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What this world deserves is an affordable super16mm camera and I’m gonna give it to’um...

Hey all, I have an Aaton Aminima Super 16mm camera package up for sale. It's in excellent condition and was recently serviced at Abelcine. I'm currently traveling but if anyone is interested I can put together some photos and reference videos when I get home. Here's what's included: - Aaton Aminima - 3x 200' mags - 3x daylight spools - Onboard Aaton side battery - Battery charger - Video tap - Wooden handgrip w/ lemo connector - 15mm rods - Carrying case - I also have a roll of 250D and 50D that I'll toss in as well :) Asking for $5,000 but open to offers. The camera is located in SLC, Utah. Will accept PayPal. Please feel free to reach out with any questions. pendleton.tanner@gmail.com 978-340-2012

Hello all, Just received my Zenitar 16mm lens for my K-3. Not a huge wide angle, but exactly what I was looking for. Good enough for smaller spaces and run and gun. Much less barrel distortion than what I had expected. There is a spring loaded metal pin which must be pushed-in so the aperture/iris will work. Mounted on the K-3 it remains protruding and the aperture does not work. I am thinking about taping it over, using a small plastic sheet part that doesn't interfere with the rotating mirror. I am afraid that the gaffer tape will come off inside the camera though - causing irreparable damage. Any suggestions how to keep the pin pushed in securely will be highly appreciated. Thanks in advance, Christian

I'm working on a short film with some other students, we are all working with the 416 for the first time. I'm going to be focus pulling, but I am still going to take the opportunity to have a go at loading the camera too. I went to a nearby rental house today to check the kit out, and it doesn't seem too daunting. I loaded on an Sr3 job last summer, which was my first time working with any kind of film (aside from super 8mm), so I certainly have less fear this time round. Apart from the feed side of the magazines being the opposite way round, and the extra step that involves entering the take up side, exiting to the loop, and back into the take up side, it doesn't seem overly difficult. It would be great to hear any loading tips that anyone might have, I'm sure there are hundreds of dos and don'ts associated with this camera and it's loading procedures, the kind of things you only learn from being told, more than experience actually loading. In terms of sharps, I have plenty of practise pulling off marks and judging distance on digital 35mm cameras, so I'm fairly confident about pulling without a monitor for super 16mm. It's mainly the other responsibilities I would like to hear some advice on, such as everyones preferred way of 'checking the gate' at the end of a slate. What way would you clean the gate if an emulsion hair was spotted in the gate? I've read up numerous sources, including the AC handbooks, but would be great to hear some other opinions from different camera assistants. Is there anything else I need to be aware of when working as a 1st alongside the 416? Anything I should be keeping my eye on throughout the day?

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?

Hello all, Well I am new to this web site and I hope my post hasn't been addressed before (I searched the forum of course). I appreciate your patience reading my rather long post, also introducing myself - I apologize if I'm drifting off topic for a moment. :-) Well I am considering starting to pick up a film camera again. I was a Super 8mm user back in the day (1975 through 1981) and I never got the results I was looking for and I don't see that format ever yielding truly satisfying results (in my humble opinion and for what I have in mind, not to be disrespectful!), even with all recent efforts (Pro8mm, Logmar, Kodak's new planned camera line and film stock turnaround - for 2016....). I never bought a video camera/camcorder, because I just don't like the look at all, even the most skillfully graded footage I have seen (it's always glassy, harsh and "digital" looking). Just to fill you in: I worked small jobs at the Frankfurt tv station "HR" (1977 - 83), and got a lot of insight regarding the sweet old Arriflex 16mm cameras, film loading, servicing, editing on the Steenbecks, in-house processing and the old machines where the films were aired "live" as opposed to telecine transfer which was still in its infancy - those (then) professional 16mm cameras were still in heavy use for all kinds of television productions. I studied photography and cinematography at the University, but I knew it would lead me nowhere - so I dropped out. I went full time for music, a decision I never regretted - but true motion picture film (even with all its hassle) is still my passion. Recently I checked on Ebay: there are a handful of K-3 cameras for sale and most are converted to Super 16mm including re-centering the lens. Most are coming from the Ucraine and Bielarus. Prices are very affordable. I know that the first two numbers of the serial number represent the production year (please correct me if I'm wrong). One model is as recent as 1989 (last production run) - so I should be able to purchase later some nice, sharp prime lenses. Here are my questions: 1) Has anyone purchased an already modified Super 16mm K-3? Is the optical axis really 100% re-centered? Is the new, widened film gate safe regarding scratching the film? I don't see any shifting to the side on the photos regarding the lens adapter ring.... 2) is the view finder normally modified to match the new format? I wouldn't mind it not being wider, as long as the center is exactly natching film gate and optical axis - and as long as I know when unwanted vignetting occurs. I don't mind some guess work. I'm "old school" if it's necessary :-) 2) Would it be recommendable to remove the loop guides right away and hand-load, to eliminate the chance of scratches? 3) I don't have anyone who could service the camera nearby - so how reliable is it regarding motor speed, mechanics? I plan on mainly filming at 24 fps - perhaps some slow motion at the highest speed possible... 4) is it recommendable to purchase a battery adapter kit since the old, discontinued batteries are usually dead and new ones read to wrong read outs. I will eventually purchase a separate light meter, but the use is not always feasible since I plan on filming mostly spontaneously what I see (as opposed to an improvised studio set up) - some of it for use in music videos. No problem with filming wild (no crystal sync motor needed) as long as the actual film speed is close enough to 24 fps. I don't plan on purchasing a fully serviced K-3 from the US. I am located in Portugal and the costs would be too high for an entry-level camera (will check it out anyway). BUT I see a lot of K-3 footage, both 16mm and Super 16mm (YouTube and Vimeo) which clearly have focus issues. Some shots are razor sharp though (even when considering it's Super 16mm) so it must be a lens issue. I thought about a Super 16mm converted Bolex, but these are much more expensive and also seem to have issues. Do these wind up cameras handle the modern Kodak Vision 3 neg film stock well (jamming, lost loops, jitter, etc.). Any hints and tips highly appreciated. Thanks a lot for reading. Best wishes, Christian

Hey, So i recently did a registration test on an SR3, and I got back some curious results. For the test I shot 25' @ 24fps 25' @ 48fps 25' @ 75fps then rewound and did the same thing again with the chart moved a bit. I was expecting the 24fps to be rock solid, and the 48 and 75fps to have a little play, but it was the opposite. 75 was super solid, and 48 was a hair more wobbly, and 24 was loose. is that normal? and secondly, and i know this is hard to describe over text, but how steady should i be expecting a super 16mm to be? maybe it's a totally acceptable amount of wobble at 24fps and i am just expecting it to be better than it should be.

Hey, I was digging through an old drive and found the original scan of some super 16mm I shot for a music video earlier this year. This is Kodak 7219 500T, rated at 800asa, with a one stop push. We had planned on converting to black and white in the grade, so I the extra grain of the one stop push sounded great and worked out really well in the end. It was telecined to HDSR on a Spirit 2k. We go an unsupervised "flat scan", that was then rendered out to a 1920x1080 prores 422HQ. The vimeo compression really took a lot of the grain away, So I've included a few still frames as well. Photos are here: https://www.dropbox.com/sh/b66wby9zoaro0zx/AACshQrxKQuknafW2SvVAqgga?dl=0 I hope this is helpful to someone!

Hello everyone, I'll be shooting a short film this month, for which I need to emulate the look of an early b&w silent film. It is a bold look but has to be watcheable as the entire movie is shot this way. I'll be shooting on Super 16, and was considering a couple options regarding film stock and processing: - Shooting black and white directly on 7222 stock, exposing normally. I like the idea, the stock is naturally grainy, but the dynamic range is quite limited. - Shooting 200T 7213, under-exposing the neg and then push-processing by one stop. Black and white would be done in post. It is risky, as the image is probably going to be grainy, high-contrast and the blacks will be muddy ; but I was thinking all of this would help "sell" the look. - Shooting 500T 7219, over-exposing 2/3 stop and then pull-processing. Black and white done in color grading as well. I like the idea of keeping color information to grading, and this looks like the safest option to me. As far as lenses and diffusion is concerned, it will be a series of old superspeeds, which I will be diffusing with something like a Glimmerglass or a black soft net. I know I should shoot tests, and I will. But I'd be glad to hear your opinions and if you think there's an obviously better option. Thanks ! G.C.

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

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

Hey Everyone, Here's a long form commercial I shot on Super 16mm on the Krasnogorsk K3. I'm really happy with the way it turned it out. I showed it to non industry people and someone asked me how I got it to look the way it does and my I told them, "It looks like that because it was shot on film". I feel like it wouldn't be the way it is if I shot it on any other format. I would definitely appreciate any comments or criticisms! Thanks, Mike https://vimeo.com/74120596

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.