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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

Price : $27,000 US Additional pics upon request. Package Includes: 3 Magnetic Drive 400’ Mags With Black Rubber Throat Covers A Cavity Cap Rear Magnetic Gate Cover Panavision Extension Eyepiece 16mm & Super 16mm Ground Glass Custom Walnut Hand Grip 3 Sets Ff 15mm Stainless Rails, 2- Sets Long, 1- Set Of Short (Threaded) Custom baseplate (dovetail) That Re-centers the COG) Custom Body Case With Laser Cut Foam

Hundreds of photos and screenshots covering a wide range of cine' related areas.... Large collection of small gauge cine' related material listed on eBay D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive When you are out and about and see something interesting...archive it! You are already there, so why not? That is how this collection came about. I was already there, so why not? <><><><> 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

Well let's start talking about it why not....Aspect ratio 1.43 : 1(Film IMAX - some scenes) 1.78 : 1(4K Blu-ray - some scenes) 1.90 : 1(Digital IMAX - some scenes) 2.20 : 1(70mm and Digital) 2.39 : 1(35mm) Camera IMAX MKIII, Panavision Sphero 65 and Hasselblad Lenses IMAX MKIV, Panavision Sphero 65 and Hasselblad Lenses IMAX MSM 9802, Panavision Sphero 65 and Hasselblad Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses Negative Format 65 mm(also horizontal, Kodak) Cinematographic Process IMAX Panavision Super 70 Printed Film Format 35 mm 70 mm(also horizontal, also IMAX DMR blow-up) D-Cinema

Hi everyone, I just have a few questions about storing, shooting film and then sending it of film to the lab. I have fresh Vision 3 stock that I am keeping in a freezer. I am shooting in South-East Asia and here its always hot and humid so when I take a can out of the freezer to acclimate the stock it straight away condensates because of the heat 20-30 degreese celsius. Should I bring it from the Freezer to a Fridge and later bring it out of the Fridge into room temperature or it doesn't matter? If I dont open a can do I after put it in a fridge or a freezer for the next day or week? After having shot something should I put the short ends back into the fridge or freezer? I guess the exposed negs until I send them to the lab they should go back to the fridge, right? Thanks!

16mm film in early stages of vinegar syndrome. Daniel D. Teoli Jr. Small Gauge Film Archive This post is about various tests I've done over the last 5 years looking to halt the progression of and reverse the degradation of film suffering from Vinegar Syndrome. Vinegar Syndrome (VS) is a big problem with acetate cine' film. Maybe 15% to 20% of my cine' film Archive suffers from it in some form. Heat makes acetate film off-gas acetic acid + no ventilation in the sealed film can, for the acetic acid gas to escape = VS. The films then start to shrink and buckle. They become brittle, emulsion can flake off and in extreme cases solidify into a blob. If you want to allow for ventilation with film storage, get vented film cans. The only surefire way to halt the progression of VS is to vacuum seal the film and freeze it subzero. Photo: D.D. Teoli Jr. Screenshot Google image search: D.D. Teoli Jr. Chest freezers are an economical way to buy freezer space. You can get a 5 cubic foot model for about $180. Or for $800 you can buy one big enough to hold 3 or 4 human bodies. 16mm humidor film can Daniel D. Teoli Jr. Small Gauge Film Archive Back in the day, they had humidor film cans. They had an absorbent material in the center to add water or chemicals to. Originally, they were made for water humidity. Later on, film users used various chemicals to try and preserve the film, such as camphor or from the smell of it, some type of naphthalene. Daniel D. Teoli Jr. Small Gauge Film Archive Vaporate - Peerless Film Treatment was a commercial treatment done to film to protect it from deterioration due to handling. I've only seen one example of Vaporate. That sample showed no deterioration from VS. But, being I've only seen one sample of Vaporate, there was not enough confirmation to draw any conclusions. Vaporate trademark embossed on 16mm film leader Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Small Gauge Film Archive 16mm film with Vaporate film treatment. Daniel D. Teoli Jr. Small Gauge Film Archive To save money, some film collectors made homemade humidor film cans by taping blotter material in the center of the lid. Homemade 16mm humidor film cans. Daniel D. Teoli Jr. Small Gauge Film Archive <><><><> 16mm film in lab can soaking in Vitafilm treatment. Photo: D.D. Teoli Jr. The tests I ran for Vitafilm & Film Renew covered 5 years using Kodachrome and B&W stock suffering from VS. Photo: D.D. Teoli Jr. Here were some of the tests I conducted on 16mm films. All aging was done in a tape sealed film can to maximize absorption and slow the evaporation process. Some films were reverse wound during the soaking and aging process, others were not. Reverse winding didn't make a whole lot of difference once it was returned to normal wind. A few of the tests were not aged and just wiped down after treatment. Most of the testing was done with black and white film stock, although I did test a number of Kodachrome reels suffering from VS to see if there was any difference in results. List of Tests: Generous application of Vitafilm or Film Renew and aged 1 month. Soaked 1 hour in Vitafilm or Film Renew and wiped down. Soaked 1 day in Vitafilm or Film Renew and wiped down. Soaked 1 day in Vitafilm or Film Renew, drip dried and aged 1 month. Soaked 3 days in Vitafilm or Film Renew, drip dried and aged 2 months. Soaked 1 week in Vitafilm or Film Renew, drip dried and aged 3 months. Soaked 1 month in Vitafilm or Film Renew, drip dried and aged 6 months. Soaked 3 months in Vitafilm or Film Renew, drip dried and aged 2 years. Soaked 6 months in Vitafilm, drip dried and aged 4 years. Then it was soaked again for 2 days and aged another year for a total of 5 years aging. (Vitafilm tested only.) Photo: D.D. Teoli Jr. Irrespective of color or black and white film stock, none of the treatments I did fixed the film shrinking and warping. They may have halted the VS decay, but I can't attest to that one way or another, since it will take a few decades to determine if that is the case. The vinegar smell was replaced by a chemical smell and no further deterioration was noticed after the treatment. That is all I can say. Below are the results of the multi-soak 5-year test with Vitafilm. Before treatment Photo: D.D. Teoli Jr. Same film as above after soaking in Vitafilm for 6 months. It was drip dried and aged 4 years. Then it was soaked again for 2 days and aged another year for a total of 5 years aging. Photo: D.D. Teoli Jr. A-D test strips give you an objective method to test for VS. Photo: NYC Department of Records & Information Services Photo used under auspices of Fair Use. Background shows dirt on just a few feet of film using Film Renew as a cleaning agent. Photo: D.D. Teoli Jr. Irrespective of whether there is any halting of the VS from Film Renew or Vitafilm treatments; they both are excellent cleaners and lubricators for film. There is no comparison with the cleaning action you get with slow drying Film Renew compared to a fast-drying cleaner like Edwal that leaves a lot of the dirt behind. Fast drying cleaners evaporate before they get all the dirt. They also do not offer any lubrication if you are projecting a film. I cannot attest to the long-term archival effects of using film cleaners. That will have to be revisited a few decades from now. Photo: D.D. Teoli Jr. <><><><> Camera Store - Glendale, CA Daniel D. Teoli Jr. Archival Collection <><><><> 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

Hello, so to me, 35mm motion picture film just doesn’t have an aesthetic quality over modern digital cameras as I struggle to tell the difference half the time, unlike with say super 16 which I find does register with me as being filmic, even with grain removed. Like, I have to tell myself as I watch a modern 35mm film that it was shot on film, some examples for me are don’t look up and the northman, and even with films that attempt to emulate older time periods like licorice pizza and once upon a time in Hollywood, I just don’t see the image find it looking like eras they’re emulating, they look modern to me, which is not to say they’re bad, they look great, I just struggle to feel those films as being shot on film despite the fact they were. and whatever textural quality there is to 35mm film, I find is easy to replicate with film emulation, and I even heard of some 35mm productions like hbos winning time using film emulation as the film was too clean on its own so they added grain that would look more like 16mm film and at that point I ask, why not shoot it on 16? But then again, maybe I'm wrong and there is an inherent quality to 35mm film, let me know your thoughts.

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.

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.

Arri 435 Xtreme 35mm Camera 4 Perf omar@raw-entertainment.com

Hi my name is Boris and I’m a director in Rhode Island. I’m new to the area and unfamiliar with camera rental houses in area. I’m in dire need of Arri Sr3 or Arri416 for short film. I’m looking to rent for 2 days. Please let me know if anyone or any place has it available near my area

Up for sale is the Eclair NPR Super 16mm camera package in great condition. Package comes with these: - Camera converted to Super 16, with a PL Mount & "C" Mount; ground glass re-centered for S16. - Lens converted from its "CA" Mount to PL Mount. - New battery, cable and charger, tested to be fully functional. Items also included: - Angenieux 9.5 / 95mm... 1:2.2 lens PL Mount + sun visor and directional rod. - Protective cover and soundproofing / blimp... for camera. - 2 120meters magazines. - Perfectone motor. - 1 Flight case. - Facsimile of the original instructions for use. The Price is 2060 GBP (the cost of shipping not included) Items location is Wales. Camera and lens conversion fully done by Les Bosher; battery, cable and charger with modern components also replaced and tested by him. Communication with him about any concern is encouraged. Camera recently serviced, and operation checked by the same camera engineer, it's all ready to shoot. No issues. Images below shows the items that come with the package. Attached Images: (Photos are of camera before upgrading)

REAL FILM at film festivals... Kind of makes sense, right? Well, not on the modern "film" festival circuit. Every film festival I have attended or been a part of the last five years (live or online) is primarily about HD. Usually I am the only filmmaker who shoots on film when my films play at a festival, unless the festival is truly specific to ACTUAL FILM, like the United States Super 8 Film and Digital Video Festival. You see how the title of the festival states FILM and digital video...? Recently I attended the 2022 Spring Austin Micro Film Festival. A really cool Festival! I had two experimental films play, WAITING FOR LEGROS and WAITING FOR LEGROS 2: THE EYE OF THE TIGER Both films shot on Super 8. I was surprised to see another film the was shot on film at the festival, and it was really good! I am pleased to announce that my latest short film THE UNMENTIONABLES (16mm, Tri-X 7266) will play at the 2022 Oregon Short Film Festival. I hope to see more films shot on film in the future! Don't give up on it!

Photos: D.D. Teoli Jr. It has a sandy texture / coating on the outside. If it was marketed to curb V.S....it does not work that well. What is the scoop?

Just arrived from B&H today. Project got cancelled so trying to get rid of these ;( $200/ea. Pickup in LA

I decided to check out the history of film stocks and their different formats, and I realized that there are no actual full-frame movie stocks that were ever developed or used for cinema back in those days. Full-frame as we cinema people interpret it today, from what I understand, came from digital manufacturers making sensors based on the 135mm film stock dimensions made for Photography: -Which are ~35mm wide in its negative and ~24mm tall negative(which is approximately the actual width of negatives on Super35mm film stocks, so basically it's like someone rotated Super35mm stocks 90 degrees) -Pulled along horizontally rather than vertically, which is actually what allows the ~35mm width negative Unless I'm missing something, why was there no Full-Frame( not the full-gate 35mm but the actual negative 36 x 24) ever used? It was quite surprising to see that cinema film stock developers decided to just jump straight into Medium Format from Super35. The only thing that might come close to it is VistaVision, but I'm not 100% sure if that actually qualifies as full frame . Thanks

Hey everyone! Hope you're all well I just wanted to share our latest short film 'RISE', which I shot last year in the mountains of Snowdonia, UK - vimeo.com/674155543 Within the unforgiving environment, the walls of a Welsh quarry provide a climber with the physical and mental strength to prevent a functional neurological disorder from defining who she is, but also to find solace and reconnection through the act of climbing. Captured on the SONY VENICE with Leitz Summicron-C Set Lenses. If you get a spare moment, I would love to know what you think. Many thanks really appreciate it! - Lee

I know there are many Krasnogorsk haters on this forum but I wanted to share this awesome project by Russian DP Max Ivanov. It's been 2 years in the works and so much effort has been put into this with a ton of custom machined parts and boards. Here are the specs as shared on the Instagram page for the project: - Camera works with 7-12V batteries (it has a 2-pin lemo connector for power input) - Swiss 100 watt BLDC Motor. (BLDC motors have longer service life and were installed on the Aaton A Minima, XTR Prod, Arri 416.) - Motor controlled and stabilized by a microcontroller - Sync is accurate to 0.001fps at 25fps. (between 0.01-0.001 at other framerates) - Framerates: 1-50 fps - Video tap is based on GoPro internals which allows to record the tap feed in-camera. (Max said he will be adding a cable clamp / adapter since it uses the unreliable micro-hdmi connection from the gopro internals) - Optical viewfinder can be used at the same time as the video tap - Wi-Fi control which allows to set framerate and run/stop wirelessly via your phone - Electronic footage counter. (Maintains footage count after being powered off and has a reset button) - Super 16 gate with ground glass adjustment mechanism. FFD can now be easily tuned and will be precisely set on every model. Max will also be selling a set of tools for calibrating the FFD on this camera so you will be able to calibrate it yourself (I can already hear some of you complaining about how nobody should attempt to do this on their own unless they're a trained technician) - Super 16 viewfinder with correct markings - PL Mount Obviously not a camera for every situation, like narrative projects or basically anything with dialogue. However, I think it's perfect for more abstract projects like music videos or fashion films, especially when you need to move fast and do dynamic handheld stuff. I have one preordered and am super excited to test it out once it's ready! (I think the current eta is March/April)

This is not meant to be a digital vs. film post, I like both and they each have their place. I'm working on a feature, and in pulling a bunch of imagery as references for what I'm aiming for, and after diving through older threads on this website, I came across "Jennifer's Body", and particularly this frame. I love how it shows warmth, while her skin doesn't look orange, indeed there is a whole range of colors in her skin, from reds to pinks to oranges and even a little blue it seems. Earlier this year I did a side by side test between 5219 and the Alexa, and saw immediately how Kodak was able to really build skin tones into the chemistry of the film. Faces and arms and any exposed skin just seemed to pop with a wider range of color compared the the Alexa. I'd love to know if Mr. Mullen feels like he can get these kinds of skin tones working digitally now, or if he was shooting Jennifer's Body on digital, would he light it differently? More than that, I'd love to know if this frame was the result of a serendipitous combination of artificial back light and natural cool ambient? Or was he filling with a cooler light here? Or how much of it has to do with Amanda Seyfried's natural complexion or great makeup work? I always want to get better at my craft, and I'd love any input on how different people really focus on getting beautiful skin tones like these. Thanks in advance for any responses.

Hi, I'm student of cinematography and I'm looking for s16 camera package (preferrably Aaton or Arri sr) or/and s16 lens nojusdra at gmail, or p.m. here Thanks! Nojus

Hi, everyone! Gonna be shooting a film with a look rooted in Jazz photography from the likes of William Claxton, Dennis Stock and others known for the marvelous images they created around that beautiful genre. Obviously, the film's aesthetic's going to borrow a hell of a lot from these great photographers... However, what I'm most interested in is the B&W film stocks that were around the time in which the most iconic artists were photographed: the 1950s. So, on the one hand, what I'm wondering is if there's anyone in the room with an idea about the the rolls of B&W film available at that time and their characteristics. But on the other hand, I'd like to know if anyone knows where can I find information on the way these photograpers worked, which is to say the lenses and equipment they used, the way they developed their film and created they final shot in the darkroom, etc. Also welcome is information on the film stocks used to shoot movies or documentaries around the 50s. My guess is even at that time Double-X was the real deal, but... You know. A guess is a guess.

Hi, might be a silly question, but is it possible to buy a brand new film camera? like arri sr3 or arricam. Do they even make new ones? Another question. Do you know any reliable store\dealer who sells arri film cameras (sr3 or arricam)? Preferably in Europe. Thank you.

For details email sales@broadcastsolutions.com SR3 Advanced Camera SN 4142, finder, right on/off handgrip, TV/1.78 ground glass, Gold Mount Battery Bracket (NEW) Arri SR3 IVS video assist (SD) SN 5064, power cable Arri SR3 FE-4 extension viewfinder SN 1294 SR3 400' time-code mag SN 3543, cover SR3 400' time-code mag SN 3549, cover SR3 400' time-code mag SN 3645, cover Heated Arri 3-position eye piece w/2 cables SR-3 shoulder pad 2x SR3 Black Battery Cables ARRI SR3 LW15mm rods ARRI BP6 19mm Baseplate ARRI Dovetail 24v on-board battery # 1 SN 4329 24v on-board battery # 2 SN 3711 24v on-board battery # 3 SN 4094 ARRI dual on-board battery charger SN 1070 Assorted SR3 Ground Glasses, various formats The complete system (Body, Mags, IVS) was overhauled in 12/19 but it has not been used since this.

Hi all, Can't remember from where, but I've heard of the ability to shoot on print stock just as one would on regular motion picture stock, with the idea of having a very punchy and contrasty look. Does anyone have experience with this? Looking at the Kodak catalog, it seems print stock primarily comes in 2,000' rolls, which would make the process of downspooling a bit tedious...

Hi , Just purchased a beautiful old lady in perfect working condition (still got to do some test next week but motors are running pretty well) : an Aaton Ltr 7 from the first era (1974-1982) 1) It came with two mags that are a bit different one from another. Any tips about the serial numbers and the pressure plate (see photos) is welcome. 2) Is there anyone in europe making this kind of video output/assist : http://www.visualproducts.com/storeProductDetail01.asp?productID=741&Cat=11 3) any comments about the camera electronics, what to take care of etc ... is very much welcome ? photos : https://drive.google.com/drive/folders/1oh1TppG0EFdFYhjaO6_K7DUtGjWVuGoj