Search the Community

Ok, here's the deal. Consider this a listing for a great Tobin Crystal TXM-22 motor. It comes with a camera, but just think of that as a bonus since the camera may not be worth a whole bunch. I've never shot with it, or with the included mags. I bought it off Craigslist from a DP/Operator on the other side of the country about a year or two ago and one technician who looked at it told me some of the design choices in converting this camera to S16 looked risky and shooting with it may not be worth the risk. I've heard this is one of two or three 16S cameras converted to S16/PL mount by Van Diemen in the UK. It seemed to run fine and the previous owner promised he shot lots of footage on it with no problems so maybe I'm just being paranoid. But! It came with this awesome motor. I actually like it better than the final refinement, the TXM-22A, since the "A" model can't run in reverse. Also included are two of the rare 200' mags for the 16S, although as I mentioned, I never tested them, so this is all "AS IS". There are also two 400' 16S mags. Each mag has it's own torque motor, and I was told by the person I bought these from that they've all been upgraded to be 12V compatible. The camera has been upgraded with a 4-pin Cannon (aka XLR) power connector instead of the old Arri 2-pin "banana plug". It's also been fitted with a 80fps max tachometer (I believe taken from an Arri 2C H.S.) There is no case for the four mags. The camera body case is a bit old looking but still latches closed firmly. The foam is a bit of a mess. No power cables or batteries or lenses are included. Selling for only $800!!! Available to see in West Hollywood through this Saturday. After that, get in touch and I can coordinate a time when you can check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633331237723/ Please send me a private message if interested. Thanks for looking! Rich

First of all apologyse since I´m new to the web. Is this the right place to post this? Im looking forward to buy an Arriflex SR 1, 2 or even3 for super 16. Anyone trusty can help me out or have a nice working one?

Hi guys! I’m currently in the pre-production stage on a project that I am planning on shooting this coming summer. It’s a music video that follows a group of people with emphasis on one of them and her experience and discoveries about herself during their stay at a music festival over the course of about ten days during the summer vacation. I’ve been toying with this idea for some time now and I’ve realized that I really want to shoot this on film. I really feel that film is the way to go, both in the way I would end up working and also in the end result. I really think a slightly soft and grainy and warm and beautiful S16/U16 (or perhaps even 35) Kodak Vision look would suit the subject matter very well. This is where I need your help. I am looking for a robust and light camera system that, if 16mm, would easily convert to Super or Ultra 16, preferably hand cranked, although this is not a requisite as long as the system has interchangeable batteries that last long and can be charged from a standard 220V socket as I will be staying with the group the entire time with limited access to electricity. A hand cranked camera would probably be a better option. I already own an H-16 Rx that I have some experience with, however it is not ideal considering I limit myself to Rx lenses and 100’ magazine and a viewfinder I’m not super fan of; too small and too dim imo. Basically, what I’m after: A light and portable S/U16 camera 400’ magazine preferably seeing as I will be shooting a lot of slowmo 24-48 fps Hand cranked is a plus Turret mount is a plus That being said … I have also been toying with the idea of shooting 35mm. I’ve seen several labs that scan 35 at a lower price than 16. Difference in the price of film isn’t that big either. Something like a Konvas looks almost perfect for what I’m after. The only problem being that it maxes out at 32fps and I’m not too familiar with old Soviet electronics. 3-perf would be more ideal than 4. I’d really appreciate some input and help from you fine people here ^^

Hey there, about to buy a late Aaton LTR 7. The camera has been converted to S16, but the mags haven't. Instead of having them expensively converted to S16 as well, could I use the camera with an XTR Prod 400' DX S16 magazine? I could get that for $200, that's why I'm asking about the mag compatibility of the LTR. Any help is highly appreciated.

Hi everybody. Urgent question. I'm in the process to get Sponsorship for our documentary, we'll shoot with a BlackMagic Pocket Cam. We have 2 options for the Zoom Lenses we'll going to use: 1. Arri-Zeiss Zoom 11-110 S16mm PL Mount 2. Zeiss Compact Zoom CZ.2 28-80 T2.9 We're aware that both are great lenses. The S35 Compact Zoom would demand a Metabones Adapter, but that's no problem at all. I wonder which would you guys pick and WHY? Of course the S35 one is new, and that might be a benefit. Thoughts? Thanks, F

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

Hi there everyone,Greetings and a very happy new year. I am coming up with a feature shoot where there is a small under water 'fantasy' sequence (ok, clue is a mermaid in the sea).Logistics wise we are not ready to go and shoot either in sea or in a swimming pool. Couple of years back, I guess in 2009, there was an awesome thread on CML about shooting dry for wet. That thread is buried under 8000emails and I cant locate it. I need advice of all you experience cinematographers about how best to cheat and give it an underwater look.I will submit the following for your consideration:-a) it is a fantasy sequence. doesn't have to look like a real underwater.b) no long takes. just inserts/reactions and Medium shots of the artist underwater. What we have is - a studio space, lights, fans, grips and an awesome art director, Arri SR3. We do not wish to go the digital route in creating bubbles etc. Looking forward for your tips. regards Prashantt Rai

After 6 years hiatus Super16 makes a comeback in British TV industry. Super 16 originated material will be accepted for broadcast. http://www.screendaily.com/territories/uk-ireland/uk-tv-to-allow-super-16-for-hd/5062821.article?blocktitle=MORE-TOP-NEWS&contentID=40294

Hey, I´m selling three Arri Ultra 16 Primes, all in excellent condition. http://www.ebay.de/itm/190880216668?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649 Thanks for watching! Best .t

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

CANON 11.5-138mm T/2.5 ZOOM CINEMA LENS SUPER 16 PL for sale ONE OF THE BEST SUPER16 ZOOM LENSES AROUND. SUPERB CONDITIONS. PERFECT GLASS. SMOOTH FOCUS. NEVER RENTED. Lens: 11.5-138 Canon T-Stop: 2.5 Mount: PL Min. Focus: 3ft. 6in. Weight (lbs): 3.75 Front Dia.: 95mm PL Mount. Perfect for Arri and Aaton super16 cameras and digital cinema cameras with sensor size up to Super16 .It works on RED cameras if these are used in 2K resolution (I personally shot a music video in this way and the images looked great). It should be perfect for the new Digital Super16 cameras like the Bolex D16 (http://www.digitalbolex.com/products/bolex-d16/) and the Ikonoskop A-Cam dll (http://www.ikonoskop.com/dii/) with PL adapters, since these have Super16-sized sensor. It should also work on the new Blackmagic Cinema Camera, according to an article on EOSHD.com, where they tested a very similar lens (Canon 8-64 PL) on that camera and it worked well. They only noticed a slight vignette at 8mm but this lens should not have that problem, as its minimum focal length is 11.5mm. See the article here (http://www.eoshd.com/content/9447/hurt-locker-lens-canon-8-64mm-t2-4-pl-zoom-perfect-companion-for-the-blackmagic-cinema-camera) Full details and more photos on BBlist: http://www.bblist.co.uk/item.php?item=34974 GBP 3,300. The lens is located in London - UK. Any inspection welcome. Collection in person is preferred, however I can ship it anywhere (shipping costs not included). For info: hello --at-- mzo --dot-- tv Thank You!