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Angenieux zoom f/2.8 15-150 mm : Very good condition. Lenses perfectly clear. No funguns, no scratches, nos cleaning marks, no inside separation. Focus runs smoothly. Possible to add a little crank on the side. PL mount Cleaned, lubricated and collimated at P+S Technik, Munich Producing perfect image. Will fit on Super 16 camera ( Bolex, Arriflex, Aaton) and digital camera as Panasonic GH4, GH5, BMPCC... Full coverage on Super 16 format. No vignetting on BMPCC. A must have !! This lens is mine, never rented, used on my documentary films with a great satisfaction. Located in Europe. More pictures on request. price : 650 Euros ( shipping taxes + insurance included ). ebay link : https://www.ebay.fr/itm/Angenieux-zoom-15-150-f-2-8-Super-16-GH4-GH5-BMPCC/323453032351?hash=item4b4f4d979f:g:SewAAOSwSupboP9b

I know this is going to sound dumb, but I have an Eclair NPR camera and I cannot find the serial number on it. I removed the motor, I looked all over the place and I couldn't find it. This specific unit was modified by Les Bosher, so they may have removed the plate or something. They changed the tourret and maybe the serial number was there. I want to send the camera to service and it would be nice to know what the serial number is so I can have more info about the camera. Thanks

Hey guys! Looking to buy a standard 16mm or Super 16 kit. With or without lens. Budget of around $5k Shoot me a PM if you have anything available.

Here's a Bayonet Bolex... with carrying handle and motor option... https://www.ebay.com/itm/292595881532?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2648

Hello all you Bolex gurus out there... OK, I have a Bolex H16 REX 5 that threads nicely and seems to be running well. The camera maintains the loop while running with out a take-up reel... But as soon as the take-up reel used the loop begins to be lost. But note not all take-up reels cause this... I switched out take-up reel and some reels work fine and some do not. and it seems to be consistent. any ideas on what causes this to happen? Arthur!

WTB ARRI 416 Package Please reach out with any leads. Thanks in advance! Cale Nichols calenichols@live.com 310-422-3568 www.calenichols.com

Anyone have an Arri/Zeiss Ultra16 18mm they'd be interested in selling?

I've recently purchased my first S16 camera (Aaton XTR Prod) and I'm looking to make an investment in a zoom lens I can use for allround purposes and no-budget projects that I can still use on productions where we have the budget to rent e.g. Ultra16s, Super Speeds, S4s/SK4s - Hoping someone in here can give me some advice on the topic. I'm interested in a zoom that has the following properties: PL Mount Close focus of 0.75m or closer Has at least 12-30mm range Preferably ~T2.8 or faster Covers S16 fully For these requirements I've narrowed my options down to either: Angenieux HR 11.5-138 T2.3 Angenieux HR 7-81 T2.4 Cooke 10.4-52mm T2.8 (CVK) Cooke 10.8-60 T3* (CVK) Cooke 10-30 T1.6 (CVP) Cooke 9.5-53 T1.6 (CVT) Cooke 10.6-52 T1.65 (CVT) I didn't include the Canon Zooms as I don't feel like they give me the look I am going for. I also didn't include Zeiss Vario Sonnars in the list because their close focus is too far. But they may be workable with a diopter. I'm afraid of losing sharpness however. Any thoughts? Any other lenses that I might have missed in my research are much appreciated. Do you have any advice on these lenses. And which do you prefer?

FS:ZEISS HIGH SPEED SUPER 16 (9.5mm, 12mm, 16mm, 25mm, 50mm)

Dear Cinematographers, Was intending to shoot film and lens tests with a super 16 Krasnogorsk-3, in preparation for a project done on an Aaton XTR PROD. Now is there any way that I might use the M42 mount lenses for the Krasnogorsk (namely, Zenitar 16/2.8; Pentax Super-Takumar 50/1.4; &c.), later on for the Aaton? Do they have M42 to Aaton adapters? Someone else posed this question awhile ago, but they never received any clear answers. Sincerely Grateful, Kurt Cassidy-Gabhart

For the purposes of future testing for a project, I would like to get some opinions on the various characteristics of some Super 16mm primes. Flares, bokeh, sharpness, contrast, color temperature, the works. Lenses in particular I would appreciate information on are... Zeiss Super Speed Mk 1 Zeiss Super Speed Mk 2 Optar Illumina s16 Cinema Products Ultra T Any other prime sets that have both 16mm & 25mm focal lengths. I'm really only interested in prime lens sets, no single primes like the Angenieux 5.9mm or any zoom lenses.

Hey, Long time reader.. Needing a little help to wrap my head around a possible video tap option for my ikonoskop SP-16 https://www.ebay.ca/itm/JURGENS-COLOR-VIDEO-TAP-35mm-Arri-35-3-C-Mount-Arriflex-SONY-CCD-Camera-WORKS/182862271583?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2055119.m1438.l2649 Could anyone let me know a little more about this product? I'm wondering about power options, also just a general understanding of how it works in relation to a C-mount camera (how does the CCD work in relation to the film stock, where is my light going??? Also, Anyone see any reasons this won't work for a video assist for my NON-reflex Camera.) Really looking to get this camera reflex without paying $6000USD for the Duall Conversion. Thanks! Bob!

Hello Again All You BOLEX Gurus out there! I have a simple question... Did Bolex (the company) ever have a factory made Super 16mm camera??? thank you.

Super 16mm Conversions NOW available on AMAZON by Dr. Bolex... just search: Dr. Bolex https://www.amazon.com/dp/B018GPYE6G

Brand new in a box Arri Ultra 16 50mm lens. Arri Carl Zeiss Planar 50/ T1.3 lens for Super 16mm film and Super 16 size sensor (BMPCC, etc) New in a box. £6,500

I'm so sorry to sell my lovely baby but I need some money for a next project. For sale : - 1 Arriflex 16 SR1 PL mount, upgraded in Super 16 by P+S Technik ( Munich). "Evolution Upgrading Program" by P+S Technik was a complete change of electronic mother board, new speed controller with screen ( intervallometer function on ), new mechanics, new viewfinder with better magnification, new black painting on whole camera body and magazines. - 2 Super 16 magazines. - 1 battery ( new cells) - 1 Arri battery charger - 1 VSU speed controller - 2 handgrip-trigger ( one broken, other one is ok) - 1 blimp - 1 matte box - 1 soft foam shoulder pad - 1 changing bag I join also some spare parts : - 2 new and unused lightmeters - 1 Arri SR2 motor - 1 normal 16 gate - 1 normal 16 ground glass Kit located in Europe ( Czech Republic). If you want to visit me for a local pick-up, you are welcome !! price : 3000 euros + shipping taxes. Lens is not included in the package ! Only here for the picture ! High Res pictures, informations and demo videos on demand : dartwiller@yahoo.fr

Hello all! I'm new to this website and am excited to make my first post! I am going to be working on a project soon and want to shoot super 16mm. I have been looking at cameras online to buy and have come across some decently priced Aaton XTRs from various countries outside the U.S. My concern is that some sellers have mentioned that they are PAL cameras. Can anyone tell me if this will matter when shooting the film? I have heard mixed opinions about it just referring to frame, rate in which case I can adjust the camera's frame rate. Others have told me that I will constantly have flicker due to electricity in the US. Will I be able to use the camera or should I look for something else?

Hello, (A summary of my questions are bullet pointed below the first paragraph) I am looking at buying a Bolex with the purpose of doing a few short films and music videos over the next 12 months . This will also be the first 16mm film camera I own and I good starting point before I move on to a 16sr3 advanced. I have done my research on the camera and most answers say the SBM, EBM and Rex 4 and 5 models are the best to convert to super 16. However I feel I need to ask a more basic question on what people in this forum would suggest, as I can ask more direct questions and hopefully get more specific answers. I know the basic benefits of converting to Super 16, but I'm more interested in what bolex model people would suggest is the best for the job. I could spend between £1,200-£1,500 on the camera but obviously if a cheaper option is just as good that'd be fantastic. I have seen some super 16 SBM for around $2,999 so yes! So here are my questions in summary. -What is the best model in my price range to buy to convert to super 16? -This may sound stupid but I know the issues with the beamsplitter and the widening of the viewfinder with conversion, but can a PL mount be put on the camera without it having undergone the conversion, as have read and seen people putting Zeiss super speeds on these cameras. - If the new faceplate reads bolex H super 16, what bolex model was that before the conversion (again may sound stupid). I do have more questions on the topic, but once I get a reply I may ask more ahah. I am hoping to do a project in late June this year so If anyone has any information they might think is helpful that would be much appreciated. Many thanks, Will

Hey is this legal? I was going for an Ultra 16 gate,,, but I think I over achieved... I got this 6.25mm X 14mm with a nice 2.24 to 1 ratio. What problems do you think are headed my way? A!

Hey camera people!!! Some EBM cameras have battery power supply... anyone have any thoughts on just switching that out for a regular 12V power supply like what's on you laptops. only gotcha i see is you need power!... these batteries that are made for it are expensive and hard to find. Well I was going to do that to the EBMs unless someone can tell me why not! Thanks, Your replies are welcome, Arthur!

I have 3x Aaton XTR Prod S16mm Camera Packages Available. All cameras have been serviced in the past 6 months and are in very good working order. Camera Package Includes: Aaton XTR Prod Super 16mm Camera Body (75fps max) Carry Handle w/ Built In Tools 3x 400' Magazines w/ Throat Covers Aaton VR 46 Color CDD Video Tap 1.33/1.78 Ground Glass Aaton Swing-over Finder Heated Eyecup Aaton Extension Finder Extension Eyepiece Leveler Arri BP-3 Right Side Start/Stop Handle 6" Screw Type Mini Rods (LWS 15mm) 8' XLR Power Cable 2x 1' Eyepiece Heater Cable 2x 1' Aaton 2 pin Accessory Cable (Start/Stop Handle) 2x 5amp Fuses Mag Port Cover Lens Port Cover Flight Case For Camera Body Flight Case For 3x Magazines $3,495 Please DM For Additional Information/Pictures

Super 16 Reflex Bolex H16... The conversion has been made and ready for action!

First post on this forum. I must say, having never actually worked with film before, I'm glad I found this website. Very informative. DISCLAIMER: Never having worked with film, my knowledge comes entirely from the internet, no hands on experience. So if I say anything that sounds absurd, just let me know. Having always used digital cameras, I want to shoot a movie on Super 16mm film, and have it finished on 35mm film. I've been trying to work out the workflow to get from the exposed negatives to that final print. I want to have it photochemically color timed, preferably without ever having a Digital Intermediate. Now, if I were shooting on 35mm, I would simply color time, make the inter negative, and make copies from there, all analog. But with super 16, there is the sticky problem of having to blow it up to 35mm, and from what I've read, there are many ways to go about this. There are several discussions already on this forum, but most of them are over 10 years old, and the technology seems to have changed rather significantly since then. I have an idea for some possible workflows, but I don't know if they would actually work the way I want them to or not. One of them is to edit the 16mm film together, have it color timed, then optically blown up to 35mm, but I'm not sure if the colors would translate well (I've read conflicting statements, but some say that an optical printer can't reliably transmit the colors, meaning it might have to be retimed.) If that were the case, I could have it edited, optically blown up to 35mm, then color timed, but that adds the cost of working with more 35mm in the process. For another option, and I wouldn't really mind this as long as I didn't have to digitally alter the colors, but I could edit the 16mm film, color time it, then data scan it at 4k(Not that much more expensive than 2k) then downscale it to 2k(or not, if printing 4k weren't much more expensive, but I don't know.) and have it printed to 35mm film. The problems with that, however, after it was scanned, I don't know if you would have to digitally alter the colors, or if the direct scan can be printed back without any processing. If it were the case that I would have to mess with the colors digitally anyway, then another thought was that I could edit the 16mm film, scan it without color timing, print it back to 35mm film, then photochemically color time that copy. But, that might be absurd. I don't really know, but I feel like after it was scanned, then printed, there might be some information taken from the film that makes photochemical color timing less effective, since you're just working with what a digital printer put on it, not the original analog goodness. That's a bit of a book, so I'll summarize my specific questions: 1. Assuming both processes were done properly, which would be less expensive, optical blow up, or scanning then printing back to film? (I have no reference for cost for digital printing or optical blow up. As far as I know, in this day and age, one could be far cheaper than another.) 2. Assuming both those processes were done properly, which do you think would give the best results? (Knowing that I want a photochemical timing done.) 3. Will an optical printer transfer the timed colors properly, or would it have to be timed again? 4. Will a scan of an already color timed print properly transfer the colors when printed back to film? Or would the colors still have to be digitally altered before printing. 5. Can and untimed scan that has been printed back to film still be photochemically color timed, or is that absurd? 6. Sort of related to the first question, but any reference as to how much printing 2k and 4k digital to film would cost? I can't find any information on the cost like you can with scanning. Also, specific costs of the optical blowup. I feel like some people are going to ask, "Why not just use a digital intermediate, instead of photochemically color timing? it would give you much better results, and be cheaper", and they're probably right, but it's just a hands on artistic thing. I'm relatively young, and grew up in a world that is entirely digital. Watching actual 35mm films at a theater is like a distant childhood memory, as most theaters have long been digital. And making movies with digital cameras is all I have ever done, but quite frankly, I'm at a point where I would like to create movies the same way my favorite movies from decades past were created, even if it slightly compromises visual clarity.

Both lenses purchased / serviced at Visual Products. Both are in excellent condition. The Optex 4mm comes with a hard carrying case. The Angenieux is fitted with a PL mount from Visual Products. I can show footage shot on these lenses per request :) Photos here: https://www.dropbox.com/sh/h9so9a2cnrr4gaq/AACgNdHIlGbOv8v7PxkUmb-Da?dl=0 - Optex super cine 4mm (2,500$) - Angenieux 17.5-70 (1,750$) Will accept paypal / can ship anywhere in the US. Thanks, Tanner Pendleton pendleton.tanner@gmail.com 978-340-2012

This post is long, but please bare with me as I need help. I'm in the early prep stage of my first feature, everyday I'm in awe of how much I still have to learn. My project will be about only 60min long that consists of quite a few Steadicam shots. I'm hoping to raise about $60K for my budget. My strength: I have a well prepped script and I designed every single shot as precise as it can be. My weakness: Everything as of now is till on paper. I have never shot anything on high end digital (e.g. RAW) nor on film of any kind, 16mm, 35mm. My debate: Because my lack of real experience, I initially wanted to go with RED for its flexibility in post production in case I messed up something. But as I learn more and more about digital. 1) it looked "too good" for my story. I barely need a 2k res for my story. 2) the data management is a nightmare. I don't have the connection to hire a DIT on set, and then source a high end computer to process the large files. So I thought about shooting on film. Seeing from other people's footage it offers the look and color I wanted, the downside of noting being able to playback gives me worries that my lack of experience will underexpose or mess something up big time. With digita,l I can use the DJI ronin for steadicam shots, and the DJI OSMOS alike for some occasions to shoot in public where it may be very hard to obtain permission and costly for hiring extras. But if I shoot on film, a few camera I looked Arriflex IIC, and Arri SR2, have scarce resources for power sources, e.g. batteries that work. So I don't know how to complete a long steadicam shot with a Super 16mm camer. Even if I can complete a work steadicam setup with my budget, there is no way I can get away with it shooting in some of the public locations, even if I obtain the permits, every pedestrians will turn their heads and look at the camera. Which means more $$$ to hire extras. What should I do?????