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Showing results for tags 's16'.
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...I sent my Aaton XTR XC to England for service, battery recell etc before I start rolling with it and Alan tells me the camera can't be converted to Super16mm as the "gate and ground glass have been swapped for regular 16mm only"...... so I stopped to think.....is it really worth all the hassle converting to Super 16mm after all?... Am I going to shoot a film on 16mm film that's going to appear in a large cinema theatre screen........prob never....and if what I shoot appears on Vimeo, YouTube, and viewed on tablets and smartphones - ironically the iPad Pro screen is practically the 4 x 3 ratio - should I not just stick with standard 16mm format? .....would appreciate thoughts.....no idea on the costs at this point to get the parts I love it by the way.....the design and ergonomics and the feel of the Aaton...glad I bought it -
Hi, Selling a Kinoptik 9mm f1.5 lens for Super16 in PL mount. Good condition on both optics and mechanics. Looking to get 1000€ including shipping. There's one on Ebay now for 1999 US dollars. I bought it together with other stuff in a package deal and got two of it. The other one has bad mechanics but works so I'm considering keeping that to free up some money. Located in Stockholm, Sweden but will ship world wide if needed. I'll gladly answer any questions and send pictures. Thanks/Kalle
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Aaton XTR Prod S16mm Camera Package All components have just been serviced and in great working order. From rental inventory and has been regularly maintained for the life of the camera. I have 2 comparable packages available. Package Includes: Aaton XTR Prod S16mm Camera Body VR46 Color Video Assist 1.78 Ground Glass Standard Viewfinder (short) Heated Eyecup Extension Finder Carry Handle w/ 2 Aaton Tools Right Side Grip w/ Start/stop 15mm LWS Right Ride Rosette Dual Rosette Grip Extension Arri 15mm Studio Baseplate 2x 6" 15mm Screw Type Mini Rods (not pictured) 2x Coiled Eyecup Heater Cables 8" 2pin to 2pin Start/stop Cable (not pictured) Mag Port Cover Lens Port Cover 3x 400' XTR Magazines w/ Throat Cover Flight Case For Camera Body (ATA Style) Flight Case For Magazines (ATA Style) $3895 I have On-Board batteries and chargers available upon request (fresh re-cell at time of sale). NP-1 style battery adapters that allow use of modern NP Li-Ion batteries as on-boards. Additional 400' and 800' magazines. Large selection of high quality used S16mm Primes and Zooms. Please PM with questions. Located in Hollywood, CA. I am happy to demo the camera in person. Willing to ship at purchasers expense.
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Hi there, I'm trying to get an idea of the image quality of shooting a landscape (more specifically a desert landscape) in Super 16. Does anyone know any films/scenes from films that I could watch to get an idea of this? Right now I'm deciding between shooting in s16 or 2 perf 35mm. If I shot s16 I'd probably be using an SR3 with Arri/Zeiss Ultra 16s Thanks! David
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Rare chance to own a complete Arri SR3 Advanced camera package just serviced and regularly maintained by Clairmont Camera. Includes premium IVS video assist. Package Includes: Arriflex SR3 Advanced S16mm PL Mount Camera Body S/N: 4070 1.78/1.33 Combo Ground Glass Arri 30mm Eyepiece Arri Heated Eyecup Arri FE-4 Extension Eyepiece S/N: 1007 Arri Eyepiece Leveling Rod S/N: 1072 Arri IVS S/N: 5079 Arri BP-7 S/N: 5929 Arri 12" Dovetail S/N: 5079 Arri DC/DC2 Box S/N: 1434 Arri Right Side Grip w/ Start/Stop S/N: 340 Arri "Piggyback" On-board Battery Adapter S/N: 9615 Arri 15mm Clip-on Mini Rods Mag Port Cover Lens Port Cover 2qty. 24v Y Cable (Camera Power) 12" 24v 3pin to 3pin Cable (Eyepiece Heater) Backup Fuse For Camera 3qty. Arri 400' SR3 Magazine S/N: 3130, 1564, 2102 3qty. 400' SR3 Magazine Throat Cover Custom flight Case For Camera Body Flight Case For 2qty. 400' Magazines Full SR3 Package - $4,695 Also Available: On-Board SR3 Batteries (New re-cell at time of purchase) $295/ech - 3x Available 24v SR3 Battery Charger (Built Into Case) $250 Located in Hollywood, CA. Happy to demo the camera in person. Willing to ship at purchasers expense.
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Hey! Interested in a Super 16 Ikonoskop A-Cam SP 16 and/or an Aaton A-Minima. Let me know. Thanks
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For sell a Zeiss SuperSpeed 9.5mm T1.3 S16, a great luminous wide angle cine lens. I sell it because i search a zoom instead of primes. Price is 900 Euros + shipping. Regarding the state of the optics there is no mushroom / fungus / dust inside. There are slight "cleaning marks" on the glass, as well on the front and rear element, obviously not affecting the image. But there is no claw or crack on the glass. I bought it for a French DP who took great care. Cosmetically really in good condition, the paint and the numbers / lettering are there. The aperture ring is very fluid, the focus ring is less fluid, a little harder, but it doesen't affect the focus at all, change focus is easy. Super Speeds are among the best Super 16 lens and they have been used on many feature films. The resulting image is still impressive today. This is a test that I realized with the Blackmagic Pocket: https://vimeo.com/129887125 I am at your disposal for any additional questions, optic can be seen in Belgium. The lens is Arri Bayonet mount, also i sell the adapter Arri Bayonet to MFT from Ciecio7 for 90 euros extra. This adapter is one of the best available adapter and is shimmable: http://www.ebay.com/itm/Arri-Bayonet...-/251176724708
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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
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Hi! I'm looking for a used Aaton A-minima. All offers considered, but if possible I'd like a kit with the following: 3-4mags, powerbase, wooden handgrip, batteries and charger, blimp, top handle, PAL video assist. EU sale preferred if possible. Sadly for any seller I've seen that the prices for A-minimas have gone down quite a lot… but if you sell to me you'll at least know that it will be loved and used :) Looking forward to hear from you! Take care/Kalle, Sweden (contact info at www.kallefolke.se)
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Total novice here preparing to shoot a short film on S16... Quickly looking at these film grabs of Christopher Doyle's work makes me wonder how he controls the two color palette across almost the entire film... int/ext shots. Film-Grab.com: Fallen Angels (green/red) Happy Together (cyan/yellow) Days of Being Wild (blue/green) In the Mood for Love (blue/red) 2046 (blue/red) I think he uses Tungsten so my amateur question is whether he is mainly controlling color by gels, set design, or color grading in post. Or all three. I'm wanting to have similar control of color in my film and not sure how to achieve it. Here are some more specific examples/questions/curiosities: 1) green clock with red lights coming in through window? 2) how does he flood everything with green, the stock? post? but the red helmet and light seem unaffected, how? 3) red/orange hair with surrounding green? is that just a gel on her hair with barn doors or flags to not get the curtain? (her hair is a blonde wig) 4) how is there so much green in this image? post? 5) yellow light coming through window? green light in background? warm light on face? are these all gels? 6) In Happy Together is has the cyan/yellow look and I understand it is much more possible to control this with all the interiors... but how does he do it with the day exteriors, obviously that is not natural color. Is this just post color grading? I could go on and on... but I think this shows the lack of knowledge at hand and what I am trying to learn about. Thanks ahead to all those who chime in! -
Arri S16 11-110 T2.2 (PL Mount) Super 16 Zoom Lens
Alexander Boyd posted a topic in Cine Marketplace
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.
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Hello everyone! I'm aware that there are numerous other topics about s16 zoom lenses. However, I'd like to hear your advice/thoughts on these particular PL-mount lenses (some of them only PL Adapters) mentioned below as I'm planning to buy one of them for my Aaton A-Minima PL. The lens will be used for more personal, S16 film projects (hence these "lower-budget" lenses): - Angenieux 9.5-57 T1.6-2.2 | PL Adapter on Arri Bayo Mount - Angenieux 9.5-95 T2.5 | converted to PL mount - Angenieux 12-240 F3.5 | converted to S16 with PL mount - Cooke 9-50 T2.5 | PL Adapter on Arri Mount - Zeiss Vario Sonnar 12.5-75 T2 | S16?? // PL Adapter - Zeiss Vario Sonnar 10-100 F2.8 | S16?? // PL Adapter on Arri Mount Looking forward on reading/hearing your thoughts about breathing, vignetting, combining it with a Minima etc. Thanks in advance, Alex
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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.
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Preferably in PL mount, and from sellers in the UK/EU (as I'm based in the UK), though open to offers from further afield. Kind Regards, Josh
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looking for some carl zeiss super speeds either mark ii or iii in PL mount. clean glass only, don't mind if cosmetically they're a bit battle used. located in the uk willing to pay international postage but would like to avoid getting stung by customs on such pricey items. hit me up with reasonable offers cheers jake.
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Ok, here's the deal. 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. The camera has been upgraded with a 4-pin Cannon (aka XLR) power connector instead of the old Arri 2-pin "banana plug". It's also been fitted with a 80fps max tachometer (I believe taken from an Arri 2C H.S.) There is no case for the four 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. Selling for only $800!!! Available to see in West Hollywood through this Saturday. After that, get in touch and I can coordinate a time when you can check it out. For convenience, preference will be given if there is a buyer in the LA area who will pick up in person and pay cash. Pictures! http://www.flickr.com/photos/95212445@N02/sets/72157633331237723/ Please send me a private message if interested. Thanks for looking! Rich
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First of all apologyse since I´m new to the web. Is this the right place to post this? Im looking forward to buy an Arriflex SR 1, 2 or even3 for super 16. Anyone trusty can help me out or have a nice working one?
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Hi guys! I’m currently in the pre-production stage on a project that I am planning on shooting this coming summer. It’s a music video that follows a group of people with emphasis on one of them and her experience and discoveries about herself during their stay at a music festival over the course of about ten days during the summer vacation. I’ve been toying with this idea for some time now and I’ve realized that I really want to shoot this on film. I really feel that film is the way to go, both in the way I would end up working and also in the end result. I really think a slightly soft and grainy and warm and beautiful S16/U16 (or perhaps even 35) Kodak Vision look would suit the subject matter very well. This is where I need your help. I am looking for a robust and light camera system that, if 16mm, would easily convert to Super or Ultra 16, preferably hand cranked, although this is not a requisite as long as the system has interchangeable batteries that last long and can be charged from a standard 220V socket as I will be staying with the group the entire time with limited access to electricity. A hand cranked camera would probably be a better option. I already own an H-16 Rx that I have some experience with, however it is not ideal considering I limit myself to Rx lenses and 100’ magazine and a viewfinder I’m not super fan of; too small and too dim imo. Basically, what I’m after: A light and portable S/U16 camera 400’ magazine preferably seeing as I will be shooting a lot of slowmo 24-48 fps Hand cranked is a plus Turret mount is a plus That being said … I have also been toying with the idea of shooting 35mm. I’ve seen several labs that scan 35 at a lower price than 16. Difference in the price of film isn’t that big either. Something like a Konvas looks almost perfect for what I’m after. The only problem being that it maxes out at 32fps and I’m not too familiar with old Soviet electronics. 3-perf would be more ideal than 4. I’d really appreciate some input and help from you fine people here ^^ -
Hey there, about to buy a late Aaton LTR 7. The camera has been converted to S16, but the mags haven't. Instead of having them expensively converted to S16 as well, could I use the camera with an XTR Prod 400' DX S16 magazine? I could get that for $200, that's why I'm asking about the mag compatibility of the LTR. Any help is highly appreciated.
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Hi everybody. Urgent question. I'm in the process to get Sponsorship for our documentary, we'll shoot with a BlackMagic Pocket Cam. We have 2 options for the Zoom Lenses we'll going to use: 1. Arri-Zeiss Zoom 11-110 S16mm PL Mount 2. Zeiss Compact Zoom CZ.2 28-80 T2.9 We're aware that both are great lenses. The S35 Compact Zoom would demand a Metabones Adapter, but that's no problem at all. I wonder which would you guys pick and WHY? Of course the S35 one is new, and that might be a benefit. Thoughts? Thanks, F
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I have some questions regarding the following: I have just acquired Final Cut Pro X ( I am aware that most professionals hate this new version but it is what I have..), Adobe After Effects, and Photoshop. I shoot Regular 16mm and Super8mm. My normal procedure upon unloading my film from the camera is to take it to my local processing place - PacLab over on 2nd Ave ( N.Y.C ) then when these great folks call me I then take my film over to Greenpoint, Brooklyn (actually I get off on Vernon Jackson stop on the 7 line in Queens and walk over the Kosciszko Bridge, so it kinda of feels like Queens but I digress) and head to DiJiFi to get my film telecined. This has been my process for a couple of years now since I have been experimenting with 16mm and super8mm. When I'm there I am faced with some options and I wonder if I have been making the right choices. From what I remember, I always go for HD over SD for all my footage, I always have it output to my portable HDD and I always choose ProRes ( I think its 444) so I can edit in Final Cut Pro which I NEVER do cause I do not really know how. I come from an in camera editing school, but most of what I have shot has no narrative, basically just shooting to see if I can get "good" exposures and experimenting. So what are some things I can do using the programs I have listed and or other programs I may not know about to make my footage (A) Sharper (B) Reduce the grain © How do I play with the color/ color grade my own footage? (D) whats the deal with compression? I was reading another recent form and found it, informative but totally at a loss when it came down to the talk about compression and resolution. Since I always opt for HD, 1080p and my doing myself a disservice? Now I am shooting REGULAR/NORMAL 16MM. So far I like my footage when I get it back from telecine but feel since I am not doing any POST work, the stuff I have shot lacks in color grading/sharpness/grain compared to other folks who have shot with my cameras but are keen on doing their own color grading/post work. What are some good programs, tips, and tools a person can use to make the most out of their super8mm/16mm footage? ---for fun I shot some footage of my buddy placing acoustic however the camera was not crystal synced...I did shot on 24fps but I am now aware that this accurate. I also made the terrible mistake of shooting w/o a wind cover ( on my h4n) so a violent hiss appears on some of the audio. I had my friend re-record the songs in a acoustic friendly setting and now have the task of trying to sync the audio to the image. Knowing what I now know my footage will not come out in total sync but can I manage to somewhat match? Sincerely, Rudy -
Hi there everyone,Greetings and a very happy new year. I am coming up with a feature shoot where there is a small under water 'fantasy' sequence (ok, clue is a mermaid in the sea).Logistics wise we are not ready to go and shoot either in sea or in a swimming pool. Couple of years back, I guess in 2009, there was an awesome thread on CML about shooting dry for wet. That thread is buried under 8000emails and I cant locate it. I need advice of all you experience cinematographers about how best to cheat and give it an underwater look.I will submit the following for your consideration:-a) it is a fantasy sequence. doesn't have to look like a real underwater.b) no long takes. just inserts/reactions and Medium shots of the artist underwater. What we have is - a studio space, lights, fans, grips and an awesome art director, Arri SR3. We do not wish to go the digital route in creating bubbles etc. Looking forward for your tips. regards Prashantt Rai
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After 6 years hiatus Super16 makes a comeback in British TV industry. Super 16 originated material will be accepted for broadcast. http://www.screendaily.com/territories/uk-ireland/uk-tv-to-allow-super-16-for-hd/5062821.article?blocktitle=MORE-TOP-NEWS&contentID=40294
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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 -
Hi everyone, greetings! just shot an experimental short, a motivational short film on Running on S16mm. you can have a look at the link below. thanks n regards Prashantt cinematographer Mumbai
