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My Gear


Found 30 results

  1. https://www.ebay.com/itm/recently-serviced-and-refurbished-aaton-a-minima-super-16mm-camera/273499293170 HISTORY: - A Minima was purchased from Pro Video & Film Equipment Company INC (Dallas, Texas) on 7.19.17. - The camera was sold to Pro Video & Film Equipment Company INC from a private seller, it has never been owned by a rental company. - Since I purchased the camera just over 1 year ago the camera has seen minimal work. Never used on any commercial jobs. Only a few short personal projects. - The Minima is in excellent working condition and barely has any visual wear and tear. It has just recently been serviced by 2 very reputable LA business's. All digital and mechanical functions of the camera are immaculate. Description: - Aaton A Minima Super 16mm camera (SN:073) - (3) 200 ft Aaton Film Magazines - Aaton Video Assist - (2) Remanufactured 12v Aaton Batteries (New Cells as of 7.15.17) - (2) power cables - Lemo cable - Aaton 12v NiCad and NiMH AC Battery Charger w/ AC Cable - Custom Top Handgrip - A Minima Power Base - Dual Mattebox Rods - Aaton Origin C Time Code Unit - Original Aaton Manual - PL Port Cover - 22 Factory Daylight Spools (most have never been used) *Only 14 pictured - Aaton Hard camera case Recent Maintenance history: ABEL CINE (Los Angeles, CA) (6.28.18) Replaced gaskets on all 3 magazines, video tap and camera serviced. $564.03 AM CAMERA (Valencia, CA) (9.21.18) Repaired misaligned feed sprocket guide. Replaced film gate rail. Adjusted flange depth. Checked ground glass focus. Tested camera operation with film. $277.73 looking for 9750
  2. For sale is our full Super 16mm ARRI SR3 Advanced Highspeed kit. This is a full kit including everything you need to shoot. We purchased the camera in 2014 and have used it on a couple of shoots. In 2016 we had it professionally serviced by Panavision in Sydney, one of the batteries was also repacked in 2016 by battery world. See the gear list (Picture) for everything included in the kit with a description of the condition. It was most recently used for a short film in January 2019. As you would expect the kit has got standard wear and tear, the previous owners were Panavision UK. This wear and tear is cosmetic only and does not effect the functionality of the camera. The lens is in mint condition, no fungus or haze. The focus and aperture ring is smooth. We are based in Adelaide, South Australia. Can post via (insured) courier at buyers expense or local pickup. Payment via bank deposit, PayPal (2.6% surcharge) or cash. No returns. For further information please contact Liam Harvey (telecaster7007@gmail.com) or Declan Brown (dbrown5012@gmail.com) serious enquiries only. We are also including 2300ft of 16mm film, the Kodak stocks are old/expired stock, the Fuji stock was bought in 2014 with the camera and has been refrigerated since we got it. We used some fuji stock from the same batch at the beginning of this year and the footage was perfect. The kit is priced to sell at $10,000 AUD We want to sell this is as a kit, so please refrain from asking us about the prices of individual items. Link to a gallery of items in the kit: SR3 Album
  3. Okay... Here's a conversion to 200' film loads https://www.ebay.com/itm/292940692573?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649
  4. Hello, Does anyone know of a camera technician in Los Angeles who works on 16mm cameras, specifically Eclair NPR and Beaulieu? I need someone to remove the ground glass, mark it (with a pencil is fine), and replace it in an Eclair NPR camera that's already been (partially) modified to super 16mm. The eyepiece has an issue as well, where one side of the frame is cut off, I assume because of the lens re-centering in the super 16 conversion. The image on my test reel looks great, but my framing was off because of the inaccurate ground glass markings and eyepiece problem. Also, I have a Beaulieu 16mm clockwork camera and need to figure out why my focusing has been occasionally off even though I've got the eyepiece diopter calibrated - at least the way I think it needs to be calibrated. I'm looking for a camera technician in Los Angeles who would go over the camera with me and possibly convert it to Ultra 16mm. The Eclair has been to Bernie O'Dougherty who gave it a clean bill of health, but he was too swamped to do mark the ground glass. The cameras and I are in Los Angeles. Thanks for reading and considering this! -Roko (brand new member)
  5. I’ve created a hybrid… combining 8mm and 16mm parts. I recently discover the joys of the reflex viewer up stream from the lens iris. This allows the image to stay bright, not affected by the iris. So, I took converted super16 and machined out an 8mm film block. The lens’s frame mask was converted to super16 aspect ratio. It all seems to line up… anybody see any potential problems???
  6. WTB ARRI 416 Package Please reach out with any leads. Thanks in advance! Cale Nichols calenichols@live.com 310-422-3568 www.calenichols.com
  7. OK sports fans... The reflex on the early REX cameras is so small... I hear complaints that with super 16 it's even smaller... I've made some modifications to increase the size... and so far the works best... can see the full image, almost 10X but not quite... but the larger opening at the eyepiece is what really helps. there's no pinching or distortion in the image.... CHECK IT OUT!
  8. For the purposes of future testing for a project, I would like to get some opinions on the various characteristics of some Super 16mm primes. Flares, bokeh, sharpness, contrast, color temperature, the works. Lenses in particular I would appreciate information on are... Zeiss Super Speed Mk 1 Zeiss Super Speed Mk 2 Optar Illumina s16 Cinema Products Ultra T Any other prime sets that have both 16mm & 25mm focal lengths. I'm really only interested in prime lens sets, no single primes like the Angenieux 5.9mm or any zoom lenses.
  9. Hello all you optics Gurus out there... It seems that a Bolex can come with one of 3 basic viewfinders 6X, 10X and 13X... What are those ratings based on??? The width of the image??? and then if you upgrade the optics... How do you measure the size? HELP!
  10. Hello group, Just got a 100ft roll of 16mm 1R Eastman 7222 Double-X neg stock. The label states "© 2002". Also bought supposedly fresh Double-X stock very recently and the label says "© 2009". Q 1: anyone know what's the deal with the dates (same with Ektachrome 100D BTW)? Q 2: should I compensate for sensitivity loss with the 2002 Double-X stock? I know that overexposing Double-X is bad - not like current Kodak color neg at all. Love the classic look of Double-X with its typical 'vintage' grain pattern ranging from shadows all the way up to highlights. Any reply/tips very highly appreciated. Christian
  11. OK... what to do with, yet another white elephant. It's a modified REX 1 with 200' foot load capacity. I got this long ago... works great... but was thinking of making it available. Either like it is or converting it to super 16mm or something. Anybody have any thoughts or suggestions on this? Arthur!
  12. Okay, I'm confused and need advice. My camera is the Arri SR2 (converted to Super). My lens is the Cooke Varokinetal 10.4-52mm T2. These lens were made for Super 16. My camera came with a follow focus. See photos. The camera tech informed me several years ago that my ff will not work with my lens. Is that ff for a certain type lens? Why doesn't it work for my lens? I will be using that same camera and lens. I need a ff. What ff can I get and it will work?
  13. Anyone interested is swapping cameras... Super16 Bolex REX5 for a Nikon 7200...? Arthur!
  14. Hello group, After dismissing the Tri-X (it's just my personal taste, not to be taken as any reference), I decided to go for the Eastman Double-X for my upcoming short film in Super 16mm. I intend to recreate a 1940s-50s "old Hollywood" feel and I don't mind some grain, especially when the structure is even and pleasant (Tri-X seems to have a threshold somewhere around dark-middle gray where it suddenly becomes very grainy in a distracting way, especially on surfaces with little to no texture - it also has a rather narrow latitude, being reversal). Since the Double-X (250/200 ASA/ISO) neg is rather fast I was wondering how the Orwo UN54 neg (around 100ASA/ISO) intercuts with the Double-X. I heard that the amount of grain is about the same. What about the look and resolutiuon power? All I look for is a matching stock where I don't have to stop down that much during daylight shoots. What I have seen so far on YouTube and Vimeo is all at lower resolutions. The Orwo (both as neg and reversal) always seems to look a little soft, but this can be due to older or inferior transfers/scans. The Double-X (seen a 1440p version with the grain largely intact) looks very pleasing to my eyes and more than sharp enough. I am aware that these are old emulsions with a vintage look - that's the idea! Any input regarding intercutting the two stocks (cost is the same for me) after scanning (so a little tweaking for a better match is possible but I'd like to avoid that) - highly appreciated. EDIT: BTW: does slightly overexposing help reduce grain (both on Double-X and Orwo UN54)? It does work with the Tri-X, but it just lowers (slightly improves) the threshold of coarse grain (as soon as you have dark-middle gray, you'll get that grain crawl again) and I'l blow my highlights - I did test shots for that. Christian
  15. Hello Crew!!! I would like some feedback, if possible, on these updated Bolex H16 graphics... Now Available from Dr. Bolex
  16. WOW it is possible to get 10X and 13X plus almost 16X it's huge. Without distortion and pleasant to view.!
  17. What this world deserves is an affordable super16mm camera and I’m gonna give it to’um...
  18. Hello group, Solving the (hopefully) last problems with my S 16 K-3. Looking good so far. No emulsion scratches (after a lot of very careful polishing the gate in the right areas - loop formers removed) and just found the cause for the occasional base/backing scratch (exactly where the regular 16mm frame would end opposite pulldown claw. It's caused by the plastic part that leads the film out of (top) and back into (bottom) the sprocket/roller assembly. The part has sharp edges/burrs on both sides: top and bottom side. Too difficult to remove the part, so I'll tape off the rollers and some light wet (always fine machine oil, not water) sanding with 1000 and 2000 grade should solve the base/backing scratches once and forever. Now those nasty orange-red light leaks (sprocket hole side). I see these - looking exactly the same - on a lot of K-3 footage on YouTube and Vimeo. I went through the footage frame by frame ( "," and "." keys on YouTube). These occur roughly along 3-4 frames (with some light spill) 26 to 30 frames before and less frames after a new shot (the white flash frame). Checked with scrap film: this locates the leakage exactly at the back side of the spools - and the emulsion is inside black "daylight" spools (???) Can't come from the footage counter: sealed it off with gaffer tape. It's clearly light that finds its way slowly to these areas when the camera is not running but exposed to bright light. If I don't expose the camera to a lot of light, or only have a short break, between shots: no light leaks there. The fact that the baffle plate is a silver-gray with a dot pattern (as opposed to matte black - the way it should be)) certainly doesn't help matters. Door and lock are always sealed tight with black camera tape. This seems to remain a mystery for many a K-3 user. Painting any parts inside matte black is out of the question (I think): it can chip and probably cause chemical reactions. Any ideas and tips highly appreciated. Thanks in advance, Christian
  19. Hey all, I have an Aaton Aminima Super 16mm camera package up for sale. It's in excellent condition and was recently serviced at Abelcine. I'm currently traveling but if anyone is interested I can put together some photos and reference videos when I get home. Here's what's included: - Aaton Aminima - 3x 200' mags - 3x daylight spools - Onboard Aaton side battery - Battery charger - Video tap - Wooden handgrip w/ lemo connector - 15mm rods - Carrying case - I also have a roll of 250D and 50D that I'll toss in as well :) Asking for $5,000 but open to offers. The camera is located in SLC, Utah. Will accept PayPal. Please feel free to reach out with any questions. pendleton.tanner@gmail.com 978-340-2012
  20. Hello all, Just received my Zenitar 16mm lens for my K-3. Not a huge wide angle, but exactly what I was looking for. Good enough for smaller spaces and run and gun. Much less barrel distortion than what I had expected. There is a spring loaded metal pin which must be pushed-in so the aperture/iris will work. Mounted on the K-3 it remains protruding and the aperture does not work. I am thinking about taping it over, using a small plastic sheet part that doesn't interfere with the rotating mirror. I am afraid that the gaffer tape will come off inside the camera though - causing irreparable damage. Any suggestions how to keep the pin pushed in securely will be highly appreciated. Thanks in advance, Christian
  21. 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?
  22. I'm working on a short film with some other students, we are all working with the 416 for the first time. I'm going to be focus pulling, but I am still going to take the opportunity to have a go at loading the camera too. I went to a nearby rental house today to check the kit out, and it doesn't seem too daunting. I loaded on an Sr3 job last summer, which was my first time working with any kind of film (aside from super 8mm), so I certainly have less fear this time round. Apart from the feed side of the magazines being the opposite way round, and the extra step that involves entering the take up side, exiting to the loop, and back into the take up side, it doesn't seem overly difficult. It would be great to hear any loading tips that anyone might have, I'm sure there are hundreds of dos and don'ts associated with this camera and it's loading procedures, the kind of things you only learn from being told, more than experience actually loading. In terms of sharps, I have plenty of practise pulling off marks and judging distance on digital 35mm cameras, so I'm fairly confident about pulling without a monitor for super 16mm. It's mainly the other responsibilities I would like to hear some advice on, such as everyones preferred way of 'checking the gate' at the end of a slate. What way would you clean the gate if an emulsion hair was spotted in the gate? I've read up numerous sources, including the AC handbooks, but would be great to hear some other opinions from different camera assistants. Is there anything else I need to be aware of when working as a 1st alongside the 416? Anything I should be keeping my eye on throughout the day?
  23. Hello all, Well I am new to this web site and I hope my post hasn't been addressed before (I searched the forum of course). I appreciate your patience reading my rather long post, also introducing myself - I apologize if I'm drifting off topic for a moment. :-) Well I am considering starting to pick up a film camera again. I was a Super 8mm user back in the day (1975 through 1981) and I never got the results I was looking for and I don't see that format ever yielding truly satisfying results (in my humble opinion and for what I have in mind, not to be disrespectful!), even with all recent efforts (Pro8mm, Logmar, Kodak's new planned camera line and film stock turnaround - for 2016....). I never bought a video camera/camcorder, because I just don't like the look at all, even the most skillfully graded footage I have seen (it's always glassy, harsh and "digital" looking). Just to fill you in: I worked small jobs at the Frankfurt tv station "HR" (1977 - 83), and got a lot of insight regarding the sweet old Arriflex 16mm cameras, film loading, servicing, editing on the Steenbecks, in-house processing and the old machines where the films were aired "live" as opposed to telecine transfer which was still in its infancy - those (then) professional 16mm cameras were still in heavy use for all kinds of television productions. I studied photography and cinematography at the University, but I knew it would lead me nowhere - so I dropped out. I went full time for music, a decision I never regretted - but true motion picture film (even with all its hassle) is still my passion. Recently I checked on Ebay: there are a handful of K-3 cameras for sale and most are converted to Super 16mm including re-centering the lens. Most are coming from the Ucraine and Bielarus. Prices are very affordable. I know that the first two numbers of the serial number represent the production year (please correct me if I'm wrong). One model is as recent as 1989 (last production run) - so I should be able to purchase later some nice, sharp prime lenses. Here are my questions: 1) Has anyone purchased an already modified Super 16mm K-3? Is the optical axis really 100% re-centered? Is the new, widened film gate safe regarding scratching the film? I don't see any shifting to the side on the photos regarding the lens adapter ring.... 2) is the view finder normally modified to match the new format? I wouldn't mind it not being wider, as long as the center is exactly natching film gate and optical axis - and as long as I know when unwanted vignetting occurs. I don't mind some guess work. I'm "old school" if it's necessary :-) 2) Would it be recommendable to remove the loop guides right away and hand-load, to eliminate the chance of scratches? 3) I don't have anyone who could service the camera nearby - so how reliable is it regarding motor speed, mechanics? I plan on mainly filming at 24 fps - perhaps some slow motion at the highest speed possible... 4) is it recommendable to purchase a battery adapter kit since the old, discontinued batteries are usually dead and new ones read to wrong read outs. I will eventually purchase a separate light meter, but the use is not always feasible since I plan on filming mostly spontaneously what I see (as opposed to an improvised studio set up) - some of it for use in music videos. No problem with filming wild (no crystal sync motor needed) as long as the actual film speed is close enough to 24 fps. I don't plan on purchasing a fully serviced K-3 from the US. I am located in Portugal and the costs would be too high for an entry-level camera (will check it out anyway). BUT I see a lot of K-3 footage, both 16mm and Super 16mm (YouTube and Vimeo) which clearly have focus issues. Some shots are razor sharp though (even when considering it's Super 16mm) so it must be a lens issue. I thought about a Super 16mm converted Bolex, but these are much more expensive and also seem to have issues. Do these wind up cameras handle the modern Kodak Vision 3 neg film stock well (jamming, lost loops, jitter, etc.). Any hints and tips highly appreciated. Thanks a lot for reading. Best wishes, Christian
  24. 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.
  25. Hey, I was digging through an old drive and found the original scan of some super 16mm I shot for a music video earlier this year. This is Kodak 7219 500T, rated at 800asa, with a one stop push. We had planned on converting to black and white in the grade, so I the extra grain of the one stop push sounded great and worked out really well in the end. It was telecined to HDSR on a Spirit 2k. We go an unsupervised "flat scan", that was then rendered out to a 1920x1080 prores 422HQ. The vimeo compression really took a lot of the grain away, So I've included a few still frames as well. Photos are here: https://www.dropbox.com/sh/b66wby9zoaro0zx/AACshQrxKQuknafW2SvVAqgga?dl=0 I hope this is helpful to someone!
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