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Hi, I'm looking at purchasing an Arri SR. A 5k price difference between the two; fine, recently serviced. Tested both; mostly want to use it for non-sound sync, but with an option to shoot some shorts. In people's honest opinions, which is the btter camer, have tested both and run film through. Both worked fine; have video taps and are converted to S16. Both good packages with accessories and multiple mags. The chipped mirror on the SR3 concerns me, as though right now it's fine but could lead to an issue down the line, and it has limitations on shutter angle. Any advice would be helpful. thanks, -
Part One A bit of a background on how the whole thing started: I have said this elsewhere in the forums, but I've been shooting digitally with various systems since the early naughts, film was always the preferred but the absolutely impossible for me choice - came close many-many years ago but not close enough. Had a super 8mm Agfa camera lying around for quite some time till I pulled the plug last year and loaded basically all Kodak stocks except the b&w and the reversal ones. Results came out great but that only grew my desire to work on 16mm. Unfortunately this is not 2017 where you could find an SR for three thousand euros. So, I decided on a K3 with with an EF mount and an Ultra16 gate which arrived having the wrong flange focal distance, non polished gate, completely mistimed shutter and pieces of foam lying around. In retrospect, a Bolex EBM electric might have been a better choice. Two wasted rolls (plus development and scanning) later, I fixed the camera, did a temporary inaccurate-idiotically-made flange myself and used other pieces of another run-down K3 I found for cheap, plus another catch-all gate that does both Ultra 16 and Super 16, I polished that one myself as well to be safe, a member of this forum helped me out on my initial journey, so thank you for this precious bits of initial help. But...using a spring-loaded twenty-second-run camera with no sync-sound is nice within a very small confine of things I wanted (and still want) to do. Fast forward a few months later, my Crystal sync K3 CLA'd and prepared by non-other than Monsieur Aapo Leitinen himself arrived in the mail. The concept for my documentary has been building up for more than a year but the moving pieces starting falling into place the past summer. My initial intent was to shoot with my fuji XT-3 plus external recorder for ProRes in log, plus its own rig for its supporting functions etc. But in my mind it was, what if I could do the most irrational thing ever and just shoot with what I always wanted to shoot with: 16mm But it would have to be with the K3 and sound should be live, the question was: Is this possible? Obviously the answer is no, but whatever... My aim was to: Examine 50D for morning and evening shots when/where applicable. Examine utilisation of 250D FOR 60-70% of interviews plus b-roll. Examine 500T for some interior and all night shots 200T I tested prior to camera conversion to crystal sync and it didn't do it for me. Test Wolfen NC400 for a select few shots that would cover a specific context-based portion of the documentary The test for NC200 is already posted here separately but that stock is not formally available so it's unclear Test the new Verita Film stock if I can get my hands on it in the next two months. Test a few lens combinations: Tokina ATX-PRO 24-80 2.8 F mount Tokina 11-16 Cine T3 EF mount Meike 25mm T2.5 EF mount Nikon ED 80-200 F mount Test audio capture using both Lav and NTG mikes from Rode recording float32 audio. How loud is the sound in actuality and can I work with it? (Answer in part two) Check various configurations of the camera rig Make sure I can work nicely in handheld and tripod and switch quickly between the two Establish quick load/unload process and do it the same every time Shoot at least 1000' feet of film in a short period to establish consistency in operation. Explain why I haven't completely lost my mind to everyone around me. Since we're keen on trains in this forum for some weird reason, here is a test of 50D with AHU backing on a Nikon F mount-based plus EF conversion mount on the Tokina ATX-PRO 24-80 2.8 with an ND16 at 35mm - stopped at F5.6: Sound is live and synced. I was actually surprised to find that 50D handled underexposure better than expected - (not in this clip) but I didn't particularly like how that Tokina handles objects not in focus, and bokeh when present was unpleasing to me. This is the camera plus configuration during shooting at different iteration levels:
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Hi all, Apologies if this is the wrong place to post but I am looking for any leads on a reliable technician who is able to convert a Cinema Products CP-16R to Ultra 16mm. I haven't had much luck Googling and scouring the forums as yet - most of the information is not current and many of the recommended technicians seem to have either retired or are no longer with us. So far I have reached out to Du-All who don't offer this service, Visual Products who have not yet responded and a few others around Australia (where I am located) who are no longer doing these conversions. Any information anyone might have would be greatly appreciated. Thank you.
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Hello, I am based in Sweden and am currently looking for a working Paillard-Bolex H16 Reflex / REX series 16mm camera. I am exploring either: a direct trade involving my Nikon R10 Super 8 camera, or a partial trade: Nikon R10 + some additional cash from my side, depending on the exact Bolex model, condition, accessories, and servicing history. The Nikon R10: is fully working has been film tested recently is in very good cosmetic condition includes the original carrying case includes the original filter key Here are links to supporting material: Film scan example: https://drive.google.com/drive/folders/1Am-uuAJfqkJEmlniaME5WzN4Il7qs1b3?usp=sharing Detailed images of the camera: https://drive.google.com/drive/folders/1fbhBAzlpIv_UEzlGv6oYn12w3SJ1_iIA?usp=sharing I understand values vary significantly depending on: exact Bolex model: H16 Reflex / REX 1–5 etc. whether the camera has recent CLA/service history included RX lenses or accessories overall mechanical and cosmetic condition I am primarily interested in a mechanically reliable working camera rather than a collector-grade cosmetic example. If anyone has a suitable Bolex H16 Reflex / REX camera and would consider either a direct or partial trade, please feel free to contact me. Thank you! -
I recently got a Cooke Kinetal 17.5mm lens and already had an Arri Standard TS adapter that came with an ACL kit I bought a few years ago. I never had a chance to actually use the adapter until now. The lens does fit the adapter, but I’m having quite a bit of trouble with the mounting/unmounting process. Getting the lens back out is almost impossible unless I loosen the small screws connected to the 3 retaining pins/tabs that hold the lens in place. I’ve already spoken to Gregg McPherson about this and he’s been very helpful, but I figured I’d ask here as well in case someone has run into the same issue before or knows exactly what usually causes/fixes this. At the moment I’ve removed the lens, carefully disassembled the adapter a bit, and taken some photos of the mechanism which I’ll attach below. One thing I completely overlooked at first was the locking ring and the fact that it affects the operation of the 3 retaining tabs. The ring itself also feels pretty stiff, including when I tried removing it. My current guess is that the adapter probably has old dried grease and possibly not enough proper lubrication left for the mechanism to function smoothly anymore, but I’d really appreciate any thoughts from people more experienced with these adapters.
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Kodak Vision2 7217 film stock 16mm Kept for 10 years in freezer in -17^C Recans and short end, exact lengths here: 115m 109m 86m 105m 119m https://photos.app.goo.gl/Z8AMA6mg4MCrZdbZ9 PRICE: €330 incl. shipping to EU Payment via PayPal -
I am selling Switar 16mm lens in perfect conditions: 5,5mm Aspheron wide angle atachment for 10mm price 700Euro SOLD 10mm1.6 Switar, price 490Euro SOLD 16mm/1.8 Switar, price 390Euro 25mm/1.4 Switar, price 290euro 26mm/1.1 Macro Switar, price 990Euro 75mm/1.9 Macro Switar, price 840Euro lens are clean, fully working, after complete service by optician before selling. located in Prague EU
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For sale: Arriflex 16ST (body only) Location: Sweden (EU). Happy to ship within EU/UK at buyer’s cost. I’m selling an Arriflex 16ST 16mm camera body (no lenses, no mags and no motors included). This is the classic Arriflex 16ST – turret 16mm camera, 100ft internal loads, reflex viewfinder. Condition / notes: The camera is in overall good cosmetic and mechanical shape for its age. The movement cycles. Viewfinder/optical path is intact and usable. Could benefit from a CLA. Shutter and mirror are present and not visibly damaged (my judgement, I don't have the tools or experience to take this camera apart). No obvious cracks or missing external panels. IMPORTANT: It has NOT had a recent CLA. It should be serviced / re-lubed before serious shooting. I’m selling it as an honest “good base body that needs a proper CLA,” not as a freshly overhauled, film-tested kit. Includes: Arriflex 16ST body Original hardware that’s on the body Not included: Lenses Magazines Batteries / cables Matte box / accessories Lens body caps. Why selling: This was a project camera. I’m not going to get around to sending it out for a CLA, so I’d rather pass it to someone who will. Price: 7,000 SEK / ~750 USD / ~690 EUR (does not include shipping or PayPal fees) (Open to reasonable offers) Terms: Camera is sold AS-IS, unserviced, vintage equipment. Local pickup in Sweden is possible. I can pack and ship within the EU or UK at buyer’s expense. Buyer handles any import taxes/fees. PayPal preferred. Images: https://drive.google.com/drive/folders/1IsxKRFo42mmdEJ-arQVyToHXTz00LDma?usp=sharing How to Buy: DM me with your offer and if I accept then we can hash out shipping. I prefer sending via PostNord. When the PayPal transaction clears I'll quote reply to note that it has been sold. Thanks for looking.
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Hi! I have been looking for a new 16mm battery for my Eclair ACL2, but no luck. My old battery is in the picture attached. I have tried this type DC 12V 4800mAh Super Rechargeable Portable Lithium-ion: Amazon.co.uk: Electronics , doesn't work at all. And this one 12V DC Rechargeable Li-ion Battery Pack for CCTV Camera: Amazon.co.uk: Electronics which works only up to 25fps, the camera stops working at 50 and 75fps. It seems to be a lack of strength. Any tips to help me finding an appropriate battery? I still have a few BW cans in my fridge! Thanks for your time! Luca
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They got the film; you just need the $$. Where are you with film in your work? If you work in digital and film, what percentage of each comprises your work? Here is a PDF snapshot survey of B&H's 16mm inventory made on 2.8.2026. (1 film is not on PDF) Survey of 16mm Movie Film B&H Photo D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography -
Cooke Kinetal 50mm T2 Arri PL mount cine lens. The lens was designed for S16 film cameras, but the image circle is large enough to cover S35 and almost (with a slight vignette) FF/135 cameras. Rehoused by British lens technician Les Bosher, the housing is smaller and more compact than those made by TLS. The lens has integrated gears for focus and aperture, a Arri PL mount and a 95mm frontage. The optics are clean and bright with no haze, fungus or separation. There are faint cleaning marks to the front and rear optics, as is to be expected with a lens of it's age. There is some very minor play in the housing (standard for a Les Bosher lens) but the focus and aperture operate as expected. Price: £2350 (no VAT for a UK sale). The lenses ship worldwide from the UK at cost.
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I'm in pre-production on a black and white 16mm film and plan to shoot with an ISO of around 400 to 500. I know that Kodak 7222 Eastman Double-X has a slightly smaller amount of dynamic range compared to Kodak’s VISION3 stock, which is why I’m torn between shooting on Kodak 7219 VISON3 500T and simply creating a monochrome black and white color grade in DaVinci, or alternatively shooting with 7222 and having it pushed a stop (400-500 EI). I am curious to see what 7222 looks like on either 16mm or Super16 when it’s pushed a stop, and how the push processing affects characteristics such as 7222’s dynamic range, contrast, resolution, and granularity compared to pushing VISION3 stocks. -
I like their silver safe. Must have been one of many. The Home Of Kodak 1929 D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. C. : Free Download, Borrow, and Streaming : Internet Archive The I.A. has a low-res PDF copy of it if you prefer a PDF. I like individual, decent res scans for my archive. Plus, I don't have any PDF software. Download JPEGs at link to view without moiré pattern. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hey guys. Wanted to share this. My friend is launching a US based Kinor service business. He’s personally helped rebuild units for me. He does great work, is very professional, and knowledgeable. If you have a Kinor 16 system, he can do a lot, from CLA work to custom jobs. Reach out to him through his website now, and share it around if you can! https://loskinop.wordpress.com/
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US Based Kinor 16 Service Shop
David Bernard Anderson III posted a topic in Jobs, Resumes, and Reels
Hey guys. Wanted to share this. My friend is launching a US based Kinor service business. He’s personally helped rebuild units for me. He does great work, is very professional, and knowledgeable. If you have a Kinor 16 system, he can do a lot, from CLA work to custom jobs. Reach out to him through his website now, and share it around if you can! https://loskinop.wordpress.com/ -
Fiberglass 16mm 400-foot film reel Daniel D. Teoli Jr. Small Gauge Film Reel & Can Archive <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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I‘m just putting out some feelers to see if there might be any interest in a 2 or 3 day Bolex Service Workshop for people in the EU or UK. It would be held in Amsterdam in January 2026, conducted by myself, a professional camera/lens technician with 20 years experience working on Bolexes. I’m often asked where people can learn movie camera maintenance, perhaps this is one way to pass on some knowledge. My thoughts were that people could bring a camera they want serviced, plus some tools, and we can go through the process together. Ideally it would be people who have tinkered with a Bolex before, but want to have a deeper understanding of how their camera works and what an overhaul procedure entails. Feel free to message me or email cinetinker@gmail.com if interested.
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Arri Sr3 HS Kit This item was new and boxed when purchased and still has protective film on the bottom! It comes with its original Packaging intact and is absolutely mint condition on the “new” components. This camera has shot less than 8 rolls and I am reluctant to sell but a move to another area is forcing me to sell assets. It’s a one off find an SR3 HS in this condition. For the following items £27.5k + VAT NEW COMPONENTS- (less than 8 rolls) K1.47002.0 Arriflex 16 SR3 HS Adv. K2.45164.0 Magazine 120m HS x1 K2.42572.0 BP-6 Bridge Plate K2.51101.0 Super 16 Optic For 16SR3 IVS Daniil Nevskyj Kinotech HD IVS MK3 Video Tap Elokuvakonepaja V-Lock Plate 2 x Custom Video 3 Pin RS Power Cables Top handle SERVICED USED PARTS for Arri SR3 Advanced HS Package- K2.45164.0 Magazine 120m HS x1 ( little wear to paint ) Arriflex 16SR3 tophandle videotap Prism 80/20 Arri SR3 × 1 x1 1.66 fiberscreen- Serviced Pelicase 1620 with soft foam. Item based in London UK. all the best
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Hey guys, Firstly, I have only shot on film once, and I don’t own a camera, so forgive me if my terminology is not perfect! Im sorry if this is the wrong place to post this. im in the process of designing and building my own 16mm film camera. I have the transport reasonably sorted (ignore the take up spool spinning in the wrong direction and not at the correct speed, still need to code that part out), however I still want to refine the pressure plate and add a spring on the rail for lateral support. However, at the moment I’m trying to dial in the flange focal distance. I’m using a Sony e mount on the camera so it has a very short FFD of 18mm. I understand that the depth should be set a slightly short of that so it ends up focusing just past the emulsion. After reading, I’m thinking I get a depth micrometer and put a gauge block against the gate then take the measurement that way. Is a depth micrometer that does 0.01 mm fine enough or do I need to be investing in a 0.001mm? Is the depth micrometer the best way? How do actual camera techs do it? Also if you have any other tips for the camera please feel free to let me know!! I will link a little video of it running - Thank you in advance:) Henry
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Hey guys! I went out to our mountains here to shoot some test rolls with my new toy. What do you guys think?! -
Survey of RTI Cinescan Inspection Stations eBay D. D. Teoli Jr. A. C. : D. D. Teoli Jr. A. Streaming: Free Download, Borrow, and Streaming : Internet Archive Looks like a nice concept from back in the day. This is what archives need. A fast motorized inspection station to see what is on the reels. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hi, I’m looking to trade my Hasselblad 500C and it’s Carl Zeiss Planar C T* 80mm f/2.8 lens for a fully functional Bolex H16 REX-5 camera (or any other REX series Bolex). I am okay with a Bolex that comes without lenses. It should have minimal cosmetic flaws. The person willing to trade their fully functional Bolex H16 REX-5 (or other REX) must be able to ship it to Sweden. When it comes to paying for shipping I’ll pay for shipping of the Bolex to me and the recipient will pay for me shipping the Hasselblad to them. I have PayPal available and will thus handle monetary transactions through it. Any details of a deal can be worked out in the DMs. When proposing a trade via the DMs please send as many useful images as possible along with descriptions of any flaw or issue. The Hasselblad is in very good condition and comes with the below: Carl Zeiss Planar C T* 80mm f/2.8 lens in very good condition with no cosmetic or functional flaws. The distance scale is in meters on this lens. As far as I can tell, there is no dust or scratch that affects the image. UV filter with B50 mount. Original neck strap in top condition. Camera body 500C (NOT “C/M”) built in 1967 with serial number “TU 72801” with fixed focusing screen. Film magazine model/variant C12 built in 1967 with serial number “TU 106361”. “Waist-level finder” as seen in the pictures. The loupe in it is in good condition as is the spring mechanism that unfolds it. This camera works well and I have tested it with several rolls of 120 film in recent months. The exposures are very good and the shutter speeds seem great. The included example image was captured with Kodak Ektachrome E100 120-film and scanned to TIFF before being compressed to work on this forum. Images are on this shared Google Drive folder: https://drive.google.com/drive/folders/1lkTijGCiVNSQgWyG1PIHQpdhmF82XVYW?usp=sharing
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16mm Home Movie ~1920's Hollywood Silent Movie Set, Unknown Film, California | eBay Nice film for someone that collects film history. I bid on it, but my budget is puny. See listing for details. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
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Hello to all the boffins in the forum. I have a question for my footage. As you can see on the lower left part (on top of the lower perf) there's a reflection that actually (probably) belongs to the preceding or proceeding frame (not sure which). When changing the gate and performing some mirror swapping (long story) I did remove a small black guard as I thought this would be visible on the frame Ultra16 frame. Is that my issue or is this some sort of pressure plate weird reflection? Maybe shutter timing? Frankly it's not such a big issue as I may end up not using this part of the frame, is it remotely possible this is a development and/or scanning issue? On the other example (crop of left side on another frame) I can actually see the film code on top, wasn't that supposed to be more to the left or have I completely lost it? Either way that's all..
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For sale TOBIN TCS TXM-22A Crystal Sync Motor for Arriflex 16s and 16-M Cameras Bought from Du-All Cameras 3 years ago. Used a couple of times and tested recently. Works flawlessly. Item is in great Condition, with only minimum scratches here and there, barely seen. Serial number 9440 Paid US$ 995.00 (see price label on picture). It's on eBay at US$ 800, but open to Make Offer: http://www.ebay.co.uk/itm/TOBIN-TXM-22A-CRYSTAL-MOTOR-FOR-ARRI16S-and-ARRI-16-M-CAMERAS-/172541639598? Feel free to contact me with any questions.
