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Found 8 results

  1. Hi there, I believe that this is probably something that has been discussed before. But I hope there are some new things that can be brought up with this question. I have an upcoming project in the fall, and the director and I have decided that we want to have the anamorphic look for a short we will be making. Now the flares are not the most important thing, but rather the vast image that we are going for. The problem is how to achieve it. First idea would be to use my own S16 Eclair ACL, with an PL adapter, and we were considering renting pure 1.33x anamorphics. But as far as I know, the only ones to rent at the Hawk's, and they would cost us pretty much the complete production budget to get a set. Second idea we had is to use a R16 Arriflex SR and put Kowa 2x on it. The real issue here would just be the wider shots, since we basically loose all the width in the image. Third idea is to invest in a Panasonic AG-LA7200 adapter, with a 0.25 diopter, and use B4 lenses on the ACL to get the image we are going for. I also have a person that can make a M4/3 adapter for the ACL, so any M4/3 solution would work as well, but honestly I am open to any ideas you might have. And yes, both me and director are 100% set on shooting on film stock. C
  2. I know this is probably not the right time to sell this but since I sold my Eclair this have been collecting dust. She looks a bit worn, and front element has a little nick, but last footage I saw from this still looked great. This is a R16 lens. Also included is an adapter from RAF camera to use screw in 77mm filter. (I had an anamorphic adapter on the front element before) I looked online and tried to figure out the average price and saw a lot of different prices. So it’s $450 OBO really. Buyer pays shipping.
  3. Hello All, I have a Beaulieu R16 with 12-120mm Angenieux lens that I've recently started using. It's been great so far, but I'm having quite a bit of trouble trying to stabilise the camera/image. It's fine, or rather, the camera shake is not particularly noticeable on handheld shots and pans, but for stationary shots I'm getting a lot of camera shake. I'm using a pretty heavy duty Vinten video tripod with floor spreaders, so this I thought would be good enough to stabilise the camera itself, but there's still a really noticeable (to the point of distraction) amount of camera shake. To the eye it doesn't look at though the lens is shaking that much or at all itself so I can't tell if the problem is in the stability of the whole set-up - camera & tripod - or whether it is something more to do with the motor. I'm wondering if anyone knows if there are common motor issues (over revving or something??) with the R16? And also wonder whether anyone has any tips generally on stabilising the R16 with the 12-120 Angenieux? It's such a heavy set-up and obviously the fact the R16 base plate is not parallel with the angle of the lens it means that the tripod needs to be tilted downwards to shoot straight-on, so not ideal for stability in any case! I guess the next alternative would be to use a shorter lens (as to be honest, I really don't utilise the zoom in the way that it's designed to be used). Many thanks for your time in advance.
  4. My Beaulieu R16 runs fine on external power. I just bought a newly-recelled 1,000 mA grip battery. It won't run on the grip battery. Checking the battery on the meter on the side of the R16, the needle only deflects half-way. I tested the battery with a multimeter. The outer ring shows about 8 volts, and the inner ring shows about 4 volts. Since the camera's meter shows half power, and one ring of the battery shows half power, I suspected that one of the wires in the Power Grip is bad. I switched to 'resistance' on the multimeter. Looking at the plug that plugs into the camera body, with the pins on the lower side (pins at 9 o'clock, 6 o'clock, and 3 o'clock), I checked each pin corresponding to a ring on the battery, and each pin on the plug. The 3 o'clock pin on the plug corresponds to the centre pin on the battery side. I get a reading of about 1.3 ohms. The 6 o'clock pin on the plug corresponds to the pin on the battery side closest to the centre pin; thus, it corresponds to the nominal 3.6v inner ring on the battery. I get a reading of about the same as the first reading. That leaves the 9 o'clock pin on the plug. I'm not getting a reading on that one, which corresponds to the 7.2v ring of the battery. Not being an electronically/electrically inclined person, and not having any idea of what I'm doing, it seems that when I use the battery on the Power Grip, the 7.2v power is not getting to the camera. The 3.6v is. Apparently I have a bad lead in the 3-pin XLR cord. Can this be fixed? If so, can it be fixed by me? If so, how?
  5. I dug out the R16 to play with it a little bit, and the automatic aperture motor is a bit noisy. It sounds like its bearing is bad/going bad, or it needs lubrication or something. Is this something I could service myself? Probably not, eh? Who services R16s in the U.S. nowadays?
  6. So I was thinking about getting a Beaulieu R16. Looks to be a fun camera, and they can all fit a magazine on top. However, I've been told that they can only hold 200 foot daylight spools, which I haven't seen for sale on line. So here are my questions. If I had empty 200 foot spools, could I halve a 400 foot reel from a core in a darkroom? Well, I know it's possible but my concern is knowing when I've reached the 200 foot mark. How would I measure that in a darkroom? The other question is probably more of a camera question, but if I wanted to for whatever reason could I use a 100 foot r90 spool in the 200 foot mag? Not as important of a question as the first one, but nice to know. Thanks all!
  7. I have some questions regarding the following: I have just acquired Final Cut Pro X ( I am aware that most professionals hate this new version but it is what I have..), Adobe After Effects, and Photoshop. I shoot Regular 16mm and Super8mm. My normal procedure upon unloading my film from the camera is to take it to my local processing place - PacLab over on 2nd Ave ( N.Y.C ) then when these great folks call me I then take my film over to Greenpoint, Brooklyn (actually I get off on Vernon Jackson stop on the 7 line in Queens and walk over the Kosciszko Bridge, so it kinda of feels like Queens but I digress) and head to DiJiFi to get my film telecined. This has been my process for a couple of years now since I have been experimenting with 16mm and super8mm. When I'm there I am faced with some options and I wonder if I have been making the right choices. From what I remember, I always go for HD over SD for all my footage, I always have it output to my portable HDD and I always choose ProRes ( I think its 444) so I can edit in Final Cut Pro which I NEVER do cause I do not really know how. I come from an in camera editing school, but most of what I have shot has no narrative, basically just shooting to see if I can get "good" exposures and experimenting. So what are some things I can do using the programs I have listed and or other programs I may not know about to make my footage (A) Sharper (B) Reduce the grain © How do I play with the color/ color grade my own footage? (D) whats the deal with compression? I was reading another recent form and found it, informative but totally at a loss when it came down to the talk about compression and resolution. Since I always opt for HD, 1080p and my doing myself a disservice? Now I am shooting REGULAR/NORMAL 16MM. So far I like my footage when I get it back from telecine but feel since I am not doing any POST work, the stuff I have shot lacks in color grading/sharpness/grain compared to other folks who have shot with my cameras but are keen on doing their own color grading/post work. What are some good programs, tips, and tools a person can use to make the most out of their super8mm/16mm footage? ---for fun I shot some footage of my buddy placing acoustic however the camera was not crystal synced...I did shot on 24fps but I am now aware that this accurate. I also made the terrible mistake of shooting w/o a wind cover ( on my h4n) so a violent hiss appears on some of the audio. I had my friend re-record the songs in a acoustic friendly setting and now have the task of trying to sync the audio to the image. Knowing what I now know my footage will not come out in total sync but can I manage to somewhat match? Sincerely, Rudy
  8. Beaulieu R16 Angenieux 12-120mm lens, custom battery pack and 200ft reel ebay auction ends on sunday: http://www.ebay.co.u...984.m1555.l2649
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