Super 16mm Masterclass :: History of 16mm Cameras - Indie Film Hustle
Вставка
- Опубліковано 4 жов 2024
- Get the IFH Podcast 👉indiefilmhustl...
Read Rise of the Filmtrepreneur: How to Turn Your Indie Film into a Moneymaking Business www.filmbizbook...
To download the rest of the online course on Super 16mm Film goto: www.super16mast...
Are you look for knowledge of how to shoot with actual film?
Do you want to learn how to wrk with celluloid?
Do you want to see how an Arri SR Super 16mm film camera work?
Do you want to learn how to prep a production that will be shooting Super 16mm film?
Do you want to Enroll NOW and start learn what it's like to be a FILMmaker? Let's get started?
Why the hell have you created an online Super 16mm Film Course? Because believe it our not there are a ton of television productions, feature films and indie films that are shooting on Super 16mm film. The need for education in the craft of shoot celluloid is great.
After getting many requests for this information instructors Alex Ferrari (Indie Film Hustle) and Egon Stephen Jr. (Cine VideoTech) decided to put together the DEFINITIVE Educational resource for anyone interested in shooting in Super 16mm film. Some of the productions that shooting film these days are:
• The Magnificent Seven
• Westworld
• The Girl on the Train
• The Walking Dead
• Jack Reacher
• Batman vs Superman
• Star Wars: The Force Awakens
• Spectre
• The Hateful Eight
• Jurassic World
• Wonder Woman
• American Horror Story
----------------------------------------------------------------------------------------------
And many more. Film is not dead, not by a long shot. In this masterclass you will learn:
• The History of Film
• 16mm vs Super 16mm
• History of 16mm Cameras: Old School
• History of Super 16mm Cameras: Arri SR Series
• Super 16mm Lenses: Choosing the Right One
• Camera Accessories: Pimping Out Your Camera Package
• Understanding Filmstocks
• Battle Planning: Shooting Film in the Real World
• How to Load a Film Magazine (Arri SR Series)
• Prepping Your Film for the Lab
You also have access to download a collection of camera forms, contracts, rental guides and more. If you are interested in shooting film this is course will set you on the way.
Whether you are a film student, producer, director or cinematographer you will have a strong grasp of what is needed to shoot Super 16mm Film in today's world.
Let's put the FILM back into FILMMAKING!
----------------------------------------------------------------------------------------------
Important information before you enroll:
In case you find the course useless, don't forget you are covered by a 30 day money back guarantee, full refund, no questions asked!
Once enrolled, you have unlimited, lifetime access to the course!
You will have instant and free access to any updates I'll add to the course.
I will give you my full support regarding any issues or suggestions related to the course.
Enroll NOW and turn your FILMmaking dream into a reality! Let's get started!
----------------------------------------------------------------------------------------------
About your instructors:
Egon Stephan Jr.
“Like father, like son” they always say, yet nowhere has this cliché been more true than when you apply it to the love of filmmaking shared between Egon and his father. Egon began his professional career at an early age, eventually running the camera rental department for his father at the ripe young age of sixteen!
After a six-year stint as the camera rental manager of CineVideoTech, he pursued his love for film in the field, running up an impressive list of credits. He worked his way up from technician to second assistant, second to first, first to operator, operator to second unit Director of Photography, second unit DP to Director of Photography on his first feature film, “Jungle Juice”, starring Christopher Walken, Morgan Fairchild, Robert Wagner and Rutger Hauer.
Shortly after this achievement, Egon’s father fell ill and his duty to continue the legacy his father had begun took precedence over his own successful career. He took over the helm at CineVideoTech in 2002 and has since been busy recreating the company that has launched so many successful careers into a vision of what is to come.
FOLLOW ME:
LIKE us on FACEBOOK! / indiefilmhustle
FOLLOW us on TWITTER!
/ indiefilmhustle
FOLLOW our INSTAGRAM - / ifilmhustle
JOIN our circle on GOOGLE PLUS: goo.gl/Ep3ISK
SEND STUFF TO:
Indie Film Hustle
c/o Alex Ferrari
531-A North Hollywood Way #257
Burbank, CA 91505
Was one of them in a rush to be somewhere?
The guy on the left needs to learn how to interview people better and not interrupt and make small comments, other than that, the guy on the right was really informative.
Seriously tho omg
The Filmo was my go-to combat camera in Vietnam where I was a combat cameraman. This was a bomb-proof virtually indestructible camera.
Not many "HOME VIDEOS" were shot with the Arriflex or with the 16mm Filmo for that matter... The cameras, lenses and the film were far too expensive for home movies. The 16mm Arriflex cost over $5,000 (1960 decade U.S. Dollars) I don't know how much the equivalent 2021 cost would be but, I am assuming a great deal more than five grand!
WW-II German Army cameramen frequently used the 35mm Arriflex in combat situations while the U.S. WW-II combat cameramen used 35mm Bell and Howell Eyemo cameras. Basically, the Eyemo was the Filmo on steroids,
Navy and Marine cameramen shot with 16mm through all of the Vietnam war while Air Force and Army cameramen shot with 35mm early on in the war and gravitated to 16mm somewhere in the middle of the conflict.
The Navy's Pacific Fleet Combat Cameramen also used the self blimped Eclair NPR cameras for sound filming.
The Filmo was advertised as an amateur camera since 1920s, it was priced about $250 back then.
The following is about the gentleman on the right, I gather. (For those of us that read the comments and not the info) I wish he had a preliminary personal introduction in the vid--- he seems like an extremely competent and knowledgeable cat.
:
Egon Stephan Jr.
“Like father, like son” they always say, yet nowhere has this cliché been more true than when you apply it to the love of filmmaking shared between Egon and his father. Egon began his professional career at an early age, eventually running the camera rental department for his father at the ripe young age of sixteen!
After a six-year stint as the camera rental manager of CineVideoTech, he pursued his love for film in the field, running up an impressive list of credits. He worked his way up from technician to second assistant, second to first, first to operator, operator to second unit Director of Photography, second unit DP to Director of Photography on his first feature film, “Jungle Juice”, starring Christopher Walken, Morgan Fairchild, Robert Wagner and Rutger Hauer.
Shortly after this achievement, Egon’s father fell ill and his duty to continue the legacy his father had begun took precedence over his own successful career. He took over the helm at CineVideoTech in 2002 and has since been busy recreating the company that has launched so many successful careers into a vision of what is to come.
Uhh, Lawrence of Arabia was shot in the 5 Perf 65 mm motion picture Format. Super Panavision 70 MM, not in 35 mm. True, it was shot on a rack over Super Panavision Sound Camera - model SC 65 mm.
I've been wanting to get my hands on a 16mm Arri camera for a while now, especially given the fact that 16mm film is where Christopher Nolan and Robert Rodriguez started. Nice upload!
Thx u for the kind words! Keep on hustlin'
Arris are great cameras , no argument , but for a beginner , a Bolex H16 is a great place to start ; more readily available and more affordable.
I just read a book about a BBC sponsored British expedition that travelled across Zanzibar and Tanganyika (now Tanzania) in a 3 person hydrogen balloon in the early 1960's featuring an Arriflex 16 mm camera ( see A. Smith, "Throw out Two Hands" , George Allen & Unwin, (1963) ). The appendix to the book mentioned the camera initially used 8-volt Varley batteries that proved 'spillable and heavy' until one of the cameramen improvised his own battery constructed of electronic flash unit cells, each with 3 floating balls to show the state of charge, embedded in foam rubber and encased in a small metal box that clipped onto the waistband of his trousers. The battery was chargeable from the Land Rover battery via a 12 volt stepdown built in series. They carried a range of 11 lenses for this camera: a 12.5mm Taylor Hobson lens; 40mm, 90 mm, 150mm, 300mm Kilfitt Kilar lenses; as well as 240mm and 400mm Novoflex lenses with follow-focus pistol grips. The film stock (courtesy of the BBC) consisted of 24,000 feet of Eastman Plus-X 16 mm negative film in 100 foot rolls; 24,000 feet of the same in 400 foot rolls; and 12,000 feet of Eastman Tri-X 16mm negative film. The sound recording was done on a Ficord midget tape-recorder.
Why is he laughing hysterically at the wind up system? Some of the greatest films ever shot were on wind up cameras.
he's clearly an idiot. he annoys me every time he says "got it". I'd rather listen to the other guy all day
windup is actually great NO BATTERIES NEEDED...this is watch technology not a big deal a loss of quality or anything for that matter. Sync sound would have been an issue..but still many uses especially for out in the field work when you dont need to carry around batteries...killer b-roll workhorse if you know what you are doing.
That's a very misleading thumbnail. That camera is a 35mm camera.
Yes, but IMHO anyone clicking on that thumbnail needs to know what Super 16 is and most of us know our cameras and Kubrick's beloved Arriflex 35IIC.
Motors were not Crystal sync because of the frequency of the lighting, it was for sound. Weird that the guy on the right said that...
@airscrew1 it runs at an exact frame rate so audio syncs.
@airscrew1 it's for sound.
www.filmmaking.net/filmmakers-faq/130/what-is-crystal-sync
airscrew1 Even motors “locked” to a certain frame rate weren’t necessarily exact enough for sound sync. Crystal sync was definitely for sound. Some simple research will confirm that fact
Thanks for great info! Always wanted to shoot on film!
Thx u!!
What's so funny about a clockwork motor?
tom kent dude foreals lol
Not sure what he's talking about the Crystal sync of the lights, that refresh rate vs shutter speed. Thats standard hertz / refresh rate, weird thats basic shit.
Oil that Filmo! You can tell it’s due for some lubrication by the sound.
Someone has that Bell + Howell cranked up to 64 fps and hasn't oiled it in ages.
Very informative. On the lighter note, these two guys are definitely not a FRIENDs
lol. i know hu?
Thinking of picking up an Arriflex 16S myself, but I have not found anyone that does Super 16 conversions.
Awesome Info. However, I'm still quite fond of Digital :P My Bolex will remain on my shelf as a memory. Thanks Alex!
Thx u!!
Why use a picture of Kubrick on a 35mm camera for the thumbnail of this video?
🖤
At 2:08 he's saying "These are Angénieux", fyi, missing from the caps.
thank you for the info. But where the hell can I buy a Arriflex 16mm? There's only three places I know of which is Visual Product, Du-All Camera or regrettably E-Bay.
Are you selling the converted Arri S super 16?
Thought the same. That converted ARRI 16S is obviously a fantastic film camera. If I had the slightest chance, I would grab it in a second.
This guy on the left aint gonna learn very much good info, he's just been told that digital cameras run today at 24v or 18v and up. when V mount is 14.4v standard operating voltage. Ive got through half of it and the guys totally lost his credibility.