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  1. 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!
  2. 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.
  3. This would be a amazing lens for the RED 2K, Blackmagic Pocket Camera, Digital Bolex or S16 film camera. The glass has no scratches, coating marks, cleaning marks and is in perfect condition. Mechanically, the lens is very solid and smooth all the way around. It' a Arri B mount that can be adapted to any other mount. This lens was converted to Super16mm by OPTEX, which is considered the best in the industry. The Cooke 10.8 - 60mm was the Super16mm equivalent of the Cooke 9-50mm zoom. This lens is known for these exceptional qualities: - This Cooke lens "breaths" very, very little, so there is no image shift when focusing (the Zeiss 10-100mm was known to breath, and wasn't well regarded in that manner). The Cooke has complete internal focusing, so the outer barrel does rotate or shift upon focus. - This Cooke lens has a close focus of 1.6 ft, which means you can focus a few inches from the front of the lens. This is opposed to many zoom lenses that have a close focus of 5 ft. - But perhaps the best feature of theses Cooke Zooms (compared say something like a Zeiss lens), is in regards to using them with digital sensors. It has the "Cooke look" , which is much kinder on the skin of the actors. It also really helps to take the harsh digital edge off of the digital sensor image, and many feel this is why it feels more 'filmic'. The lens is in perfect shape and has been verified one year ago by an Aaton specialist in Montreal. Since, it has been use only once for a fiction film. Everything works as it should. It's been used with care. I sell it for 3,900$ US (negotiable) + shipping fee (international). It comes with a metallic case, lens & mount cap. I ship from Montreal, QC, Canada.
  4. Hey, I found someone with a bunch of old replacement and repair parts for SR3's. i just bought mine, so it's currently in top shape, but I was wondering what some common issue were after a bunch of use. if possible I'd love to buy some parts now to have on standby before they disappear forever. I know that the SR2's used to have circuit issues, but im not sure if that's a common SR3 issue. Motor? Registration pin?
  5. 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?????
  6. Hey folks, My school likes to go through color lab for film processing/telecines, but it seems as though they are limited only (as evidenced by the telecine form) to 4:3 and 16:9 Aspect Ratios. Shooting on Super 16, I framed for the native AR of 1.66 and would prefer not to crop the top and bottom of my frames -- even if it's still "...the same basic shape" as they put it. Are there any other easy to use/ship to and quality labs that can telecine our rolls at a 1.66? Thanks in advance! Any help is appreciated.
  7. Hey! Interested in a Super 16 Ikonoskop A-Cam SP 16 and/or an Aaton A-Minima. Let me know. Thanks
  8. I'm selling my 16mm Arriflex 16M camera with 3x 400' mags and variable speed motor. Camera was purchased from forum member Tim Carroll maybe 2-3 years ago if I remember right. I had it checked out by a technician and shot a registration test after I got it and it checked out fine. I like the 16M for it's hinged door, simple threading and gear-driven mags (as opposed to the 400' mags for the 16S which have their own separate torque motor). Please see, I'm also selling a beautiful fiberglass blimp that will fit this camera, and crystal-sync motors. I don't have a case for the camera but there is a case for the mags. More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633331322365/ $400 O.B.O. __________________________________________________ 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. There is no case for the 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. More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633331237723/ Selling for only $600!!! __________________________________________________ For sale here is a TXM-22A, one of Tobin's last (newest) crystal motors ever made for the Arri 16S or 16M. Runs forwards only. Crystal speeds: 12, 20, 24, 25, 30, 40, 50 fps. This was bought new directly from Tobin and has only been run to test a few of times. More information from the Tobin website (a pdf download link) http://www.tobincinemasystems.com/TCS_Public_PDF/TXM22A.pdf More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633331298455/ Available for $400 O.B.O! __________________________________________________ I'm also selling one of Tobin's last (newest) Variable Speed motors ever made for the Arri 16S or 16M. Runs forwards or reverse, 0-50 fps. This was bought new directly from Tobin and has only been run to test a couple of times. More information from the Tobin website (a pdf download link) http://www.tobincinemasystems.com/TCS_Public_PDF/TM23.pdf More pictures on flickr: http://www.flickr.com/photos/95212445@N02/sets/72157633346734096/ Available for only $200!!! _________________________________________________ All of the above is available to see in Montebello, California through Tuesday 12/3. If that's too soon, I can coordinate another time for a relative of mine to show it to you since I'll be heading back out of town. For convenience, preference will be given if there is a buyer in the Los Angeles area who will pick up in person and pay cash. Please send me a private message if interested in any of the above. Thanks for looking! Rich
  9. Hi all. I am 4th cinematography student. I am about to shoot a short commercial on s16. I have shot on film a few times before but I would like hear other opinions on how best to a achieve a cold daylight look on film. Basically the story is that a couple wakes up very early in their city apartment and leaves for the countryside. I want the piece to start off very cold looking in their apartment and then gradually get warmer as they leave the city in their car and arrive in the country. I have only one roll to shoot this piece on. It's a thirty second ad so that should be loads of stock. Bug that brings into question how I can get a varying level of "coldness" on the one roll. I will be shooting on Kodak 200t 7213. My initial thought is to shoot the grey card with an 85 in. The remove that for the early scenes. Then later for the car scenes to use a 81ef so a slightly warmer, but still cold look. Then finally for the countryside scenes to put the 85 back in. Does this seem like a good plan to achieve what I am looking for? Very open to suggestions and opinions, or indeed any help at all. Thanks.
  10. Hey, I'm looking for some technical expertise.. I have an Arri SR3 Adv, with a video assist - see pic. The output is an analogue phono cable which I have running into a small 7" monitor. The only practical use for the video assist, and all I need it for, is framing. All in all the set-up works pretty well, but it would be handy if I had a way to record the video assist image. Does anyone know a simple way to record the signal? Either an affordable small recording monitor with phono input, or I was thinking perhaps some hardware and software to turn the analogue signal to digital and record on a laptop. Has anyone had any experience with this? Thanks, Greg
  11. Zeiss Super Speeds MK3: Just over a year old, purchased from Alan Gordon in Los Angeles. Very clean, no haze/ fungus, no cleaning marks or scratches. The focus and Iris are extremely smooth. 9,5mm - $1850 12mm - $1850 25mm - $1850 Lenses are in New York if you would like to come see them personally. Will ship anywhere in the USA! If you take all the lenses ill include a pelican case.
  12. Just finished a film and selling (3) Super 16 lenses. All of them were overhauled by Abelcine and the gears renewed with teflon a month ago by VP. The are all super clean, project sharp and clear. Only a few cleaning marks on them due to age. The 50mm Illumina is super sharp. If you buy a random lens on Ebay, you will most likely have to pay $$ to get it up to speed. That work has already been done to these. Zeiss 16mm MKIII s/n 7500048 Zeiss 25mm MKIII s/n 7500143 Optar Illumina 50mm s/n 9725013 Send me a PM, sensible offers welcome. Selling individual or as a set. I have receipts, more pics, and details. Thanks, Martin
  13. Greetings, Selling my trusty Arri SR3 package. A++ Excellent, with recent service records, both camera and mags overhauled at TCS (tcsfilm) in NY in July 2013. Ready to go. Camera body (3) mags charger long and short finders 1:78 GG long rods 2 handles handgrip XC-75 video tap (b&w), with prism Transvideo Rainbow 5" monitor (2) barneys Single frame remote Asking $3500. PM me if you're interested. Thank you, Martin
  14. Selling a Arri S16 11-110 T2.2 (PL Mount) Zoom in very good condition. It fully covers the S16-Format and is in very good functional and optical condition. No scratches, no dust or fungus. It works smoothly and has been well cared for. For questions simply message me. Asking price: 5000€ (shipping not included) Located in Vienna, can be shipped within Europe. More pictures upon request.
  15. Selling an ARRI Arriflex SR2 S16 Kit ... http://www.ebay.de/itm/281357532395?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1558.l2649 2500€ or best offer, shipping within Europe.
  16. Seldom used. PL & Nikon mounts. Bought new from AbelCine.
  17. Hey guys, So we're shooting the first ten minutes of our feature film this month and I'm trying to finalize my lens package. We can afford 5 Super Speeds (35, 50, 85, 100, 135) but I don't know how low I can go on 16mm. If it can handle something like an 18 or a 21, or even a 24, I would be very interested. for more information on our movie, check us out at po.st/sowhat
  18. Have for sale an Arriflex 416 Plus package. Included are: Top handle. 2 400' mags IVS videotap. cases cables. Production-ready. Regularly serviced and cleaned at a Los Angeles camera house. Also have a large selection of compatible glass listed here as well. $9000 contact kennysule@gmail.com
  19. Hello all -- Posting this on this forum in case anyone is interested. The buy-it-now on ebay is no longer available but I will let this one go for $2799 and end the auction early. It's a real steal at this price and am letting it go for cheap. http://www.ebay.com/itm/ARRIFLEX-Arri-SR3-Advanced-Super-16mm-Film-Camera-PL-Mount-S16-/271279445838?pt=LH_DefaultDomain_0&hash=item3f2983d74e Great camera, but there are a few quirks that are cosmetic don't effect the image quality or ergonomics, but I'd prefer to have a camera in better shape, that is why I'm letting it go. Here is a video of it running recently (9/15/13) : Item is located in NY and will ship domestically. Contact: ekyfilms@gmail.com ---- For Sale Arriflex SR3 Advanced Super 16mm Film Camera All items included with this item are pictured. Besides a few cosmetic wear marks this camera is in working condition. This was recently tested at a camera house (9/15/13) and is fully operational and works as intended and runs smoothly. A video can be sent of the camera running. Included items are: • Arriflex SR3 Advanced S16 film camera body • (2) 400 Foot Arriflex SR2 S16 mags • Arri SR3 Handbook • Light-weight Flightcase • 20/80 Prism For a Videotap (no port cap) Features of this camera include: • 5 to 75 fps • Manually adjustable Shutter angles 180°, 172,8°, 144°, 135°, 90°, 45° • 54 mm stainless steel PL mount • Heated Eye Cup
  20. 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
  21. The fact that I'm creating a topic of this nature may come to a surprise to many of you, but I feel it's necessary because I'm getting at least three different answers based on my own research. 1) Wikipedia: http://en.wikipedia.org/wiki/16_mm_film#Super_16_mm WP states the camera aperture is 12.52 by 7.41 mm (0.493 by 0.292 in). This gives us an aspect ratio of 1.6884:1 (1.69:1). Unfortunately, nothing is cited clearly in that article (shocker!). For an interesting twist, the entry also lists regular 16 mm as having a height of 7.49 mm (0.295 in). I thought Super 16 just extended the horizontal dimensions of the format, not also shrink it's vertical dimensions. 2a) Arri: http://www.arri.com/camera/film_cameras/16_mm_film/arriflex_416416_plus.html (click on the "Technical Details" tab) 2b) Panavision: http://www.panavision.co.uk/pdf/downloads/equipment-info/other/formats-guide.pdf I lumped these two together because they both cite the same specifications: 12.35 by 7.49 mm (0.486 by 0.295 in). This gives us less horizontal resolution than what's listed in WP's entry, but now matches the height of regular 16 mm. We now have an aspect ratio of 1.6475:1 (1.65:1). 3) Kodak: http://motion.kodak.com/motion/uploadedFiles/Kodak/motion/Hub/eb/choices/Choices_INFOGRAPHIC.pdf You'd think these guys would offer evidence corroborating with the camera makers, but they say it's 12.42 by 7.44 mm. Their Super 16 "Sell Sheet" (http://motion.kodak.com/motion/Products/Format_Choices/index.htm ; click the Super 16 mm tab) at least confirms that regular 16 mm is still 7.49 mm in height. Their Super 16 film dimensions calculate to an aspect ratio of 1.6694:1 (1.67:1) which is the closest match to the often touted 1.66:1, in my opinion. So we're left with three different physical descriptions. Which one is correct? What does SMPTE, ANSI, and/or ISO state for the record? (I'm not a member of any so I'd appreciate it if those who were could chip in.)
  22. I'm looking to buy a super 16 package in great condition and working order, any one of the following camera kits would be amazing - AATON XTR PROD or XTERRA or ARRI SR3 or ARRI 416. I need the kit to be usable straight away once a lens is added - so no spares or repairs. If anyone knows of any for sale please let me know, other s16 kits considered as well as long as they are ready to shoot once a lens is added. I'm working on a small budget. Thanks, Ian
  23. 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!
  24. Hi all, I'm a film student in Ireland D.O.P.ing on a Super 16mm short in a few months time and am looking for advice on processing and transfer. At the moment I have an assortment of short ends of various stocks (At the moment, almost 200ft of Vision 2 500T, 30ft Eterna 500T and a few more short ends on the way) I am wondering if labs out are willing to develop short ends of different stocks, even very low amounts, and count them all as the one total in regards to pricing. I don't know anything about developing pricing as the last time we shot S16, the college organised stock, processing and telecine. I am also looking for labs in Ireland/UK/Europe that develop 16mm at competitive rates for a student, the budget is low but I am willing to spend to get the look as I believe it is essential for the film. Thanks all.
  25. Very Rare Super 16mm high speed camera package for sale. Camera shoots up to 200 fps! The Milliken's reliability has earned it the highest rating by cinematographers and assistant cameramen worldwide. Picture quality is exceptional at all speeds, made possible by the unique Milliken pin-registered intermittent movement. The register pin stops the film and locks it during exposure. The result of this unique movement is sharpness and steadiness that meets the highest Film and TV Industry standards. This camera has been used on multiple award winning surf films and by some of the worlds best water cinematographers. This is a complete package that comes with 2 lenses, water housing, heavy duty travel bag, and much more! I hate to let this gem go. It's very rare to find a complete S16 mint package of these cameras. - High Speed Super 16mm Milliken DBM 4C Camera • C-Mount re-centered for Super 16 • Camera aperture opened up to Super 16 specifications: (.295 x .492) • Original camera timing light assembly removed. • Camera rewired for RCA power plug. • Intermittent film movement & sprocket rollers modified for single perf. film operation • 2 Batteries • Charger • 3 Shutter Speed Options: 72° (installed), 140°, 160° • 8 200ft. Empty Film Rolls • 7 400 ft. Film Cans • 64, 200fps Motor Installed - Additional 128, 400fps Motor Included • Custom Built External On/Off Switch for easy use out of water - SPL Water Housing This professional housing is constructed of ultra light- weight aluminum, sheared and formed on a sheet metal press brake and then welded solid by a certified welder. All aluminum is hard anodized to protect against salt- water corrosion. The housing is painted with an industrial powder coat paint. Depth rating is 15-20ft. This housing can handle any size surf you have the nuts to swim into. • On/Off Switch • Dual side detachable handles - Milliken Boresight in Original Wooden Box - Porta Brace Camera Bag It's made from 1000 denier Cordura fabric with a comfortable suede shoulder strap. The lightweight, rigid-frame design provides maximum protection for your camera and accessories, and comfortable carrying for you. - Som Berthiot Pan Cinor 17-85mm 1:2 Lens Super sharp and fast zoom lens. Vignettes slightly at the wide end. Viewfinder Included to use camera on land with visual focus and zoom capability. Clean cosmetics, clean optics, no fungus, no separation, no haze, no oil on the aperture blades. The focus runs smoothly. The zoom lever is missing but doesn't effect the lenses operation at all. - Computar 12.5mm 1:1.3 Lens Sharp, Wide, and Fast. Covers the Super 16mm frame easily. Very clean cosmetics, clean optics, no fungus, no separation, no haze, no oil on the aperture blades. The focus runs smoothly. UV filter.
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