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My Gear


Found 64 results

  1. 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?
  2. FS:ZEISS HIGH SPEED SUPER 16 (9.5mm, 12mm, 16mm, 25mm, 50mm)
  3. 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.
  4. 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
  5. 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.
  6. 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
  7. Super 16mm Conversions NOW available on AMAZON by Dr. Bolex... just search: Dr. Bolex https://www.amazon.com/dp/B018GPYE6G
  8. 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
  9. 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 (3) batts 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


    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?
  11. 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!
  12. Super 16 Reflex Bolex H16... The conversion has been made and ready for action!
  13. 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!
  14. 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.
  15. 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
  16. 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.
  17. 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?
  18. 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?????
  19. 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.
  20. Hey! Interested in a Super 16 Ikonoskop A-Cam SP 16 and/or an Aaton A-Minima. Let me know. Thanks
  21. 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
  22. 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.
  23. 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
  24. 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.
  25. Hi, I'm a student cinematographer with a shoot coming up, on 16mm with the Arri SR3. I have a couple of shoots planned during the blue phase of magic hour (civil twilight and the blue hour), on a beach. I think I'm correct in saying that I need to shoot with daylight colour balance to match the blue tones in the sky as tungsten will make them even cooler? I was wondering if anyone has any thoughts on the different aesthetics of 500T and 250D? (aside from the obvious sensitivity and colour balance differences). Is there any particular advantage (visual or otherwise) to shooting 500t with an 85 or 250d straight up? All the best, Connor
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