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Showing results for tags 'super16'.
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Hi, I was wondering whether anyone knows a good place to buy 2 inch plastic film cores for an Arri SR2? I can only see a few for sale on eBay with quite high shipping prices. Quite a lot to pay for something that will be sent off to the lab. Also, could anyone enlighten me to the different uses of 2 inch vs 3 inch film cores? are 2 inch to hold 100' rolls and 3 inch for 400'? Many thanks!
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For Sale : Zoom Carl Zeiss 12-120 mm, T/2.4, PL mount As I don't shoot in Super 16 format anymore, I let my little treasures go. And it breaks my heart. From a Zeiss 10-100 mm zoom lens for film camera Arri SR 1 & SR2. Upgraded in 12-120mm zoom by Optex UK company for Super 16 format. PL mount, Macro focus, Chroziel "Fluid zoom" gear. Pristine condition. No scratches on lenses, no cleaning marks, no fungus, no lenses separation, absolutely great ! Just look at the pictures. Suitable on digital cameras as Panasonic ( GH4, GH5, GH5s), BlackMagic ( Pocket & Pcket 4k), Digital Bolex... The "must have" for any Super 16 film camera as Arriflex ( Arri SR1, SR2, SR3, Arri 416), Aaton cameras... Never rented, only for my personal use on documentary films. Full super 16 coverage. No vignette. Payment : bank transfer only. No paypal. More pictures on request. Ask for shipping taxes... Price : 2200 Euros.
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Hello, I'm looking for a super16 lens that would be equivalent to 35mm in 35 format. Preferably I would want either an Optar Illumina or Zeiss 16mm since I have other Illumina lenses and it would match well. I would be open to something a little wider too like a 12mm. If there are no sellers, does anyone know a good source to buy such lenses?
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I'd like to find a 2-perf, 3-perf or Super 16 camera. My budget is $3,000-5,000. My first choice would be for a 2-perf with a lens, second choice is a 3-perf with lens and third choice is a Super 16 with a lens. My range on price is with the expectation that a 2-per or 3-perf with a lens is going to be on the high end of my budget while a Super 16 with no lens should be at the low end. Of course if someone has an Arricam ST 2-perf with some Cooke lenses they like to sell me for $3,000, I'd be happy to be proven wrong on my price estimates. :D Seriously, if I'm way off on my price expectations, please let me know. If you have a film camera that's been sitting unused or under utilized, please consider dusting it off and sending it to a good home. I have a short I'd like to shoot in December with kids from the local theater club and crew from the local University. If we can pull that off, we've got plans for a feature to shoot in June.
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I have a box of (6500 feet) discontinued properly-stored Fuji Reala 16mm 500Daylight film. LOOKING FOR LOCAL TORONTO, CANADA SALES!!!! Will entertain shipping bulk. Was used to shoot ETERNAL SUNSHINE OF THE SPOTLESS MIND, SLUMDOG MILLIONAIRE and WALK THE LINE... The World’s First Motion Picture Film with Fujifilm’s 4th Color Layer Fuji Reala 500D is the world’s only 500-speed daylight-balanced negative film. Its high speed allows shooting in very low-light daylight and also at f-stops offering greater depth of field. Its speed compensates for the wider apertures required with anamorphic lenses and the effective light loss attendant on “over-cranking” for slow motion effects. This is the world’s only film with Fujifilm’s patented color optimized 4th layer technology. A special advantage is the ability to remove “green spike” from un-corrected fluorescent and sodium lighting mixed with daylight sources.
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For all the editors who are hiding out in this forum :ph34r: ....I was wondering if film is actually cheaper to once you got to post than video. Specifically, can you outline the difference in workflow between a Super16mm workflow vs shooting in 4k(or even 2k) and finishing on the accepted digital projection format(or 35mm)? My guess is that film would come out a bit cheaper and easier to manage for the beginner. Quite counter-intuitive I know, but digitial non-linear editing appears to be a black hole which swallows all of your budget.$10K! I'm betting that a 10:1 shooting ratio on Super16, comes out cheaper than a shoot-it-'til-people-threaten-to-leave:1 shooting ratio on video. Can anyone comment on this?
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Hi, I'm looking to purchase some of the lenses at the long end of the Ultra 16 set. It's like looking for a unicorn, so rumors are welcome. Cheers!
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<iframe src="https://player.vimeo.com/video/258354917"width="640" height="360" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> Tyler Burns - "Knock On Wood/Frankenthaler" Shot this 9.5 minute double music video/short film on Kodak 16mm MPF (50D, 250D, 500T) with an Aaton XTR Prod and Zeiss Primes MKI over the course of almost 3 years in Oregon. Development by Fotokem (Burbank, CA) Telecine by Lightpress (Seattle, WA) Love to hear what y'all think. http://aleceagon.com http://instagram.com/aleceagon
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Hi, It's kind of a long story… but this is the second copy of this wonderful lens that I own and now need to sell. I really think it has a magic look and that it's also great since it's so compact. Made for Super16 cameras. In PL mount. The lens is in good condition and the mechanics are smooth. The front and back element has some tiny marks but given it's age it's still good. Comes in custom flight case. Asking 2800€ + shipping. Located in Stockholm , Sweden Thanks/Kalle
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Greetings Everyone! Need some advice here on a sailing documentary which I have shot on S16 with an Arriflex SR3 camera. After a lot of struggles and failures, I have reached 50% of what I really wanted to achieve. Anyways, I have started assembling the footage. Cinelab Mass., has done a good job. I have the negatives scanned to 1080p HD without timecode. Few editor friends of mine suggested that I get the negatives scanned again with a timecode and then with a final cut timeline get a 2K scan and grading done the way we do for movies. I wish to showcase the documentary in film festivals. Do you think an HD output won't do justice? Generally,what formats are documentaries shown in film festivals? advice and suggestions welcome.
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Looking to sell my Angenieux 12-120mm C mount Zoom Lens. Lens is in perfect working condition with no scratches, fungus or haze. a few minor cosmetic scratches on the body, non of which affect the performance of the lens. Asking price is 950 OBO. feel free to give call or text me at 7742660358 or shoot me an email at hrhagan@gmail.com for any photos or other info about the lens. thanks a bunch! Harry
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Amazing Cooke 10.8-60 in PL Mount. Get the Cooke look at a fraction of the price. Originally a Cooke 9-50 for 16mm but modified for Super 16. The modification itself cost over $1500. Covers m4/3 and 2k on Red Dragon. Recently serviced and collomated by Du-All in NYC. Focus and zoom are geared. Laminated stickers provide the lens' modified focus range. This kit comes with a custom case, lens support and 8" 15mm rods. The glass is in amazing shape. There are a few specs of dust which you can refer to the images for but otherwise perfect shape. No haze, scratches or fungus. Looking for $3250/OBO. Located in NY/NJ. Can meet in Manhattan. Willing to ship.
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Hey everyone, I apologize if this topic has already been exhausted in previous threads. I'm looking for examples of pull processing for an upcoming project. A few came to mind but I want to continue building a reference library as I prep. If you know of any films/examples please let me know! B
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The Doctor is in... Deep in the moment !!!
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Hello, I've bought a used Arri Sr3 Highspeed. It is adjusted to super 16. I haven't used it in a while and I have an anamorphic shoot coming up where I will be using 2x anamorphics. I want to shoot in Normal16 to get the 2,66:1 aspect ratio. Do I have to get through the adjustment of changing the camera's lens alignment, the opening in the universal film gate and the viewfinder alignment in order to convert it to normal16? I lack the tools and the experience to do so. I get that I definately need to do this when adjusting from normal 16 to super 16, but isn't it sufficient to just change the Fibre Optic Viewing Screen in my case? In post I would just have to crop the sides because the Super16 just uses a larger portion of the negative. I won't lose any resolution by going down this road in comparison to adjusting all the mentioned parts of the camera and just have the additional portion of the super 16 frame covered and unexposed in normal16 "mode", right? Thank you so much for the answers! Best Walter
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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 -
Hey guys, As my last quest for Aaton accessories on here proved successful, I thought i'd try my luck again in my search for some 15mm Aaton XTR screw in aluminium rods. Would anybody happen to have a set lying around? Ideally looking for the short ones, but not the 4", 6 would be ideal. Thanks, Nick
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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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...OK, I'm working with Bolex EBM in a studio setting...the camera body will mount directly to the tripod or dolly. I'm not using the handle grip that has the on/off button on it. MY Question is: Can I plug in my generic power supply (12.2VDC) directly into the camera? The on/off switch will be in-line on the cable going from the power supply to the camera? This configuration will help me run the camera remotely. so what is wrong with the setup? Thanks for your support... Arthur!
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Hey Guys, I've recently become the proud owner of an Aaton XTR Prod, however the camera unfortunately has a few items missing, which i'd like to acquire. With that said, i'm on the lookout for original Aaton accessories including: - Walnut handgrip & cable - 2x screw in 15mm rods (short) - Heated eyepiece cable As the purchase of the camera used up a fair amount of my budget, i'm looking for reasonable prices, however I completely understand that these are getting harder to come by, so happy to play fair. I also have a few accessories that I don't think i'll be needing - such as the Origin timecode device, that i'd be happy to swap if people are searching for one (tend to slate anyway). I'm based in the U.K, if that helps too. Thanks! Nick Lee-Shield www.nicholasleeshield.com
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I bought this ARRI SR3 Super16 camera at the end of 2015 in the Visual Products eBay Store, it is an excellent acquisition, the camera is fully functional and ready to shoot. I use it in 2 shorts and everything is great, I love this camera and I do not want to sell it but I need the money for other projects. Arriflex SR3A Camera Package Package Includes: Arriflex SR3A (Advanced) Camera Body (with port cover) PL Lens Mount (centered for Super 16) 1:78 HDTV Groundglass (3) 400' Magazines IVS Flicker-Free Video Tap Arri RCU-1 with Cable SRIII Eyepiece Arri FE-4 Eyepiece Extension Arri EL-2 Eyepiece Leveling Rod Arri BP-7 Studio Sliding 15mm Baseplate with (2) rods Arri Sliding Dovetail Arri DC/DC-2 24/12 volt Splitter w/ Right Side Camera Run Switch Arri Right Handgrip with Camera Run Swtich (2) Freshly RECELLED Arri Onboard Battery Onboard Battery Adapter (1) Arri Dual 24-Volt Battery Charger (1) Fitted Pelican Camera Case with wheels and slide-out handle (1) Fitted Magazine Case ARRIFLEX 16SR3 FEATURES: The ARRIFLEX 16SR3 Camera System is designed to meet all modern film production requirements. The Integrated Video System (IVS) offers maximum video quality. With its off-set PL lens mount it is easy to change the recording format from Regular 16 to Super 16. Format Normal 16 / Super 16: The format change from normal 16 to super 16 is fast and simple. With the off-set design of the PL-mount, the center of the image is precisely adapted to the format required. This guarantees optimum lens performance for Super 16. To convert the universal film gate only a small change is necessary. There is no need for a new film gate, which also leaves the original adjustments untouched. Fiber optic screens with all common markings and format combinations can be interchanged. Control Panel with LCD-Display: A large LCD-display on the left camera side clearly shows information of all adjusted settings. Below the display, a control panel is integrated offering simple and precise access to the most essential camera functions. Arri SR 16mm cameras are world-renown for their rugged reliability and time-tested performance. Arriflex SR cameras set the standard for a small, lightweight, flexible 16mm camera. From the introduction of the first SR camera in 1975 to the current day, no other 16mm camera has been used to shoot more documentaries, commercials, feature films and television programming than the Arriflex SR line of cameras. ARRIFLEX SR3A Details : The ARRIFLEX 16 SR3 Advanced incorporates all the elements of the ARRIFLEX SR3 with the enhanced features of a brighter viewfinder with ARRIGLOW, a modified gate design that makes the format change from Standard 16 to Super 16 fast and simple, a control panel with LCD display and Time Code. CAMERA SPECS: Frames per second capability: 5 to 75 fps (crystal accurate to 0.001fps) Shutter: 180°, 172,8°, 144°, 135°, 90°, 45° Film format: Super 16 mm, conforming to DIN 15602 and ISO-5768-1998 Lens mount: 54 mm stainless steel PL mount Sound: 20 dB(A) + 2 dB(A); Viewfinder magnification: 10 x (10/17 times with viewfinder extension) Dimensions: L 264 mm B 172 mm H 195 mm (viewfinder in horizontal position) L 264 mm B 100 mm H 298 mm (viewfinder in vertical position) Weight: app. 7 kg (15.4 lbs) with loaded 400 ft magazine and on-board battery 24 V Power Requirement: 24 V Temperature range: -20°C to +50°C (+4°F to +122°F) Product Description:This is a very complete Arri SR3 package with many accessories not found in many SR3 kits. It is a turn-key system that will arrive READY TO WORK!! A lessor, "bargain" camera that fails on a shoot (when time truly is money) can be the hardest way to learn the old adage: "Sometimes cheap is expensive." Actual camera and accessories shown. Any item not pictured will not be included.
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Hi, I've got for sale my trusted Super16 camera kit. I've bought it in fall of 2010 from Mr. David Odd. as his personal camera. He had it converted to Super16 by P+S Technik in 2008 and had installed color video tap by Visual Products, inc. Since 2010 I've shot with this camera about 10x 400 ft of film. Here is footage What's in kit: Arri SR1 Super16 camera, 180 degree fixed shutter - HDTV 1:1,78 gate (brighter, from SR3) - Visual Products color video tap PAL - PL mount - wideangle PS Technik eyepiece (made by Voigtlander) 3x super16 magazine 1x spare magazine (not converted to super16) 1x SR3 magazine (with TC) LWS 15mm support rods (2x) Arri BP-7 base plate (for 15mm studio) CE - Precision Speed Control 2 (for other frame rates than 24 fps) Arri VSU - variable speed unit (not as exact as CE) 2x 12V old batteries (as spare, needs recelling) 12V NiCd charger 12V discharger handle, incl. remote switch --------- I live in Bratislava, Slovak Republic. Shipping only in EU. Price is 1700 € + 150 € for shipping --------- PHOTOS
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Email sales@broadcastsolutions.com for pricing & details. For Sale : JUST LISTED (PRE-OWNED) : Fujinon HK4.7x18 18-85mm T2.0 Premier PL 4K LOMO Anamorphic 35,50,75,100,150 Round Front Zeiss S16 High Speed Set Includes: 6/8/9/5/12/14/18/25/50mm Metric Angenieux Optimo 45-120mm Zoom Lens Arri Alexa XT Plus w/XR Capture Drive Set 4x 512 GB. Email For Details Arri Alexa XR Camera Package Red Epic Dragon Package Chevrolet 2008 5 Ton Diesel Truck 169K Miles 60" Liftgate w/Tilt & Pig Tail Control System Includes Grip & Lighting Package CAMERAS: ARRI Alexa Plus 4:3 Camera Package ARRI Alexa Plus 16:9 Camera Packages ARRI Alexa EV 16:9 Camera Packages ARRI Alexa-M 4:3 Camera Package Red Epic Dragon Package Red Epic Camera Package Red Scarlet Camera Package Red One MX Package Vision Research Miro Package Vision Research Phantom Flex 2K 32GB Package Sony PMW-F5 Camera Packages Low Hours Sony NEX-FS700U Camera Package (2 Available) Sony PDW-700 Camera Sony HDW-750P Camera Sony HDW-650P Camera Sony PMW-EX3 Camera Package Sony PMW-EX1R Camera Package Panasonic AJ-HPX 3700 Camera Canon C300 EF Mount Camera Package Sony A7S E Mount Camera CINEMA LENSES: Leica Summilux-C Prime Lenses Set of 10 Includes: 18/ 21/ 25/ 29/ 35/ 40/ 50/ 65/ 75/ 100mm T1.4. Cooke S4i Mini Lens Set 18/25/32/50/75/100mm Cooke Optics Speed Panchro Prime Lens Set 18/25/32/40/50/75mm Re-Housed Zeiss 14mm Standard Prime T2.1 Lens Zeiss 35mm CP2 Super Speed Lens Zeiss 18mm CP.2 T3.6 CF 12" Prime Lens Angenieux Optimo 16-42mm Zoom Lens Angenieux Optimo 30-80mm Zoom Lens Angenieux Optimo 17-80mm Zoom Lens Angenieux Optimo 24-290mm Zoom Lens Angenieux Optimo 45-120mm Zoom Lens Arri/Fuji Alura 30-80 Zoom Lens Arri/Fuji Alura 15.5-45mm Zoom Lens Fujinon Cabrio 19-90 Version 1 Zoom Lens Fujinon Cabrio 85-300 Zoom Lens Canon CN-E 30-300mm Lens Cooke Varotal 18-100mm T3 MKII Zoom Lens Cooke Varotal 25-250mm T3.9 MKII Zoom Lens Cooke Varotal 20-100 Zoom T 3.1 16MM LENSES: Optex 5.5mm Super 16 T1.9 Zeiss Variable Lens Set VP-1,VP-2,VP-3 T2.2 2/3” HD ENG LENSES: Canon HJ11ex4.7B IRSE Canon HJ14EX4.3B IRSD PS12 Canon HJ17x7.7B IRSE Canon HJ22ex7.6B IRSE Fujinon HA13x4.5 Fujinon HA18x7.6 w/Servo Zoom Fujinon HA23x7.6 BERM-M58 Fujinon HA25x16.5BERD Fujinon ZA12x4.5BERM-M58 Zeiss Digi Prime 70mm Zeiss Digi Prime Lens Sets Available Zeiss Digizoom 6-24mm B4 Mount HD Lens 2 Available Zeiss Classic ZF.2 Distagons in F Mount (Nikon Mount) with Duclos Cine-Mod Angenieux 5.6-61mm Cinema B4 Mount Lens 2 Available CAMERA MISC.: Cam Mate T18’ 2000 series with Dutch Head Vision Research 512GB Cinemag II For Flex 2K,Gold & V Series Cameras Sony SR-D1 Card Reader Sony SR-PC4 w/10GigE Card SRMemory Data Transfer Sony RM-B750 w/Cables (2 Available) Chyron - LEX2 WITH HX2 CHASSIS Single-channel CG/graphics system. Email for the details. Looking For To Purchase: Preowned Arri 416 Camera Packages Cooke S4i 32mm Lens Zeiss Master Primes Zeiss B Speeds 18mm & 50mm Arri Ultra Primes 16,24,32,50,85 & 135mm Arri Macro 50 &100mm Lens Canon XJ100x9.3mm Lens Angenieux Optimo 56-152mm Lens
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Looking to buy Arri SR3 or Arri 416. Anyone know where I can find either? Thanks
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The set consists of 6/8/9.5/12/14/18/25/35/50 Includes two flight cases. Lenses are metric. email sales@broadcastsolutions.com for pics and pricing.
