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Found 415 results

  1. 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
  2. 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
  3. 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!
  4. 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....
  5. 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).
  6. 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.
  7. 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?
  8. 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.
  9. Simple question, I think: is it possible to use a 100’ roll of film in a 200’ mag? Specifically with an Eclair ACL.
  10. 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. * * *
  11. 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?
  12. 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.
  13. Hello, My SR2 powers on right when I connect the battery. Is there suppose to be a on/off/standby power switch like in the photo below? Or is that just how some model are? Usually I won't attach the battery until right before I'm ready to roll, to just make sure it isn't left rolling unintentionally or draining the battery. Thanks
  14. Hey everyone, I'm currently taking part in a 100 ft of film project and have an issue. I'm very close to the end of my roll and have to get a few pick up shots tomorrow. The problem is my Krasnogorsk is still somewhat wound up and if I allow it to wind down it will use up the last of my film. Will it damage the spring to leave it wound for 24 hours? The manual says to not store it unless it's completely wound down, but is this just for long term storage? Has anyone left their Krasnogorsk wound up for this long without issue before? I'm worried I have to choose between finishing the challenge or breaking my camera.
  15. Just finishing up with MP4 conversions, DVD and BD files for The 3 Graces. I was very happy to save this film. The film was a badly affected by vinegar syndrome and was headed for the trash...just my specialty. This 'pig in a poke' turned out to be one of the earliest, if not the earliest stag film containing lesbians from the 1920's - 30's. I won't put the link up here when it is online, but I will let you know when I put it on Vimeo and the Internet Archive and you can search for it if you like. I don't know if Vimeo will even go for it, all you can do is try. Personally I don't make any distinction between sex films or not. To me it is all social documentary subject matter. I used a Retroscan for the 2K scan. Initially the film would not scan with the LightPin gate. Luckily I had kept my standard gate which worked fine. I'm thinking of testing a way to use clear warped film with the standard gate by darkening the edge of the sprockets. Warped film does not seem to work with the LightPin gate. Tried every and all configurations. Plan B option is to win the lotto and buy a Lasergraphics scanner. In any case, I was very happy with the Retroscan job. But the trick is to get it to produce useable scans when it balks at scanning the film. There is some slight jitters in the scan, but the warpage was extreme and for what the film looked like the jitters is minimal, I think even the high priced scanner would have some jitters.( But am not sure.) Here is a photo of the film on core: https://archive.org/details/the3graces4.32mbd.d.teolijr. Film is missing the title card and end. But has a decent portion of the middle mostly intact, save tons of splices and blown sprockets. Title is attributed.
  16. I am selling my AATON LTR 54, I have had it a couple years and love it very much, however am needing to sell. I am based in London. I will upload more pictures when post is online and can send more to anyone who is interested via email. Last Year I got a full camera service with Alan Giles. All mags tested, body, motor and battery re-celled. The camera runs very smoothly and is in very good condition, having been fully serviced last year.The camera is in two flight cases, one for camera, and an accessories case. -Camera body -3x 400ft mags - 3 12v batteries -wooden aaton handgrip -aaton leather barney -matte box -Short and extended eye piece. -Battery charger. -15mm rod extensions. + a lot of accessories that'll be shown in pictures!
  17. Hey everyone, I'm getting ready for a film challenge where our entire short will be made on a single 100 ft reel of Kodak 7219 and shot on a Krasnogorsk-3. In preparation for the shoot I decided to do a lens test with the stock Meteor 5-1 lens on my original Blackmagic Pocket Camera. Surprisingly though, my footage all seemed to be about a stop under exposed. I know that the aperture of a lens doesn't always let in as much light as it should and that T-stops are supposed to correct for this, right? So is this the case here? Have those of you that use the Krasnogorsk-3 encountered this problem? Does this mean that when shooting I should meter for 250 instead 500 to get proper exposure? Any thoughts?
  18. Hey everyone, I recently got some scans back and they look great, but on one shot in particular I noticed an issue with dark circles all throughout the images. I was wondering if this is a lens issue or an issue with my bolex prism? The lens was stopped down to f/22 and I also closed the shutter down an extra stop since these were shots of a bright sky. I have also noticed this issue on previous scans. I did notice in my one Switar lens that there are a bunch of little droplets of what appear to be grease or liquid, could this cause such an issue? The spots are soft, almost identical to sensor dust spots on a digital camera, but they are much larger in diameter. Thank you in advance. -Derick
  19. Hi, does anyone have a manual to the CP GSMO 16mm camera?
  20. Hey everyone, I’m looking to clean out some equipment that I no longer use before the holidays, I’ve listed it all below. Let me know if you have any questions or would like pictures, I will only accept secure payments through PayPal. I’m selling the following items: -Bolex Rex o Fader - $60 + shipping -Lomo UPB-1A developing tank with 400ft of heavily expired 7240 and 400ft of heavily expired 7292 - $150 + shipping (just an FYI the lomo tank has some slight issues with the spoked reel, it won’t screw into the spiral properly. Everything else works great for 16mm & Super 8. Light tight) -Bolex Surefire Hand grip with 7 inch cable release - $25 + shipping -Maier Hancock hot splicer - $45 + shipping - (9x) sealed rolls of Ciro 16mm unperforated tape - $30 + shipping please let me know if you have any further questions or want some additional info. I will only ship to US only. thanks!
  21. G’day all, I’m on the hunt for a motor for an Eclair ACL. Preferably the higher speed one, but not fussed at this point, just grateful if anyone can please point me the direction of one at all.
  22. Canon 11-165mm PL Mount Super 16 Format T2.5 Amazing Zoom Lens Good shape lens, amazing technically. Includes hard case. £3500 (EU) or $4200 (US) – I am based in London but will be in New York soon so can ship it from there if that helps. Technical Specs Focal length 11-165mm Max aperture (T) 2.5 Close focus 3' Image Circle 16mm Front diameter 95mm Weight 2268g Length 190mm Mount PL Mount
  23. Looking to buy an Eclair NPR. PM me if you have any leads. Thanks~
  24. I’m a new amateur filmmaker located in Massachusetts looking for places to rent nice 16mm cameras preferably eclair, arri, bolex. Anywhere in Massachusetts or near or anyone in mass. Also what’s the best place to learn how to film with film cameras
  25. I’m intending to do some double exposures on 16mm film with an Arri 416 camera. The most rudimentary method I could think of is just expose the entire roll (one stop underexposed, or however I feel is appropriate for the subject), make notes of the contents, and then reload the same film to shoot the second layer. But sometimes it would be really convenient to be able to just «rewind» the film right away to do the second layer. As far as I can see from the manual, there is no such function in the camera. I guess you could open the mag and do it manually, but it sounds cumbersome. Anyone done this and know a good method that I haven’t though of?
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