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hello everyone, The Bolex EBM can only be powered with 12V. If my V-lock plate isn’t regulated for 12v but my cable powering the Bolex from that plate is regulated 12v, would that be okay ? Or does both need to be 12v regulated. Additionally and most importantly, any tips on rigging a bolex EBM with power + a rec and stop button ? Looking at all the options, but can't find many. Thanks !

Just wondering if anyone has expierience with using Illuminas alongside Superspeeds and which one would be better. It'll be on a Krasnogorsk 3 with Pl mount conversion on a helmet cam pov rig. And many shots will be in low-light wide open, and just looking for which will be sharpest. And if either have odd quirks which might negate the others image quality.

Are there any labs that can scan s16 at 8K, particularly in the US? The majority of our project is s16 at 4K via a ScanStation, but there is a particular small section of the movie where we need higher resolution. Don’t need info/a lecture on 16mm’s resolving power—I understand that it’s very (very) unlikely that 8K scans would resolve any more image detail than the 4K scans. But we need the extra grain resolution for post. Do any labs do it (I’m under the impression that the LG Director 10K could do it)? Totally understand if it’s not something any labs do since it’s incredibly niche. It’s hard to know different labs’ capabilities since most are not public online about the scanners they’re using. Any suggestions on who to contact?

Hi all, Came across an intense flaring/ghosting (not really sure what's happening here) phenomenon using a Cooke S16 Varokinetal 10.4mm-52mm. It has been serviced by Visual Products 2 months ago. The stills come from footage on a RED GEMINI in 2K crop mode, with standard OLPF and no filter or mattebox on. It is present across the aperture (toned down past T5.6) and zoom range (seems to zoom in the effect). Can provide examples in other lighting situation. In a lot of scenes the light source, even a window with ambient daylight, will appear as a blue ghost/flare. The effect was noticed on ARRI mini LF too and potentially on ARRI SR2 (though not as evident on the 16mm footage shot yet, as the source was ambiant overcast daylight). I find this interesting as I tested a lot of vintage S16 zooms before from Angénieux, Canon and Zeiss and never came across this to my memory. Anyone has insight or guesses on this? Trying to gather information from other users too. Thanks, Alec

There were a few threads on widescreen 16mm that had it individually brought up with links to defunct websites that supposedly had more information, but I want it for here, does anyone have any information on the 16mm anamorphic process known as tronchet scope, like what gear was involved? I know it was a system based on an anamorphic adapter placed in front of primes on a 16mm camera and that it was used on a few movies back in the day like Lucile Hadžihalilović's "La Bouche De Jean-Pierre" or "Jean Pierre's Mouth", Gaspar Noe's "Seul Contre Tous" or "I Stand Alone", and Carlos Reygadas's "Japòn". If anyone has any other information on this system please drop it here.

Full set serviced less than a year ago by Charles Pickel at Serious Gear. The glass is pristine aside from a tiny pinprick on the rear element coating of the 9.5mm, has absolutely no effect on the image whatsoever. Message me if you're interested and want photos of the individual lenses, they really are absolutely pristine! Markings are in feet, NOT metric. Here are a couple projects I shot with these lenses, they produce some really beautiful images: https://www.fiokarpenko.com/thick-and-heavy https://www.fiokarpenko.com/howl Looking to get $14,000 for the full set.

After seeing some old forum posts talking about creating a DIY video tap for older 16mm cameras, I thought I’d give it a shot. There’s an old thread about exactly the camera I’m using, an Eclair ACL, but the photo of the rig that they posted is no longer on the internet. So I put a super rough $20 thing together (plus an iPhone 8+). You can see it here: https://imgur.com/gallery/aNxfqXV Any suggestions? There are definitely some things that could be improved. It takes a while to set up since it doesn’t want to stay in place unless I use tape. It’d be nice to have a more rigid arm, but I’m not sure I could find one that’s the exact length and angle needed (that’s why I ended up with the “gooseneck”). And for actual shooting I’ll need to make sure that I’ve covered up all possible points where light can come in the viewfinder so it doesn’t cause light leaks.

Yeah, I'm looking for these very rare super 16 lenses, they include that 4mm t2 that goes fast, and a 5.5mm and an 8mm lens, if you have them and want to sell, please let me know.

Hi Guys, I own a Krasnogorsk K-3, I purely use it for fun, not professionally. I've put about three rolls through it at this stage, and although I'm happy with the quality of the footage, I notice a large dust build up on all the the footage, as well as some continuous straight scratching on the right side of the film. Have been quoted £400 to have the camera professionally cleaned and serviced, but it's not worth that so I'm not really willing to fork out that much just for a camera that I use for fun. Was wondering if anyone here has experience of cleaning this camera themselves? And if they could give any advice to potentially fixing this at home? I gave the camera a good blow with compressed air, and a little brush the last time I put a roll through it, but still got the recurring issues. Any other help would be massively appreciated! I have attached some images for reference. Best, Jack

Selling my personal Aaton A-Minima in immaculate condition with Fujinon PL-mount 10-40 t/3.95 zoom lens, Power Base, Century 2x Super 16 extender, Chroziel 2-stage 3x3 mattebox with (16) 3x3 Tiffen filters, Arri FF-1 follow focus and and accessories and (20) A-Minima 200' daylight film spools & (10) 200' cans. I purchased this camera and lens from Abel Cine in Burbank and have used it for home movies. I've shot only 37 rolls through the camera since new. I'd prefer to sell LA/local but will ship to lower-48 USA. Local pickup can also be arranged in Pasadena, CA area. Asking $22K. Sale includes: A-Minima camera body with PL mount, body cap, Aaton internal battery port cover and adjustable handstrap Fujinon Super 16 PL-mount 10-40mm t/3.95 lens with 80mm front diameter; original front and rear lens caps Century Optics Super 16 2x Extender, PL mount with front and rear caps in excellent condition (2) 200' A-Minima coaxial magazines (late-version with large blue-anodized latches) (20) Kodak snap-apart reusable A-Minima daylight spools and (10) Kodak 200' A-Minima film cans (2) Aaton on-board 12 volt 1.7 Ah rechargeable NiMH battery packs Aaton CHA-3 NiMH 2-port battery charger (2) CHA-3 Cable Adapters for on-board rechargeable batteries Aaton A-Minima Power Base with built-in safety fuse, (1) BNC connector for synch to monitors, (2) Lemo 6-pin accessory plugs, (1) 4-pin XLR for 12-volt external batteries, (1) Lemo 2-pin plug for remote on/off switch (4) 15mm Arri Standard 2" extension rods for mounting accessories to the power base Arri FF-1 lightweight follow focus unit in excellent condition Chrosziel 3x3 clamp-on 2-stage matte box with (1) 160-degree rotating stage, French Flag and 80mm lens ring adapter (16) Tiffin 3x3 glass filters in original pouches, like-new condition (ND 0.3, ND 0.6, ND 0.9, ND 1.5; 85, 85ND 0.6, 85ND 0.9; 81A, 81C, 81EF; 82; FL-D, FL-B; 12 Yellow, 25 Red; Polarizer Schneider Optics 80SSLR to Series 9 adapter--clamps to any 80mm lens front to hold Series 9 filters eliminating the need for a matte box when you are trying to keep a low-profile/stealth mode when shooting (Series 9 filters not included) Original instruction manual, brochures and the original A-Minima box (2) New chamois eyepiece covers Pelican 1600 case with dividers

Alright, these were 16mm film lenses made by kowa for cinema products and were branded as Ultra T. From the brochure "Cinema Products' ultra-fast Ultra T lens series consists of four prime lenses: 9mm (T1.35); 12.5mm (T1.25); 16mm (T1.25); and 25mm (T1.25). UltraT lenses are remarkably suited for filming night-for-night with available light, providing extremely sharp definition and high resolution, with excellent contrast, good depth penetration and well balanced color saturation ... which makes them ideal for all professional 16mm production applications. " And "Ultra T primes are presently available in Cp, Arri Band Eclair CA-1 mounts. " If you have any of these lenses, contact me.

Hi everyone, I am looking to purchase an Aaton a-minima camera kit. Let me know if you or anyone you know have one for sale. Thanks,

Hello, has anyone made a pl mount to pl mount focal reducer for super 16 cameras? I want to use larger format lenses on super 16 film cameras with lenses like the 12mm master prime, or the 18mm tokina and it's derivatives. I don't want to pigeonhole myself into buying a whole bunch of super 16 primes (before you ask, no one in my area offers any motion picture film cameras), but I want to use them to their fullest image circle wise while on super 16 as I feel it within the world of the available film stocks like vision3 it still has texture comparable to old film stocks but I want the perspective that shooting a super 35 or larger camera would force me to do in terms of distance from the subject relative to the field of view. So y'know how there's pl to pl focal expanders? Has anyone made a pl to pl focal reducers then? Also, can you convert a 416 to shoot regular 16mm like you can with an sr3? I just want to know as another element of which to buy.

Hi, I need to let go of the best camera I've ever handled. Since I have access to another 416 I can't motivate keeping it no matter how much I'd like to :) Complete list of what's included can be sent, it's a nice big kit with three mags, three batteries, all important accessories like shoulder support and hand grip etc (it's a lot) and two cases that fit it all. There's more stuff then in the attached picture. Runs like a charm, was just out shooting with it tonight without any problems. I've never had any camera related issues with it (only user error before I learnt to load it correctly…). Price is 8000€ + shipping and I'm not taking any offers at the moment, so please only contact me if you're seriously interested. EU-sale preferred. I'm based in Stockholm, Sweden. Pick up would be great, coffee/tea included if you come :) Please contact me here or with the contact info on my website linked in my profile. Take care/Kalle

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 2060 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. Communication with him about any concern is encouraged. 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: (Photos are of camera before upgrading)

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 ?

Lot's of great film gear for sale. Everything is well maintained!! Please make an offer and send me a PM! Click here for pictures: https://www.zonerama.com/Link/Album/5045829 ARRI SR 3 Refurbished – Complete Kit This camera has been used by Michael Ballhaus for teaching at the Munich Film School until I bought it in 2011. It was then fully refurbished and repainted by former ARRI technician Georg Bogner. This kit runs perfectly and has been serviced since at least once a year by Georg Bogner. I am only selling this because I have a second kit! Set includes: - ARRI SR 3 Super 16 with lightmeter + timecode (SN: 1634) - ARRI IVS (PAL) - 4 SR 3 Timecode 122m Magazines (SN: 1484, 1322, 3502, 1307) - Metal cases for all parts And further accessories: ARRI Viewfinder Extension FE-2 SN:1423 ARRI Eyepiece Leveller EL 3 + mounting plate for tripod ARRI Battery plug-on adaptor ARRI MCL 4 - Timecode machine SN: 32 ARRI ESU-1 - External Sync Unit Bildschirm-Sync, alle Kabel, Bedienungsanleitung NN 7" Videomonitor with ARRI plugs ARRI S-3 Shoulder Rig, Geweih ARRI VSU 4, Variable Speed Unit SN: 1114 ARRI Heated eyecup HE 3 ARRI SR 3 Raincape ARRI LWS 15mm rods, with two extensions ARRI Viewfinder Extension FE-4 SN: 1324 ARRI ARRI studio matte box 4x4 / 4x5.65 with sideflags, frenchflag, two rotating filter stage, 19mm rods, custom made. Filters can be positioned either vertically or horizontally. It is well suited to most prime lenses and smaller zooms. ARRI Frenchflag 4x4 ARRI / NN Leather Blimp for 122m magazine ARRI DC DC Converter 24V 12V ARRI Battery plug on adaptor ARRI power distributor ZV4 ARRI 2 Plug on batteries, need to be recelled ARRI Standard charger ARRI Power cable with XLR/Fisher plugs ARRI groundglass 1.33 / 1.66 ARRI groundglass 1.78 / HD (maximum area!) ARRI groundglass 1:2.35 (custom made, maximum area) ARRI ARRI Timecode cable BNC (AUDIO) to Fischer (KAMERA) Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 ARRI 535B - 3perf + 4perf – Complete Kit This set runs perfectly and has been checked and serviced by Georg Bogner (Munich). At the moment the 3-perf-movement is installed. But the set also includes a 4-perf-movement as well. FEATURES OF THE ARRI 535 • Silent Sound Sync camera (under 24 db). • In-camera ARRI Glow for 9 formats (there is no need to physically change the glow mask. It can be done easily in-camera using the CCU-1). • Electronic shutter. The camera uses an electronic shutter and can be programmed to ramp up or down. • Speed ramping from 3fps to 50fps with individual steps of 0.001 frame. The exposure will stay constant as it is being compensated for by the electronic shutter. • Shutter ramping from 11 to 180 degrees. Ramping can be programmed or changed during the shot. • Beam splitter: Options are 10/90, 90/10 or 50/50. The 535 is the only ARRI camera that offers a 50/50 beam splitter. • SMPTE Timecode and ARRI time code system (timecode module is included in this auction). • Swingover Viewfinder System and In-Camera Contrast Filter Kit includes: ARRI ARRI 535 B with IVS (PAL), Tophandle etc. SN 5164 ARRI 3perf movement (mounted) SN 3P97 ARRI 4perf movement (additional) ARRI 2 120m Magazine M-11 with Case SN 4857 + 5161 ARRI 2 300m Magazine M-10 with Case SN 8812 + 9168 ARRI 2 Steadycam-Magazines 122m LM 1 SN 6202 + 6084 And further accessories: ARRI SCU-1 ARRI VCU-1 ARRI groundglass 1.78, ARRI GLOW ARRI groundglass 2.35, ARRI GLOW ARRI Viewfinder Extension FE-3 SN 1064 ARRI Timecode TC Cabel XLR Fischer ARRI Raincape ARRI CCU-1 Computer Control Unit ARRI CCU-Cable 30m ARRI Eyepiece Leveller EL-3 ARRI CCU cable short more cable for SCU and Antiflicker ARRI RCU-1 Remote Control Unite ARRI RCU Cable ARRI RCU Manual ARRI PL Port Cap ARRI 535 Flight Case Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Canon Zoom Super 16 SC15x11 T2.5 11-165mm Checked and serviced zoom with normal wear but really perfect glass. It’s the most versatile Super16 zoom I have ever worked with, one of the best ever made for Super 16. It's not a converted lens, it was properly designed for Super 16. It’s really sharp! Can be used in crop-mode on all the digital cameras as well. Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Chrosziel Follow Focus Checked and serviced Follow Focus for 15mm rods, with handles/wheels on both sides, One can be removed if not needed. Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Chrosziel Matte Box – 15mm rods with Frenchflag, one fixed, one filter stage fixe, one rotating, swing-away, 15mm rods Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 NORRIS Intervalometer ARRI SR3 Complete set for stop motion or special effects photography with ARRI SR 3 cameras. These intervalometers are hard to find. Took me two years to get one. But since I only used it on very few projects it is time to sell it. This Intervalometer kit comes with motors for Arri SR's as well as the large capping shutter with 15mm rod mount to prevent any light pollution/fogging on your film. Includes: SCC-300 Time-lapse Controller Motor For Arri SR (1,2, Or 3) 24V 3 Pin to 4 Pin Power Cable 12V 4 Pin to 4 Pin Power Cable Controller/Remote Cable Case Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Sachtler tripod (100mm), Video 18 III head It's in good shape, works absolutely smooth and is ready to shoot. Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Many more accessories are available. Please check the pictures and make an offer:

I work in TV, so when it comes to 16mm I'm just an enthusiast, and all of my 16mm footage so far has been on my Krasnogorsk-3, which has served me well. Having said that, I would like to eventually shoot some more ambitious projects on film (requiring sound, longer takes, etc), but unfortunately the closest place I could rent a film camera from is about five hours away. Because of this, I occasionally find myself browsing eBay for cameras, and often Regular 16 cameras such as Arri SRs, Aatons, or CP-16s are available. I can't help but wonder how worthwhile buying a Regular 16 camera is though; Super 16 seems to be preferable in every way. I guess Regular 16 is good if you want a 4:3 aspect ratio, but it seems like most people would prefer to shoot Super 16 and crop the sides instead. Likewise, if you wanted a wider aspect ratio, you could crop the top and bottom of your Regular 16 image, but Super 16 would require less cropping and give you a bigger image area. It's also worth noting that many Regular 16 cameras can be converted to Super 16, but for the cost it seems like you might as well have just bought a Super 16 camera in the first place. As I said, I'm not a professional when it comes to film, so I'm not sure if I will ever be able to justify purchasing my own professional-level 16mm camera. However, the (generally) lower cost of Regular 16 cameras does make it a little tempting sometimes. What do you guys think, are Regular 16 cameras worth investing in? Note: Yes, I recognize that both Regular 16 and Super 16 would widely be considered "obsolete" these days, so strictly speaking they probably aren't worth "investing" in. I just mean this in the context of those who enjoy shooting celluloid.

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!

Hi, I'm student of cinematography and I'm looking for s16 camera package (preferrably Aaton or Arri sr) or/and s16 lens nojusdra at gmail, or p.m. here Thanks! Nojus

As title says, some Super16 lenses for sale. The Cooke Varokinetal is just a simply incredible lens; as sharp as it gets especially with Super16. This is an original Super16 done by Cooke themselves from the factory, not a conversion. Lens was serviced by Optitek about one year ago (an inner element had some haze and aperture was malfunctioning, Jacek cleaned it right up and brought everything back to spec, and of course did a standard CLA, along with conversion to PL mount and adding a 0.8 focus gear), and has not been used since servicing except to test it and play with it a bit. Has Chrosziel Fluid Zoom damper attached on zoom ring. Body isnt perfect, has the typical finish wear that comes with normal use, but who really cares about that? Glass and coatings are purdy, and the image it puts out is just lovely. Some of the usual light cleaning marks on each, nothing of note. Only thing it's missing is a front ring to bring the front to standard size for matte box...Ive used a janky setup with some rubber bands to allow my mattebox to work on it (seen in pictures). Mattebox not included; I'll leave the front OD ring up to the buyer to get, so they can have one done to their preference. Price: $4500 USD Kinoptik Primes: Interesting little lenses. They have some aberrations wide open as is typical of tiny little fast aperture lenses of the period; but when stopped down to 2.8 and smaller, they sharpen up beautifully. Flare on both is very well controlled, as is breathing...12.5mm has very little and the 9mm has NONE. 9mm F1.5 has focus tabs, 12.5mm doesn't, but I imagine the buyer will want to get focus gears anyway. These things are just so damn small and light, they would make for great lenses for use with steadicam/gimbal. The PL is mounts on each are simple adapter type, and they work just fine. 12.5mm has somewhat stiff focus ring, so it could use a CLA; 9mm rings turn smoothly. $1100 for the 9mm, $900 for the 12.5mm. If you want all three lenses, the Cooke and both Kinoptiks, I'll do a package deal at $6,000 total. All prices not including shipping/paypal fees. Thanks for looking.

Hello, I just got the results from a camera test and I'm a bit puzzled about the format test. The camera assistant shot a 1.66 reference but in the result the limits are way too close to the edge. As you can see in the image attached, the top limit is even outside the film frame! I've done this test before so I know how it should look like and I'm also sure the test was done properly. My question is if anyone has experienced something similar before or has any idea what might be causing this? The camera is an Arri SR3. Thanks!

looking for a good clean example 8-64mm. thanks, david

FOR SALE: Aaton XTR super 16mm camera kit Aaton XTR camera SN c1709 PL mount, Aatoncode, Exposure reading 3 x 400” DX Magazines SN M4974, M3784, M3801 3 x magazine throat protectors Cinematography Electronics Intervalometer SN 6413 + cable Aaton walnut handgrip + cable NP1 battery adaptor 15mm rails/handgrip adaptor Aaton mount spare, other loose parts Origin C+ 2 x 15.6 V 3 Ah Aaton batteries ( recelled 3 years ago - all holding charge) 4 x 12 V Aaton batteries ( recelled 3 years ago - all holding charge) ICE Film Equipment LTD TOP C/D 16V/12V Aaton battery charger (charges 3 batteries at once) Harrison Film Changing Bag Extension eyepiece (Tillhor Sveriges Television AB 880871 K399) Rollerbox Aluminium case (fitted for camera) More photos of the camera and footage shot with this camera can be seen here: https://www.dropbox.com/sh/h4xxlmtikpidtf6/AABgjHcTbE41VOt6XG4KvvC1a?dl=0 This is a very lightly used Aaton XTR, that's in exceptional condition. There is no video split installed but one can be installed by AZ Spectrum in NYC, USA and elsewhere. I'm selling as I don't have cause to shoot 16mm these days. The camera is located in Perth, Australia but can be shipped worldwide. The kit is fully operational. The kit was never rented, and has been my personal camera. Asking price $AUD12,000

I have an 8mm Illumina (Optar) lens for sale. It's in B mount for super 16mm sensor/film. I bought this lens to begin a set with but then found a complete set for sale, so this one is no longer needed. I'm asking £1620 + shipping for it. It is a rare lens and in excellent condition. I can provide more pictures if needed. Shipping will be charged at the cost, insured and signed for. I'm also happy to meet the buyer and exchange. I'm based in Hampshire UK, often working in London if that suits the buyer to meet there. This is me.. http://davidcawleydop.com Please contact via email david@davidcawleydop.com Regards, David Cawley DoP