria that offers Aviphot 200asa at 100' for $45au. does anyone have any experience with this film? or would you recommend it for landscape shots? any advice on this would be really greatly appreciated. thanks very much. -
Hello everybody, Came here today to ask for advice on building a set of Schneider Primes (arri st or c mount) for use with my black magic pocket camera. I have these both Arri ST mount primes: Schneider-Kreuznach Arriflex-Cinegon 16mm f1.4 Schneider Cinegon 10mm f1.8 So I was thinking on a 25mm and a 50mm to complete the set. Maybe a 75mm or up as well. And I need to know which ones should I get (the names, please) to have a set where they could be interchangeable, meaning I could keep a balance in the quality/looks. So I can chase around to buy them. Thank you all in advance.
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Hello all -- Posting this on this forum in case anyone is interested. The buy-it-now on ebay is no longer available but I will let this one go for $2799 and end the auction early. It's a real steal at this price and am letting it go for cheap. http://www.ebay.com/itm/ARRIFLEX-Arri-SR3-Advanced-Super-16mm-Film-Camera-PL-Mount-S16-/271279445838?pt=LH_DefaultDomain_0&hash=item3f2983d74e Great camera, but there are a few quirks that are cosmetic don't effect the image quality or ergonomics, but I'd prefer to have a camera in better shape, that is why I'm letting it go. Here is a video of it running recently (9/15/13) : Item is located in NY and will ship domestically. Contact: ekyfilms@gmail.com ---- For Sale Arriflex SR3 Advanced Super 16mm Film Camera All items included with this item are pictured. Besides a few cosmetic wear marks this camera is in working condition. This was recently tested at a camera house (9/15/13) and is fully operational and works as intended and runs smoothly. A video can be sent of the camera running. Included items are: • Arriflex SR3 Advanced S16 film camera body • (2) 400 Foot Arriflex SR2 S16 mags • Arri SR3 Handbook • Light-weight Flightcase • 20/80 Prism For a Videotap (no port cap) Features of this camera include: • 5 to 75 fps • Manually adjustable Shutter angles 180°, 172,8°, 144°, 135°, 90°, 45° • 54 mm stainless steel PL mount • Heated Eye Cup
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I just bought krasnogorsk-3 and while i'm waiting for it to arrive i started to search for some data about it. To be quick here are the two main questions that i can't find any reliable answer to: 1. When did the production of k3 start and when did it end (- i guess with the collaps of ussr)? 2. Are there any movies that were shot with k3 (- i'll have to wait for a week or two until it arrives from Russia to Croatia, so i would like to watch some movie filmed with k3)? Sorry if there's already a post that answers this questions, i went through a lot of posts about k3 but i couldn't find anything.
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Dear Fellow-Filmmakers! For a Blow up of Fujichrome Single 8mm to 16mm I am trying to find some rolls of FUJI ETERNA CI - 16mm - intermediate film stock (or FUJICOLOR FC-I ). I have tried Fuji international and Frame24 - without success... Does anybody have This filmstock for sale? Does anybody know sources where I might find it? Any ideas, links or tips? Please let me know! Thanks a lot! Regards, Tobias kojak@schmuecking.com -
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 ;)
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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.
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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!
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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
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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
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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 -
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?
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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. -
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
