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Found 12 results

  1. 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?
  2. WTB ARRI 416 package. 416, 416 Plus, 416 Plus HS. Ready to purchase. Based in Los Angeles, will travel if necessary. Any leads much appreciated. Thanks, Cale Nichols calenichols@live.com 310-422-3568 www.calenichols.com
  3. Hi everyone! I have an upcoming shoot where we need to have a 180° rotation (around the lens axis) It´s a short film with very low budget so expensive options such as Cartoni Lambda Head or Weaver Steadman are not going to be posible We´re shooting on an Arri SRII with Zeiss Primes T1.3 Any thoughts on a low budget solution? Thanks in advance! Joaquin
  4. please contact me with details. thanks
  5. Dear all. Looking to buy S16mm 416 camera package. If anyone has any leads on anyone selling in the USA or the UK, or Europe please reach out to me on the email below: hattidp@gmail.com Best Wishes. Hatti
  6. Aaton XTR Prod S16mm Camera Package All components have just been serviced and in great working order. From rental inventory and has been regularly maintained for the life of the camera. I have 2 comparable packages available. Package Includes: Aaton XTR Prod S16mm Camera Body VR46 Color Video Assist 1.78 Ground Glass Standard Viewfinder (short) Heated Eyecup Extension Finder Carry Handle w/ 2 Aaton Tools Right Side Grip w/ Start/stop 15mm LWS Right Ride Rosette Dual Rosette Grip Extension Arri 15mm Studio Baseplate 2x 6" 15mm Screw Type Mini Rods (not pictured) 2x Coiled Eyecup Heater Cables 8" 2pin to 2pin Start/stop Cable (not pictured) Mag Port Cover Lens Port Cover 3x 400' XTR Magazines w/ Throat Cover Flight Case For Camera Body (ATA Style) Flight Case For Magazines (ATA Style) $3895 I have On-Board batteries and chargers available upon request (fresh re-cell at time of sale). NP-1 style battery adapters that allow use of modern NP Li-Ion batteries as on-boards. Additional 400' and 800' magazines. Large selection of high quality used S16mm Primes and Zooms. Please PM with questions. Located in Hollywood, CA. I am happy to demo the camera in person. Willing to ship at purchasers expense.
  7. 18k = IMAX 15-perf (or 36K?) 12-13k = 70MM 5-perf 6K = 35MM 4-perf 3K = 35MM 2-perf 1.8K = S16MM 1.5K = 16MM 720p = S8MM 480 = 8MM I had to share this with someone. I found so many people including myself looking for these numbers I had to compile this list. I cannot find anything close to this on the internet all in one place. Digitally, IMAX is referred to as being three times better/larger than 35mm (18k / 6K). On Film, IMAX is three times larger then 70mm and 70mm is twice as large as 35mm therefore it should be six times as large. This is of course the best possible scenario of each format. These are all comparables, they cannot be absolutely perfect. I'm comparing category to category. So much in the real world changes these numbers, for example cropping 16mm to a release format reduces the frame size and corresponding resolution or finding a camera and lens that can shoot S8mm or 8mm and come close to 720 or 480 quality.
  8. Hey, I found someone with a bunch of old replacement and repair parts for SR3's. i just bought mine, so it's currently in top shape, but I was wondering what some common issue were after a bunch of use. if possible I'd love to buy some parts now to have on standby before they disappear forever. I know that the SR2's used to have circuit issues, but im not sure if that's a common SR3 issue. Motor? Registration pin?
  9. Hey all, hoping for a bit of advice. Having some trouble with an approaching s16mm shoot- a darkroom scene. I was hoping to light mainly with practical florescent 2x4's and then to gel them fully red for some sequences. My question is: with the interior location, I thought I should shoot on 7219 500T... should I use tungsten tubes? Or would daylight tubes be better for the gel? I know daylight-balanced bulbs on tungsten stock will come away rather cyan, which I don't mind. But gelled, what should I expect? I could shoot on 250D, but am nervous that the light loss from the gels will give me a tough exposure. What setup of stock and bulbs (filtration?) do you think is best? Unfortunately, there just doesn't seem to be budget for tests. I also read in an older post here that there were issues with focusing, or that the image (red lit) will look soft. Is this a genuine focusing issue? Or should we just measure out as per usual? The last thing here that freaked me out was that someone noted that my light meter will give me an improper reading under these red conditions. Does anyone have any experience with this type of setup? Thanks so much for your input. Any advice would help!
  10. Just completed post on my first feature, "The Eastsider" (www.theeastsidermovie.com), a comedy/drama set in suburban Detroit. Shot it on Kodak 7222 with the Arri SR3, an amazing camera. Nothing will ever beat the look of celluloid. Here is the trailer (contains coarse language): I'm putting this thread in the "in production" section, since I don't even have a festival premiere date yet (not sure if this thread belongs elsewhere).
  11. Hey, So i recently did a registration test on an SR3, and I got back some curious results. For the test I shot 25' @ 24fps 25' @ 48fps 25' @ 75fps then rewound and did the same thing again with the chart moved a bit. I was expecting the 24fps to be rock solid, and the 48 and 75fps to have a little play, but it was the opposite. 75 was super solid, and 48 was a hair more wobbly, and 24 was loose. is that normal? and secondly, and i know this is hard to describe over text, but how steady should i be expecting a super 16mm to be? maybe it's a totally acceptable amount of wobble at 24fps and i am just expecting it to be better than it should be.
  12. Angenieux Zoom Type 4x17.5B - 17.5-70mm F 2.2 With Arri Standard Mount (Comes with an adapter to M4/3) Asking Price $670 which I feel is fair The lens is used of course serial number 1211645 Has some superficial marks on the rear element, no fungus or marks on the inside lens. The iris blades are a shinny, no oil marks. The focus barrel has no play and is very easy to turn, might be a downside to some people the zoom feels butter smooth and the iris does not click. The adapter is fine but if you wanted to you could get a better one from ebay or something, but it does the job. I believe this is the only zoom that covers a s16 sensor, of course it works on the BMPCC. It is really a nice lens, I just don't use it enough, for my shooting style. I am just gonna stick to primes :) Paypal and I will only ship to verified accounts. PM me to discuss further. Shipping is from San Diego CA
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