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My Gear


  1. Hello everyone, I've managed to lose my 1014 XL-S battery cover, meaning I can't use the camera. First question, is does anyone have a junk 1014 XL-S I can buy to use for parts? Second question is does anyone know whether the battery covers for any other models are interchangeable? Eg the 814 or 514 XL S? I know the 1014 standard isn't a fit (I think). Thanks for any help! D
  2. Hi, I'm a filmmaker from Switzerland, I have 7 unopened cans of Kodak Vision 250T and 7 cans of Fuji Reala 500D left over from my grad film project in 2004. Both are 16mm single perf, 122m (400ft). Stored in freezer since. Current condition unknown. Selling for 30 swiss franks per can (=30 USD). Serious buyers only please! Online bank transfer in advance. Minimum order: 3 cans. Shipping to USA costs ca. 40-80 USD, depending on weight. Europe is less. I will be travelling to the UK and US in Feb/March, could possibly bring stock personally (not sure about x-rays?). Best regards Bernie
  3. Hello everyone, My friend Fred and I wanted to go out and do a camera test on my ARRICAM. My other friend and her dog were in town visiting at the time, and we thought they had a cool story to tell. One thing led to another, we ended up making this tiny little documentary call Zema. Check it out if you are interested: Shot in one day with only available light. Tested 6fps, 24fps and 48fps on Kodak 5207 and 5219 stock with Zeiss Superspeeds MKIII. Film processed at the Kodak lab Pinewood Studios. Would love to hear your thoughts. Share it if you like it! Cheers, and have a nice day! Tsering
  4. 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.....
  5. "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.
  6. Hi, that was the Laboratory of Self-taught Cinema - Experimental (STCL-X) in Brindisi, Italy. Me and my sister (the actress) founded the Lab as a way of gather all the filmmakers of the area, either professionals (I am an Electric, she's an Actress), either kids. Consider that the area of the Lab is dangerous, as robberies and gunfights happens very often (another robbery few hours ago), so this was mainly an effort of grabbing kids from crime. Eventually the Lab died in less than twelve weeks. However we were able to make two test: one digital on Blackmagic Micro Cinema Camera, and the other on Film (old and damaged 7219, on AATON XTR and Angenieux 12-120). I performed cinematography, lighting, I also operated the camera, directed the shoot and loaded the magazine. You can download HD Telecine and 2K 16bpc DPX scans of the film test here, as the project is licensed (CC) BY-NC-SA This was our film test. It was just to try the Camera and Lens, and also to try my intended look for our next project. Then the following is an actual short; my sister improvized a monologue while I was preparing the scene. Blackmagic Micro Cinema Camera and Angenieux 12-120. I want to put also the files of this one online, soon.
  7. Hi There! I'm selling two batches of expired, unopened 16mm film stocks. Most are vintage stocks. Shipping is free and they would be shipped using the US postal service only to the lower 48 states. Batch 1: 12 Rolls of Expired Vintage 16mm Film Stocks - 100' rolls $119.00 5 X Vision 3 500T/7219 2 X Vision 3 200T/7213 2 X Kodak ESTAR Base HQ Microfilm 1 X Kodak EXR 50D/7245 1 X Kodak Ektachrome/7242 1 X Kodak Kodachrome II One of the Vison 3 500T boxes has the paper worn and torn off but appears completely unopened. Buy: https://www.etsy.com/listing/650732138/12-rolls-of-expired-vintage-16mm-film Buy: https://www.etsy.com/listing/650732138/12-rolls-of-expired-vintage-16mm-film Batch 2: 11 Rolls of Vintage Expired 16mm Film Stocks - 100' rolls $139.00 3 X Kodak Ektachrome/7242 (perforated both edges) (100 ft) 3 X Kodachrome 25 (100 ft) 2 X Eastman Ektachrome Commercial / 7252 (100 ft) 2 X Eastman Color Negative / 7254 (perforated both edges) (100 ft) 1 X Kodachrome II (100 ft) Buy: https://www.etsy.com/listing/653128152/11-rolls-of-vintage-expired-16mm-film Buy: https://www.etsy.com/listing/653128152/11-rolls-of-vintage-expired-16mm-film
  8. Hello all! So Im fairly new to this forum so apologies if this topic has been covered someplace else but no matter how much I search it doesnt appear to come up. Anyhow, I have recently come to acquire a CP-16R that for the most part works well. However I did come across one issue with the drive pulley for the magazine; even when agitated it does not move at all. Is there by chance something that needs to be engage to make it move? And if this is unfortunately not the case what would be the proper way of going about repairing the camera? Im not a particularly handy person so unless its easy to do a service may be my best bet. Thank you!
  9. Great news for film enthusiasts in Australiasia! Archives New Zealand has reached a deal with Park Road Post Production to take ownership of all film laboratory equipment and set up a new film processing laboratory here in Wellington, New Zealand! This has been approved by the NZ government and is to serve Archives in finishing all their restoration needs in the coming years, but also to provide processing for public use. The Archives are taking the ECN and both B+W Neg and Pos machines (No ECP), a number of printers, cleaners etc. This will be a full service laboratory, employing most of the same people from Park Road. Slated to open around the end of October/start of December 2013. If you have any questions, I'll be glad to try and answer. Cheers, Chris. http://www.stuff.co.nz/entertainment/film/8851876/Lab-deal-gives-rare-Kiwi-films-new-life
  10. Hi there, I finally have gotten my Eclair ACL kit to work, and it has been out on a handful of jobs. I love it. Thing is, I am now making a video tap for it, to try to modernize and make it an alternative to the alluring SR's, and 416's of the world. One issue though is that the repairman that made my conversion, Bernie at Super 16 Inc, made the frame lines by hand. And that's all good for myself using it privately, but it does come across as a bit unprofessional in the working world. My question is, is there anyone in the Los Angeles area that potentially could make me a custom ground glass to replace what I already have in the camera? Preferably someone that knows Aatons internals (since they are basically an Eclair). //C
  11. 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!
  12. Hi everybody! I've just published on amazon the dissertation of my BA and it's about chemical images in the digital post: I've actually tested that is more comfortable to composite and color footage from motion picture film (5219 in my test) rather than digital one (r3d). I think you are the best people I can share this with, and I hope we could start a discussion about that. You can find it here https://www.amazon.com/Improving-digital-industry-workflow-chemical/dp/1723717606/ref=sr_1_1?ie=UTF8&qid=1542138841&sr=8-1&keywords=luca+bonicalza and in all local amazon's website. The price is to cover the print costs (and I hope in a looooong time even the production ones!) Thank you and bests Luca Bonicalza
  13. I haven't purchased re-can/shortend film from overseas or Canada, but I'm wondering if getting packages x-rayed is a concern. Anyone have experience in this?
  14. 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)
  15. Because the demise of Kodak B&W Plus-X emulsion (31), shooting B&W film outside is challenging. 5222/7222 is the only Kodak B&W camera stock. Outside it is has an exposure index of 250. In the test described below the daylight was metered at 8,000 foot-candles. At 24fps this would require a f stop setting of around f64, or a very dark ND filter. Most lenses are sharpest at about 2 stops from open, this is impossible for 22 outside without using an ND15 or ND18 to get f5.6 or below. The contrast of direct sunlight & shadows is a struggle for any photographic medium. 5234 B&W duplicate negative is an intermediate film and is quite slow. 34 has a gamma less than one making it suitable to shoot and print. It is also panchromatic and available in acetate 16mm or 35mm. For the test it was rated at EI 6 for D96 processing. Test Information Film Information 5222 Kodak B&W 35mm DOUBLE-X Negative $0.444 per foot Exposure Index: EI 200(Tungsten) 250(Daylight) 5234 Kodak Panchromatic B&W Duplicate Negative $0.391 per foot Exposure Index: Rated EI 6 for test. Lighting Direct mid day sunlight - Metered @ 8000 fc Camera Setup Mitchell Super 35mm High Speed 4 perf 75mm prime lens 5222: f11 ND9 @ 24fps 1/48sec 5234: f5.6 @24fps 1/48sec Processing Kodak D96 B&W Negative Process Transfer Spirit 2K HD 1080P 23.98 1.78 extraction da vinci 2K+ DVNR2K Settings constant for both transfers. The results of the test were the following: The grain structure and response of 5234 is clearly finer. It is a very smooth image and out performs the 5222 outside. It is availible from Kodak in both 35mm and 16mm. We will do a test of 16mm soon, I am sure the diffrence will be even more dramatic. While this stock would be hard to shoot indoors, outside it is beautiful. If processed D97 is would have an exposure index of about 18 allowing for less direct sunlight. It is also cheaper 5222 $0.444 vs 5234 $0.391 per foot. Please right click and save as to see the test video. Youtube upload didnt show a good comparison.
  16. Hi All, I'm still really new to the forum so I hope this is the right place to post this. I was wondering if anyone had any advice on buying 35mm in bulk. I'm still a student and I love having the student discount with Kodak, but is the student deal the best I'm going to find? I'm assuming for fresh stock it probably is. I know a lot of people on here shoot with expired stock, does anyone have any suggestions on where to find expired stock in bulk? Thanks so much, Thomas
  17. Selling an Arri Alexa XT in great condition with approximately 1600 hours. Comes with: Arri Alexa XT Camera Package Includes: Arri Alexa XT Camera Body Serial # 6714 Anamorphic 4:3 License & Open Gate Pair of Rods 15mm 12V Power Supply #12VPS Alexa Electronic Viewfinder #AEVF1-5992 Alexa Shoulder Pad #ASP4 Alexa 15mm Bridge Plate #BP-13 Alexa Bridge Plate Adapter #BPA2 Alexa Ethernet RJ45 3M #CBLE-KC153 Alexa Viewfinder .65M #CBLE-KC151 Alexa 12V Accessory XLR4 L2 #CBLE-KC154 Alexa 24V Camera Power F2 XLR3 #CBLE-435P USB3 Cable #CBLE-USB3 Alexa Viewfinder.35m #CBLE-KC1Alexa Center Handle #CCH150 Alexa Center Handle #CCH1 4X Codex 512GB XR Capture Drive #CXCD5 Alexa XT SXS Adapter #CXSA Codex Single Dock USB3 #CXSDK ARRI EL3 Eyepiece Leveler #EL3 Alexa Handle Extension 2 #HEB2 Alexa Leveling Block #LB1 Arri Lens Support 15mm #LS10 Base Plate Arri VEB3 Viewfinder Ext Bracket #VEB3 Alexa VMB3 Viewfinder Bracket #VMB3 Alexa Wedge Adapter #WA1 Asking $29,500 USD OBO Please feel free to message for pictures or more info
  18. 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.
  19. Hello, I am looking for an Arri mag, 60/200 ft which is for the 35-3/2C, but also fits the 235. I am attaching a pic to show which one i am talking about. thx in advance Kimon
  20. Selling a Arri 416 Plus. Here is a list of what is included. Please email me for pictures and more information on pricing. evancmwest@gmail.com - 416 Plus Body w/ PAL IVS - 3x 416 400' mags w/ covers - body cover - Extended magnifying eyepiece - 19mm baseplate - euro quick release plate - left side rod holder - covers for eyepiece and ivs - 416 shutter tool - 1x body case - 1x mag case
  21. Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think?
  22. My first test with a 3 perf cameflex was perfect except for the gate flare present in the negative. Just want to confirm this is the case... however the triangle flare isn't vertically/horizontally flipped as the rest of the image. Looks like it's flaring/bleeding into the next frame. As far as solutions...paint the mask? Both sides? Which paint do you recommend? Attached below are the stills, and of the gate, with and without the shutter. Many thanks!
  23. Hello everyone! I've always noticed that music videos (shot on film) from the early 80's tend to look very different to the ones shot in the late 80's. Early 80's music videos tend to have something different, like a softer look, more flickering and also dust. As I wasn't alive back then, I'm assuming that telecine systems in the early 80's used video camera tubes and late 80's telecine used either better video camera tubes or CCDs. Is this difference due to telecine systems? Maybe type of film used? Early 80's The Human League - Don't You Want Me The Clash - Rock The Casbah New Order - Confusion --- Late 80's New Order - Blue Monday '88 Eurythmics - There Must Be An Angel Rick Astley - Never Gonna Give You Up --- ​
  24. Hello, I am looking to sell the following items. I am willing to possibly split into different package prices, depending on need. I am looking for 2600 for everything below. Everything is in excellent condition. Bmmcc original price $995.00 Asking $750.00 https://bhpho.to/2y8CVWf Rawlite olpf - orig. price $350.00 asking $250.00 http://rawlite.com/ Bmpcc speedbooster ef Original price - $649.00 Asking - $475.00 https://bhpho.to/2nh2Rst One little remote lite Original price - $189.00 Asking - $125.00 https://amzn.to/2JNnNPh Smallrig Bmmcc cage Original Price - $79.00 Asking - $50.00 https://bit.ly/2l9SvaX Shijan angle hdmi clamp Original price - $30.00 Asking - $20.00 https://bit.ly/2JEDTyL NPF bridge Starving Artist Original price - $29.00 Asking - $20.00 https://bit.ly/2l9DJ3C 2 x Sandisk 128GB card Original price - $129.90 Asking - $90.00 https://bhpho.to/2iaZlNI 2 x NPF-970 battery Original price - $251.98 Asking - $180.00 https://bhpho.to/2fg0Ho4 NPF battery charger Original price - $34.90 Asking - $25.00 https://amzn.to/2sVxeGe 3 x LP-E6 battery Original price - $192.00 Asking - $140.00 https://bhpho.to/2bjAhOs LC-E6 battery charger Original price - $52.95 Asking - $40.00 https://bhpho.to/2bwFGnu Alphatron EVF Original price - $1,395.00 Asking - $500.00 https://www.filmtools.com/alphatron-...f-035w-3g.html Subtotal Original Price - $4,377.73 Subtotal Asking Price - $2,665.00
  25. Hey all! As the topic reads... I'm urgently Looking for Kodak EXR 50D 16mm film or maybe Fuji 64D... Ideally in New York, but I could travel or pay for post. Film love to you all!
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