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  1. Up for sale is the Eclair NPR Super 16mm camera package in great condition. Package comes with these: - Camera converted to Super 16, with a PL Mount & "C" Mount; ground glass re-centered for S16. - Lens converted from its "CA" Mount to PL Mount. - New battery, cable and charger, tested to be fully functional. Items also included: - Angenieux 9.5 / 95mm... 1:2.2 lens PL Mount + sun visor and directional rod. - Protective cover and soundproofing / blimp... for camera. - 2 120meters magazines. - Perfectone motor. - 1 Flight case. - Facsimile of the original instructions for use. The Price is 1960 GBP (the cost of shipping not included) Items location is Wales. Camera and lens conversion fully done by Les Bosher; battery, cable and charger with modern components also replaced and tested by him. Camera recently serviced, and operation checked by the same camera engineer, it's all ready to shoot. No issues. Images below shows the items that come with the package. Attached Images:
  2. Hey everyone! I have the BP-7 15mm studio baseplate for my SR3 and am looking to trade it for the 19mm version - the BP-6. Anyone out there interested in that trade? I just accidentally bought 19mm accessories for my SR3 thinking that the baseplate takes 19mm rods and just realized that I made a big mistake 😅
  3. Anyone interested in a recently serviced Arri SR2 High Speed Evolution Super 16mm camera?
  4. Hey everyone! I'm getting a super 16 camera in the near future and am in the market for some lenses, preferably something more budget friendly. Does anyone have any primes they're looking to get rid of? Ideally looking for a set of 3 fast lenses, something like a 7mm, 16mm, and 25mm. Thank you!
  5. I know there are many Krasnogorsk haters on this forum but I wanted to share this awesome project by Russian DP Max Ivanov. It's been 2 years in the works and so much effort has been put into this with a ton of custom machined parts and boards. Here are the specs as shared on the Instagram page for the project: - Camera works with 7-12V batteries (it has a 2-pin lemo connector for power input) - Swiss 100 watt BLDC Motor. (BLDC motors have longer service life and were installed on the Aaton A Minima, XTR Prod, Arri 416.) - Motor controlled and stabilized by a microcontroller - Sync is accurate to 0.001fps at 25fps. (between 0.01-0.001 at other framerates) - Framerates: 1-50 fps - Video tap is based on GoPro internals which allows to record the tap feed in-camera. (Max said he will be adding a cable clamp / adapter since it uses the unreliable micro-hdmi connection from the gopro internals) - Optical viewfinder can be used at the same time as the video tap - Wi-Fi control which allows to set framerate and run/stop wirelessly via your phone - Electronic footage counter. (Maintains footage count after being powered off and has a reset button) - Super 16 gate with ground glass adjustment mechanism. FFD can now be easily tuned and will be precisely set on every model. Max will also be selling a set of tools for calibrating the FFD on this camera so you will be able to calibrate it yourself (I can already hear some of you complaining about how nobody should attempt to do this on their own unless they're a trained technician) - Super 16 viewfinder with correct markings - PL Mount Obviously not a camera for every situation, like narrative projects or basically anything with dialogue. However, I think it's perfect for more abstract projects like music videos or fashion films, especially when you need to move fast and do dynamic handheld stuff. I have one preordered and am super excited to test it out once it's ready! (I think the current eta is March/April)
  6. Selling my canon 8-64mm t2.4 for s16mm format. Housing, glass and coating are in great condition. Its on bayonet mount, I will include Aaton and PL mount adapters. Both very solid adapters. It comes with a case. Lens is located in LA. Send me an email for more details flarrondom@gmail.com
  7. Using 16mm film... Do anyone use any other format besides 16mm and Super16mm? I know there are others... But am I wrong in saying Super16mm is the most popular? Come visit us at our revised website: drbolex.com Thanks... Arthur!
  8. https://www.ebay.com/itm/recently-serviced-and-refurbished-aaton-a-minima-super-16mm-camera/273499293170 HISTORY: - A Minima was purchased from Pro Video & Film Equipment Company INC (Dallas, Texas) on 7.19.17. - The camera was sold to Pro Video & Film Equipment Company INC from a private seller, it has never been owned by a rental company. - Since I purchased the camera just over 1 year ago the camera has seen minimal work. Never used on any commercial jobs. Only a few short personal projects. - The Minima is in excellent working condition and barely has any visual wear and tear. It has just recently been serviced by 2 very reputable LA business's. All digital and mechanical functions of the camera are immaculate. Description: - Aaton A Minima Super 16mm camera (SN:073) - (3) 200 ft Aaton Film Magazines - Aaton Video Assist - (2) Remanufactured 12v Aaton Batteries (New Cells as of 7.15.17) - (2) power cables - Lemo cable - Aaton 12v NiCad and NiMH AC Battery Charger w/ AC Cable - Custom Top Handgrip - A Minima Power Base - Dual Mattebox Rods - Aaton Origin C Time Code Unit - Original Aaton Manual - PL Port Cover - 22 Factory Daylight Spools (most have never been used) *Only 14 pictured - Aaton Hard camera case Recent Maintenance history: ABEL CINE (Los Angeles, CA) (6.28.18) Replaced gaskets on all 3 magazines, video tap and camera serviced. $564.03 AM CAMERA (Valencia, CA) (9.21.18) Repaired misaligned feed sprocket guide. Replaced film gate rail. Adjusted flange depth. Checked ground glass focus. Tested camera operation with film. $277.73 looking for 9750
  9. For sale is our full Super 16mm ARRI SR3 Advanced Highspeed kit. This is a full kit including everything you need to shoot. We purchased the camera in 2014 and have used it on a couple of shoots. In 2016 we had it professionally serviced by Panavision in Sydney, one of the batteries was also repacked in 2016 by battery world. See the gear list (Picture) for everything included in the kit with a description of the condition. It was most recently used for a short film in January 2019. As you would expect the kit has got standard wear and tear, the previous owners were Panavision UK. This wear and tear is cosmetic only and does not effect the functionality of the camera. The lens is in mint condition, no fungus or haze. The focus and aperture ring is smooth. We are based in Adelaide, South Australia. Can post via (insured) courier at buyers expense or local pickup. Payment via bank deposit, PayPal (2.6% surcharge) or cash. No returns. For further information please contact Liam Harvey (telecaster7007@gmail.com) or Declan Brown (dbrown5012@gmail.com) serious enquiries only. We are also including 2300ft of 16mm film, the Kodak stocks are old/expired stock, the Fuji stock was bought in 2014 with the camera and has been refrigerated since we got it. We used some fuji stock from the same batch at the beginning of this year and the footage was perfect. The kit is priced to sell at $10,000 AUD We want to sell this is as a kit, so please refrain from asking us about the prices of individual items. Link to a gallery of items in the kit: SR3 Album
  10. Okay... Here's a conversion to 200' film loads https://www.ebay.com/itm/292940692573?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  11. Hello, Does anyone know of a camera technician in Los Angeles who works on 16mm cameras, specifically Eclair NPR and Beaulieu? I need someone to remove the ground glass, mark it (with a pencil is fine), and replace it in an Eclair NPR camera that's already been (partially) modified to super 16mm. The eyepiece has an issue as well, where one side of the frame is cut off, I assume because of the lens re-centering in the super 16 conversion. The image on my test reel looks great, but my framing was off because of the inaccurate ground glass markings and eyepiece problem. Also, I have a Beaulieu 16mm clockwork camera and need to figure out why my focusing has been occasionally off even though I've got the eyepiece diopter calibrated - at least the way I think it needs to be calibrated. I'm looking for a camera technician in Los Angeles who would go over the camera with me and possibly convert it to Ultra 16mm. The Eclair has been to Bernie O'Dougherty who gave it a clean bill of health, but he was too swamped to do mark the ground glass. The cameras and I are in Los Angeles. Thanks for reading and considering this! -Roko (brand new member)
  12. I’ve created a hybrid… combining 8mm and 16mm parts. I recently discover the joys of the reflex viewer up stream from the lens iris. This allows the image to stay bright, not affected by the iris. So, I took converted super16 and machined out an 8mm film block. The lens’s frame mask was converted to super16 aspect ratio. It all seems to line up… anybody see any potential problems???
  13. WTB ARRI 416 Package Please reach out with any leads. Thanks in advance! Cale Nichols calenichols@live.com 310-422-3568 www.calenichols.com
  14. OK sports fans... The reflex on the early REX cameras is so small... I hear complaints that with super 16 it's even smaller... I've made some modifications to increase the size... and so far the works best... can see the full image, almost 10X but not quite... but the larger opening at the eyepiece is what really helps. there's no pinching or distortion in the image.... CHECK IT OUT!
  15. 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.
  16. Hello all you optics Gurus out there... It seems that a Bolex can come with one of 3 basic viewfinders 6X, 10X and 13X... What are those ratings based on??? The width of the image??? and then if you upgrade the optics... How do you measure the size? HELP!
  17. Hello group, Just got a 100ft roll of 16mm 1R Eastman 7222 Double-X neg stock. The label states "© 2002". Also bought supposedly fresh Double-X stock very recently and the label says "© 2009". Q 1: anyone know what's the deal with the dates (same with Ektachrome 100D BTW)? Q 2: should I compensate for sensitivity loss with the 2002 Double-X stock? I know that overexposing Double-X is bad - not like current Kodak color neg at all. Love the classic look of Double-X with its typical 'vintage' grain pattern ranging from shadows all the way up to highlights. Any reply/tips very highly appreciated. Christian
  18. OK... what to do with, yet another white elephant. It's a modified REX 1 with 200' foot load capacity. I got this long ago... works great... but was thinking of making it available. Either like it is or converting it to super 16mm or something. Anybody have any thoughts or suggestions on this? Arthur!
  19. Okay, I'm confused and need advice. My camera is the Arri SR2 (converted to Super). My lens is the Cooke Varokinetal 10.4-52mm T2. These lens were made for Super 16. My camera came with a follow focus. See photos. The camera tech informed me several years ago that my ff will not work with my lens. Is that ff for a certain type lens? Why doesn't it work for my lens? I will be using that same camera and lens. I need a ff. What ff can I get and it will work?
  20. Anyone interested is swapping cameras... Super16 Bolex REX5 for a Nikon 7200...? Arthur!
  21. Hello group, After dismissing the Tri-X (it's just my personal taste, not to be taken as any reference), I decided to go for the Eastman Double-X for my upcoming short film in Super 16mm. I intend to recreate a 1940s-50s "old Hollywood" feel and I don't mind some grain, especially when the structure is even and pleasant (Tri-X seems to have a threshold somewhere around dark-middle gray where it suddenly becomes very grainy in a distracting way, especially on surfaces with little to no texture - it also has a rather narrow latitude, being reversal). Since the Double-X (250/200 ASA/ISO) neg is rather fast I was wondering how the Orwo UN54 neg (around 100ASA/ISO) intercuts with the Double-X. I heard that the amount of grain is about the same. What about the look and resolutiuon power? All I look for is a matching stock where I don't have to stop down that much during daylight shoots. What I have seen so far on YouTube and Vimeo is all at lower resolutions. The Orwo (both as neg and reversal) always seems to look a little soft, but this can be due to older or inferior transfers/scans. The Double-X (seen a 1440p version with the grain largely intact) looks very pleasing to my eyes and more than sharp enough. I am aware that these are old emulsions with a vintage look - that's the idea! Any input regarding intercutting the two stocks (cost is the same for me) after scanning (so a little tweaking for a better match is possible but I'd like to avoid that) - highly appreciated. EDIT: BTW: does slightly overexposing help reduce grain (both on Double-X and Orwo UN54)? It does work with the Tri-X, but it just lowers (slightly improves) the threshold of coarse grain (as soon as you have dark-middle gray, you'll get that grain crawl again) and I'l blow my highlights - I did test shots for that. Christian
  22. Hello Crew!!! I would like some feedback, if possible, on these updated Bolex H16 graphics... Now Available from Dr. Bolex
  23. WOW it is possible to get 10X and 13X plus almost 16X it's huge. Without distortion and pleasant to view.!
  24. What this world deserves is an affordable super16mm camera and I’m gonna give it to’um...
  25. Hello group, Solving the (hopefully) last problems with my S 16 K-3. Looking good so far. No emulsion scratches (after a lot of very careful polishing the gate in the right areas - loop formers removed) and just found the cause for the occasional base/backing scratch (exactly where the regular 16mm frame would end opposite pulldown claw. It's caused by the plastic part that leads the film out of (top) and back into (bottom) the sprocket/roller assembly. The part has sharp edges/burrs on both sides: top and bottom side. Too difficult to remove the part, so I'll tape off the rollers and some light wet (always fine machine oil, not water) sanding with 1000 and 2000 grade should solve the base/backing scratches once and forever. Now those nasty orange-red light leaks (sprocket hole side). I see these - looking exactly the same - on a lot of K-3 footage on YouTube and Vimeo. I went through the footage frame by frame ( "," and "." keys on YouTube). These occur roughly along 3-4 frames (with some light spill) 26 to 30 frames before and less frames after a new shot (the white flash frame). Checked with scrap film: this locates the leakage exactly at the back side of the spools - and the emulsion is inside black "daylight" spools (???) Can't come from the footage counter: sealed it off with gaffer tape. It's clearly light that finds its way slowly to these areas when the camera is not running but exposed to bright light. If I don't expose the camera to a lot of light, or only have a short break, between shots: no light leaks there. The fact that the baffle plate is a silver-gray with a dot pattern (as opposed to matte black - the way it should be)) certainly doesn't help matters. Door and lock are always sealed tight with black camera tape. This seems to remain a mystery for many a K-3 user. Painting any parts inside matte black is out of the question (I think): it can chip and probably cause chemical reactions. Any ideas and tips highly appreciated. Thanks in advance, Christian
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