Jump to content

Search the Community

Showing results for tags 'Super16'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 80 results

  1. Hello I just got back some super16 footage from the lab and the scan from one roll is showing scratches on the right side. I was very surprised by this, since we were using a magazine that caused no problems in previous footage on the same project. I can't think of anything out of the ordinary that might have happened during the shooting this day to cause such a big damage. We shot with an Arri SR3 that was well maintained and maybe no weird noises. I'm already double checking with the lab if this is really in the negative or if there's any chance that it's due to a malfunction during the scan but would love to get another opinion. Attached some stills where the scratches are visible. Thanks in advance for your thoughts!
  2. Hi all, I own an Aaton XTR s16 camera. Currently I have a PL hard mount on the camera and have only used the camera with rented PL glass, but I also own the original Aaton Mount, which has a much shorter FFD than the PL mount (40mm compared with PL 52mm). So I’m looking for adapters that would allow me to put vintage lenses (with ffds between 40mm and 52mm) on the camera that will cover the s16 film plane (i.e. m42, Canon FD, Nikon f, etc). Does anyone know if there are any adapters out there that would allow me to put any of these lenses on my Aaton camera mount? If so, where can I find them? Thanks for your help! - Clay
  3. Hello, I am considering selling my Aaton xtr prod. it has been serviced from scratch at cinefacilites in Amsterdam, and it is in fantastic condition. Pm for photos, I am only willing to sell it in Europe ( shipping internationally would be too much of a hassle, it s a big case ). 15K eur, OBO I also have two Zeiss superspeeds s16 ( 12 and 16mm ) if you are interested. Sold separately. Location : the Netherlands Best Kimon
  4. I've ordered a Bolex REX 3 and I am so excited! I've also gotten a Sekonic L398, so I've really got the cliche film student package, haha. Honestly, the simplicity/limitations of the tools is what I find inspiring and fun. A few things I'm still trying to grasp: - Shutter angle: When to adjust and how, for effect or utility - Aperture: How to compensate for the viewfinder? - In what situations is it practical to push or pull the film more than an aesthetic choice? - common pitfalls to avoid? - best places to buy film stock? - Is using a digital camera for reference an effective way to prevent light flicker? this is one i really want to avoid lol Thanks to anyone who answers, any info is really appreciated. I am new to the forums and this site is a wonderful resource
  5. Hey, Deciding to let go of my three lens set of Super 16 Super Speed Mark III lenses. These lenses were purchased from Visual Products a year and a half ago and have been babied the entire time. Really nice condition. Glass is immaculate. I can email high res photos upon request. 9.5mmGlass - Front element is clear. Back element is clear. Perfect image.Body - Near MintMechanics - Both iris and focus turn smoothly16mmGlass - Front element is clear. Back element is clear. Perfect image.Body - Near MintMechanics - Both iris and focus turn smoothly25mmGlass - Front element is clear. Back element is clear. Perfect image.Body - Near MintMechanics - Both iris and focus turn smoothly 10k USD
  6. Hello, I'm looking for a Canon 8-64mm t2.4 OR 7-64mm t2.6 OR 6.6-66mm t2.7. I'm based in Copenhagen, Denmark. For tax and shipping concerns a lens currently inside the EU would be preferable - but I could pay for shipping from overseas if the price is right. Let me know what you've got! Best, Peter Hammer Documentary filmmaker
  7. Hi, for sale is Canon 7-63mm T2.6 zoom lens. Serial number is 10303 (so it's been made around 2003) Lens is very sharp, even wide-open, has no noticable breathing when focusing. Lens is designed for Super16 image size, film or digital sensor. It has Arri PL mount, and 95mm front diameter. Lens has got installed Chrosziel damper for fluid zooming. Lens is in mint condition, with minimal signs of usage on barrel and absolute pristine glass. Comes with lens support, both caps, in custom metal case. Footage ------ I live in Bratislava, Slovak Republic. Shipping only to EU. PRICE: 3300 € + 150 € shipping. ------ PHOTOS
  8. I have a set of Cooke Kinetal primes I'm looking to rehouse and the adapt for an Aaton XTR PL mount. I have the 9, 12.5, 17.5, 25, and 50 So far the only house I've found who will work on them them is asking 3.5k per lens, anyone have a tip on a more affordable vendor?
  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. 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).
  11. 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?
  12. 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.
  13. Using 16mm film... Do anyone use any other format besides 16mm and Super16mm? I know there are others... But am I wrong in saying Super16mm is the most popular? Come visit us at our revised website: drbolex.com Thanks... Arthur!
  14. For Sale : Zeiss Super 16 Lenses MK2 $11,000.00 9.5, 12, 16, 25 & 50mm.
  15. Please email sales@broadcastsolutions.com for pricing and details. Canon EF Lenses (14mm-24mm-35mm-50mm-85mm-135mm) L Series / USM II Optex 5.5mm Super 16 Lens Zeiss Super 16 Lenses (9.5mm-12mm-16mm-25mm-50mm) MK 2 Zeiss Super 16 Zoom Lens 11-110mm Zeiss Variable Primes VP1-VP2-VP3 ARRI Alexa Classic Camera with Accessories (Fully checked at ARRI Munich)
  16. I've been mulling what it would take to make a lens from scratch, particularly a projector lens. With proper machining equipment, I believe I could construct every part of the lens except the actual glass elements themselves. As far as designing the optics, instead of ordering custom glass elements, I could take advantage of the low cost of mass produced elements from companies like Edmund Optics. However, I'm wondering just what kind of tolerances in the glass thickness would be acceptable. For example, in an old episode of "How It's Made", they show the construction of a Canon EF 500mm F4 L IS USM lens, a $9000 lens, and they mention that the glass elements have a tolerance of +/- 0.001mm. That kind of a lens has far more precision than I would need. The cheapest elements from Edmund Optics however have a tolerance of +/- 0.1mm., something I would guess is way too low, but I'm not sure. This is for projecting Super16 film in a modified projector. Really, I don't think I would need better precision than what you would find in a $100 DSLR kit lens. My question is: What kinds of tolerances would be acceptable, and/or what kind of precision is used in mass produced kit lenses.
  17. Hi guys I'm selling of my Super16 lenses (9.5mm, 16mm & 25mm), they are in great shape with both feet/meter on the focus-scale, they are all PL converted the lenses are T1.2 (although it says 1.3 on the iris-ring) No fungus or scratches, only normal sign of use Price: well i tried to find other adds on eBay and other forums, but found only a few and there the lenses was listed for around 2500 Euro each, but I'm up for reasonable offers i also have a clip-on matte box (chrozhiel) and loads of 4x4 filters that i used with this lenses, and a black magic pocket with PL-adapter and cage i planning to sell aswell I'm located in Gothenburg (Sweden) and can ship almost everywhere, but buyer pays the shipping cost
  18. Hi, Im selling my Aaton A-Minima Motion Picture Camera Package. Pristine Condition. I last used it in summer and everything is working great. I got it couple of years ago and got some extra stuff overtime. I will be selling it as a package without separating anything. History First owner got it in brand new condition from Abel Cine (LA) about 14 years ago. Im the second owner and took great care of it and enjoyed shooting with it a lot…. (note: Camera was never rented out !! - and lightly used) Asking : $9800 USD Location: Toronto, Canada HERE IS THE LIST OF STUFF THATS INCLUDED IN PACKAGE: Aaton A-minima Camera (PL MOUNT) - Serial Number : A284 Oppenheimer Battery Handle - Power Base Battery Handle (IMO its the best accessory for minima) “Swan Neck" Attachment Mini-Base (amazing base !!) Custom Mini-Euro release Plate Battery Charger Cables (x2) Oppenheimer Batteries (x3) Magazines + 2 Covers ( One Mag stays on camera, so doesnt have the cover) (x3) Aaton + Oppenheimer Threaded Rods ( all compatible with mini-base) 50mm (Short Rod) 100mm (Medium) 120mm (Long) - best for Rederock micro follow focus (included in list) (x1) Original Aaton Wooden Front Handgrip (Walnut) (x1) Lemo 2 pin to Lemo 2 pin Cable (Handgrip to Camera) Original Tiedown for Handgrip (Compatible with all rods) (x1) RedRock Micro Follow Focus (x2) micro lens gear included. (x7) Original A-Minima Empty Spools (hard to find, reusable) (x10) Kodak Vision, 2, 3 FilmStocks ( Filmstocks specially for Aaton A-Minima with original spools) - All filmstocks kept in fridge. (x2) Kodak Vision - 250D / 7246 (x3) Kodak Vision 2 - 500T / 7280 (x2) Kodak Vision 2 - 250D / 7205 (x2) Kodak Vision 3 - 250D / 7207 (Respool) (x1) Kodak Vision 3 - 50D / 7203 (Respool) Extra Stuff (x4) Duracell Ultra Lithium CR123 - CR17345 Batteries for A-minima EyeCushion Sekonic - Studio Deluxe - Model L-398 (No: 410772) Pelican Case for Camera Aaton A-Minima User Guide Booklet. Please let me know if you have any questions. You can PM me. Or you can use gnlkrmz@gmail.com address to get in touch. Thanks, .... .... .... .... .... .... LENS NOT INCLUDED !!! (IMAGE SHOWN FOR THE OVERALL SETUP, INCLUDED IN PACKAGE - EXCEPT THE LENS !! .... LENS NOT INCLUDED ( IMAGE SHOWN FOR FOLLOW FOCUS AND OTHER ACCESSORIES) ....
  19. hello interested in buying SUPER16 FILM CAMERA AND ACESSORIES: Arri SR3 or Arriflex 416 Zeiss MK2 or MK3 Super Speed S16 lens set (9.5, 12, 16, 25, 50mm) or similar located in EU/Czech republic and partialy LA or OREGON. You can text/call me at +420777174155 (imessage, whatsapp), text me on facebook "Martin vonkuttenberg Klimpar" or mail me at klimpar@vonkuttenberg.com. Thanks!
  20. Hi Guys, I own a Krasnogorsk K-3, I purely use it for fun, not professionally. I've put about three rolls through it at this stage, and although I'm happy with the quality of the footage, I notice a large dust build up on all the the footage, as well as some continuous straight scratching on the right side of the film. Have been quoted £400 to have the camera professionally cleaned and serviced, but it's not worth that so I'm not really willing to fork out that much just for a camera that I use for fun. Was wondering if anyone here has experience of cleaning this camera themselves? And if they could give any advice to potentially fixing this at home? I gave the camera a good blow with compressed air, and a little brush the last time I put a roll through it, but still got the recurring issues. Any other help would be massively appreciated! I have attached some images for reference. Best, Jack
  21. Hi, looking for an Eclair ACL package, preferably in Europe. 16 or s16 converted is fine, no ultra 16 thought thanks. On a bit of a budget so so don’t need a massive package, enough to start shooting though preferably. Feel free to message here or email me at jackcurtisdop@gmail.com. thanks
  22. Hey, Looking to pick up an aaton a-minima top handle and or trans video monitor for the camera. Thanks, J
  23. Hello, I am looking for a used super 16 package with a PL mount. I'm interested in a SR2 or SR3 or an Aaton XTR Prod. If anyone is interested in selling please let me know! Thanks!
  24. Lot's of great film gear for sale. Everything is well maintained!! Please make an offer and send me a PM! Click here for pictures: https://www.zonerama.com/Link/Album/5045829 ARRI SR 3 Refurbished – Complete Kit This camera has been used by Michael Ballhaus for teaching at the Munich Film School until I bought it in 2011. It was then fully refurbished and repainted by former ARRI technician Georg Bogner. This kit runs perfectly and has been serviced since at least once a year by Georg Bogner. I am only selling this because I have a second kit! Set includes: - ARRI SR 3 Super 16 with lightmeter + timecode (SN: 1634) - ARRI IVS (PAL) - 4 SR 3 Timecode 122m Magazines (SN: 1484, 1322, 3502, 1307) - Metal cases for all parts And further accessories: ARRI Viewfinder Extension FE-2 SN:1423 ARRI Eyepiece Leveller EL 3 + mounting plate for tripod ARRI Battery plug-on adaptor ARRI MCL 4 - Timecode machine SN: 32 ARRI ESU-1 - External Sync Unit Bildschirm-Sync, alle Kabel, Bedienungsanleitung NN 7" Videomonitor with ARRI plugs ARRI S-3 Shoulder Rig, Geweih ARRI VSU 4, Variable Speed Unit SN: 1114 ARRI Heated eyecup HE 3 ARRI SR 3 Raincape ARRI LWS 15mm rods, with two extensions ARRI Viewfinder Extension FE-4 SN: 1324 ARRI ARRI studio matte box 4x4 / 4x5.65 with sideflags, frenchflag, two rotating filter stage, 19mm rods, custom made. Filters can be positioned either vertically or horizontally. It is well suited to most prime lenses and smaller zooms. ARRI Frenchflag 4x4 ARRI / NN Leather Blimp for 122m magazine ARRI DC DC Converter 24V 12V ARRI Battery plug on adaptor ARRI power distributor ZV4 ARRI 2 Plug on batteries, need to be recelled ARRI Standard charger ARRI Power cable with XLR/Fisher plugs ARRI groundglass 1.33 / 1.66 ARRI groundglass 1.78 / HD (maximum area!) ARRI groundglass 1:2.35 (custom made, maximum area) ARRI ARRI Timecode cable BNC (AUDIO) to Fischer (KAMERA) Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 ARRI 535B - 3perf + 4perf – Complete Kit This set runs perfectly and has been checked and serviced by Georg Bogner (Munich). At the moment the 3-perf-movement is installed. But the set also includes a 4-perf-movement as well. FEATURES OF THE ARRI 535 • Silent Sound Sync camera (under 24 db). • In-camera ARRI Glow for 9 formats (there is no need to physically change the glow mask. It can be done easily in-camera using the CCU-1). • Electronic shutter. The camera uses an electronic shutter and can be programmed to ramp up or down. • Speed ramping from 3fps to 50fps with individual steps of 0.001 frame. The exposure will stay constant as it is being compensated for by the electronic shutter. • Shutter ramping from 11 to 180 degrees. Ramping can be programmed or changed during the shot. • Beam splitter: Options are 10/90, 90/10 or 50/50. The 535 is the only ARRI camera that offers a 50/50 beam splitter. • SMPTE Timecode and ARRI time code system (timecode module is included in this auction). • Swingover Viewfinder System and In-Camera Contrast Filter Kit includes: ARRI ARRI 535 B with IVS (PAL), Tophandle etc. SN 5164 ARRI 3perf movement (mounted) SN 3P97 ARRI 4perf movement (additional) ARRI 2 120m Magazine M-11 with Case SN 4857 + 5161 ARRI 2 300m Magazine M-10 with Case SN 8812 + 9168 ARRI 2 Steadycam-Magazines 122m LM 1 SN 6202 + 6084 And further accessories: ARRI SCU-1 ARRI VCU-1 ARRI groundglass 1.78, ARRI GLOW ARRI groundglass 2.35, ARRI GLOW ARRI Viewfinder Extension FE-3 SN 1064 ARRI Timecode TC Cabel XLR Fischer ARRI Raincape ARRI CCU-1 Computer Control Unit ARRI CCU-Cable 30m ARRI Eyepiece Leveller EL-3 ARRI CCU cable short more cable for SCU and Antiflicker ARRI RCU-1 Remote Control Unite ARRI RCU Cable ARRI RCU Manual ARRI PL Port Cap ARRI 535 Flight Case Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Canon Zoom Super 16 SC15x11 T2.5 11-165mm Checked and serviced zoom with normal wear but really perfect glass. It’s the most versatile Super16 zoom I have ever worked with, one of the best ever made for Super 16. It's not a converted lens, it was properly designed for Super 16. It’s really sharp! Can be used in crop-mode on all the digital cameras as well. Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Chrosziel Follow Focus Checked and serviced Follow Focus for 15mm rods, with handles/wheels on both sides, One can be removed if not needed. Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Chrosziel Matte Box – 15mm rods with Frenchflag, one fixed, one filter stage fixe, one rotating, swing-away, 15mm rods Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 NORRIS Intervalometer ARRI SR3 Complete set for stop motion or special effects photography with ARRI SR 3 cameras. These intervalometers are hard to find. Took me two years to get one. But since I only used it on very few projects it is time to sell it. This Intervalometer kit comes with motors for Arri SR's as well as the large capping shutter with 15mm rod mount to prevent any light pollution/fogging on your film. Includes: SCC-300 Time-lapse Controller Motor For Arri SR (1,2, Or 3) 24V 3 Pin to 4 Pin Power Cable 12V 4 Pin to 4 Pin Power Cable Controller/Remote Cable Case Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Sachtler tripod (100mm), Video 18 III head It's in good shape, works absolutely smooth and is ready to shoot. Many more accessories are available. Please check the pictures and make an offer: https://www.zonerama.com/Link/Album/5045829 Many more accessories are available. Please check the pictures and make an offer:
  25. Sells a perfect ANGENIEUX ZOOM 15-150MM with PL mount. Covers Super 16. No scratches, haze or fungus in the glass. Works perfectly. Selling for 7200USD Message if you are interested Will add some photos later.
×
×
  • Create New...