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Found 426 results

  1. Hello everyone, I just hand-processed a roll of 16 mm in LOMO tank and the film is either all black or half-brownish, like on the picture. Visible frames are like underneath this brown strip. Is it possible that the tank leaks the light in? Wouldn't the film be clear in that case? Film is reversal FOMAPAN R, developed in FOMA kit. I am fairly new at this and probably asking something obvious? Thank you for any advice, Ivana
  2. Hi I just recently purchased an arriflex 16st, it works amazing. it has a mag with zoom lens. I’m new to using this camera. Does anyone know how to use shutter and aperture. Also is their any places to find accessories.
  3. This may be an obvious question. But does using orange or red filters with 16mm Kodak Double X have the same affect as with 35 or 120 photography film stock? Can't really see any examples from Google. Thanks
  4. Hi I’m looking for an arri 16 price range from 300-900
  5. Hi I’m looking into buying a filmo 70Dr I wanted to know if people can share had scans of the camera. i want to see how good of quality this camera can reach
  6. I just learned I have access to an Aaton LTR but that the batteries went missing. I've searched for batteries online to no avail and was wondering if anyone here knew anyone selling them? Let me know guys, Thank you!
  7. I'm looking to buy a Bolex REX-5 16mm Camera in good working condition. Extra points if it's been converted to Super 16. Please shoot me a PM if you've got one. Cheers!
  8. Hello, I have 3 packages of 16mm cameras to sell. They are supposed to be sold as a sets, but I will also consider offers if someone would like to buy a lens or camera separately. Cameras are located in Warsaw, Poland. SET NR 1: 1. Camera: - Bolex EBM Super16 2. Lenses: (all those lenses were serviced, lubricated and collimated. All covers Super16 format) - Kern Vario Switar POE 16-100mm F/1.9 - Switar 10mm f/1.6 - Switar 16mm f/1.8 - Switar 25mm f/1.4 3. Accessories: - 2x 400ft mags and 1x MM motor for 400ft mag - Battery charger - Power grip + power grip battery (I don't think it needs re-celling, never had a problem with it) - Remote control cable - Battery container - 7 filter frames with filters (ND 0,6, ND 0,9, ND 1,2, 85/ND 0,9, 85B/ND 0,3, 85, 85B) - Set of Kodak wratten gelatine filters and ND gelatine filters - Bolex bayonet to C-mount adapter - Bolex bayonet to Nikon adapter - 4x 200ft spools - 2x100ft spools - Metal case Here are a few shots made with that camera throughout the last three months: Asking price: 4500 euro SET NR 2: 1. Camera: - Bolex SB Regular16 2. Lenses: - Angenieux 12-120mm f/2.2 Cameflex mount - Angenieux 12-120mm f/2.2 Bolex bayonet mount (this one has glasses in perfect condition, but it needs some collimating. I can arrange it in Poland, before shipping) - Angenieux 12-240mm f/3.5 Cameflex mount 3. Accessories: - Bolex MST motor and battery pack - Pistol grip - Bolex RX-Fader - Bolex bayonet to cameflex mount adapter - 2x100ft spools - Metal case Asking price: 2500 euro SET NR 3: 1. Camera: - Krasnogorsk-3 2. Lens: - METEOR-5-1 17-69mm f/1.9 3. Accessories: - Filters - Lightmeter - Pistol grip - Bag Here a few shots made with that Krasnogorsk and 30 years old ORWO stock (I was surprised that anything came out of it): If you will have any questions or you would like me to send you photos of the cameras, please contact me by email: janbujnowski1@gmail.com Thanks!
  9. Raymond Zrike

    DIY Video Tap

    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.
  10. I recently bought an Arri 16S and it arrived earlier today. The camera seems to be fine (as far as I can tell) except for the on/off switch. The on switch presses down and clicks into place, however when I press the 'off' switch, the on switch doesn't spring back up. It works only if I hold down the 'off' switch and manually pull the on switch back into place. (Please let me know if I'm not being clear enough) Unfortunately I don't have a motor for the camera yet, so I can't test how it works with power. So does anyone know what the problem is? Does it need some oil for the 'on' switch/pin?
  11. I know this is probably not the right time to sell this but since I sold my Eclair this have been collecting dust. She looks a bit worn, and front element has a little nick, but last footage I saw from this still looked great. This is a R16 lens. Also included is an adapter from RAF camera to use screw in 77mm filter. (I had an anamorphic adapter on the front element before) I looked online and tried to figure out the average price and saw a lot of different prices. So it’s $450 OBO really. Buyer pays shipping.
  12. Hi, I just want to share link to Paul-Anthony Mille´s posthouse: http://kafardfilms.fr/film-stocks-processing/ He is doing so far, the cheapest work in Europe. 16mm - 400ft = 200 € 35mm - 400ft = 150 € (Prices are for developming, cleaning and 2K/4K scanning) Development is done by Hiventy lab, Paris and Paul is doing scans at his posthouse. I have not met Paul in person yet, I just want to share this cheap and great quality alternative on market 🙂 Many people already know Paul, but for those who not, this is the solution to keep you shooting film
  13. So I recently bought a 16mm Cannon Scoopic (the gray version) and I plan to shoot a short film with it this upcoming summer. Due to a low budget, I plan on using nothing but natural light during the entire production. My Cannon has a circular dial to choose what I presume, is the film speed. It shows DIN and below it, it has a corresponding ASA number. Pics will be attached. My question is, if i shoot on 250D film stock, how do I choose the correct option when i film? ALL the options on the dial are as follows: 26DIN/320ASA, 23DIN/160ASA, 20DIN/80ASA, 17DIN/40ASA, 14DIN/20ASA, 11DIN/10ASA. I will be acting as a my own DP, so if you could explain in layman's terms that would be much appreciated. Thank you!
  14. Recently shot for the 'Pro Choice' campaign for a forthcoming referendum on the abortion laws here in Gibraltar. Abortion is currently illegal. They contacted me to shoot some pieces to project on a large screen at a public rally and for social media. They wanted to feature some women talking about personal experiences. They loved the idea of shooting on 16mm film.....embracing the grain and shooting specifically on a cloudy, dark windy day. Come the day we headed to a spot by the sea. Links attached. It was certainly going to look different to the typical Youtube video style we see all day every day..... The point of this thread: I spot-metered to get detail in the background of the sea and clouds and was willing to let the faces go dark...I didn't want to shoot pretty, wanted to shoot flat.....the conditions were terrible....soooo windy....messed up the audio as u can hear......clipped the young girls parts.....but wow Double X threw up great detail on the faces......I'm very impressed....I would say it handles the dark better than it handles the highlights......obviously I know the sun came in and out and as the scene became equal exposure in the background as in the foreground the contrast levels rose and fell but I'm impressed with the stock. Great how on the long one when the story shifts to a more positive note the sun comes out and throws crazy flares and hexagonal shapes caused by the salt particles blown onto the lens from the sea....I was hand zooming in and out on the parfocal Cooke Varokinetal 9-50mm lens. Friends......shoot Double X.....great film stock! I'm getting quite a lot of stuff done on this stock these days.... then there is this one: and this one......after this one was shot...the young girls asked for their identity to be hidden and voices altered....but here's the original cut...password is: choice
  15. Hi, i have a travel job coming up where we're shooting on 16mm. Since i've never done a travel job with film before i'm wondering how it works with the security and x-ray scanners. Can i ask security to hand-inspect the rolls in the dark bag or will they understand that it's film and have some kind of procedure for it? It's a 2 day shoot and we have 8 rolls of film.
  16. My Eclair ACL has a little cartridge that slides in in front of the film and behind the lens. The cartridge has a circle cutout that is about the image size of 16mm, and the intention of it is that you can load it with a circle gel to act as a filter. If I could use this feature of the camera instead of using square glass filters on the front element, I’d save about 10x the money and I’d be able to have more filtration options. I’ve got a couple questions for those who have used filter gels like this before, though: 1. Are gel filter sheets of lower quality than glass filters? Will the image be different between using an ND filter on the front element versus using a gel behind the lens? 2. Will the possibility that of the gel not being perfectly flat (since it is flexible) affect the image quality? This is what I’m most worried about; that it would cause flares. 3. More practically, the camera I have was converted to super-16. Does anyone know if this filter holder covers the full super-16 image? I just discovered this feature of the camera the other night since the previous owner had it taped up (which I assume indicates I should tape it over if I end up using it or not, to prevent light leaks).
  17. Hi! I have a bolex rex with a 10X viewfinder that I want to upgrade to a 13x. Does anyone know of anyone selling 13X viewfinder. And is it easy to change yourself? Appreciate all input
  18. Hi! I saw that there was some discussion on a thread about this before, but just wanted to get some clarification. Has anyone had experience with using 35mm intended lenses on their super 16? I fully understand that a 50 is a 50 is a 50! My questions isn't regarding what the field of view would be in choosing the lenses but more so on what it would do to the negative with the larger cover area? I have read about it working but at the cost of possible light magnification onto the negative or spilling unwanted artifacts onto the final exposure? I'm still learning when it comes to this subject matter, so forgive me for any lack of proper communication in what I am asking! I am looking to shoot with an SR3 or a 416 Plus, with the hopes of trying to make the cooke speed panchros!
  19. Hi all....got back the 400ft of footage from Cinelab London for the personal project I'm shooting on my father - an athlete, still at nearly 82 years of age.....this is a personal project and family heirloom.....so Im putting my hands in my pocket and going for it....
  20. Even though I’ve rented cine lenses (mostly CP.2) in the past and have used others on set, I’ve always owned only still/photos lenses. I’ve always put UV filters (specifically B+W brand) on every lens I have—makes me less nervous about cleaning the glass in the case of a smudge or dust, and if it gets scratched up, it’s easily replaced. Also, I’ve read that UV filters help when shooting film, even though I’ve never noticed a difference with digital (convo for another day). But I’ve just brought two super 16 Zeiss super speed Mk. II which I don’t think have front threads. The fronts have 80mm diameters. Are cine lenses always left bare? Is there any way to protect them besides the lens cap? I like to shoot out in the world (i.e. encountering elements occasionally), so is a matte box the only solution?
  21. Just got an ACL today. Seems to be working fine. I think this ACL is equipped with the heavy-duty motor (but not the fancy crystal sync at all speeds motor). The speeds increase when I turn the fps dial. But there’s this blank option. When I turn to it, it makes the motor go really slow, like slower than 8fps. What is that? I’ve included a photo.
  22. Simple question, I think: is it possible to use a 100’ roll of film in a 200’ mag? Specifically with an Eclair ACL.
  23. https://hyperallergic.com/538404/momas-dave-kehr-on-film-preservation-and-why-theres-never-enough-money/ Marking its 17th edition this year, the Museum of Modern Art’s To Save and Project festival celebrates newly preserved and restored films, both from the museum’s collection and other archives and distributors from around the world. This year’s slate included the premieres of restorations of silent films by D.W. Griffith and Raoul Walsh, a collection of amateur films in the National Film Registry, a previously unreleased PSA about age discrimination from Night of the Living Dead director George Romeo, and more. To Save and Project represents New York’s biggest film preservation event of the year. Hyperallergic spoke to Dave Kehr, a curator in MoMA’s Department of Film and former film critic at the Chicago Reader and the New York Times, about this year’s festival. The conversation ultimately broadened into how To Save and Project has evolved over the years, how digital has radically changed restoration practices, the funding difficulties archives face, and the generational shift occurring in the film preservation field. This interview has been condensed and edited for clarity. * * *
  24. I’m soon going to buy an Eclair NPR, but I want to confirm first: can modern lens mounts be adapted to c-mount? There are a lot of adapters available (like this one: https://www.bhphotovideo.com/c/product/577757-REG/bower_va304_c_mount_for_nikon.html), but most forum threads I’ve seen insist on getting the cameflex mount changed to PL instead of adapting lenses to the c-mount. Is the c-mount too weak to hold non-16mm lenses? Does it not accommodate enough space for other mounts?
  25. I’m collecting a couple lenses for shooting 16 (regular 16 for right now, might end up with super 16 though), most likely with an Eclair NPR. I know there are plenty of lens that have been designed specifically for 16, and those are really the only option for anything really wide and fast, but how about using full frame lenses? For a normal or somewhat telephoto-equivalent FF lens like a modern Zeiss 28mm, will it be sharp having its image circle limited to 16? Or will a lens designed for 16 in particular always be the sharper option? Any tests online? I don’t have the budget for nice modern super 16 lenses, so I can either get modern FF lenses (except for one or two old 16 lenses to over the wide end), or I can get exclusively older 16 lenses. Essentially it boils down to, which is sharper on 16mm: a Zeiss CP.2 or a c-mount Angenieux? New to these forums and 16mm, so thanks for the advice in advance.
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