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Film Camera for Shorts


 

Contributed by Glen Berry

Glen Berry is an award winning filmmaker and the Editor of film underground. Berry has written for Moviemaker magazine and FilmFestivals.com

My questions for you are...
A). What is a good, user friendly 16mm camera to start on for independant[sic] short films? I am interested in something flexible... variable speeds, attachment options, ect...
B). Is it worth while to purchace editing equip. or should I just use rental suites?
C). Is 16mm still a good format to use or is it going to become the dinosaur that 8mm has become?
I hope you can help me out with my novice questions, I am anxious to get started on using film cameras rather than video. From what little I know your prices look pretty good and maybe you have something I could use.

A) If you want to do independent shorts, you will be very limited in what you will be able to do if you don't have a crystal sync camera. Crystal sync means that the speed of the motor is precisely controlled via a crystal. This means that when you record sound on a DAT or Nagra they (the camera and the recorder) will run at consistent speeds. Crystal sync cameras such as the Eclair ACL and the Arri BL usually go for $2200 to $2500 and on up, depending on condition. We don't have any crystal sync cameras for sale on our page.

If you get a non sync (wild or ungoverned motor) camera then you will still get a beautiful quality image but it will start slipping and lose sync after about 5 or 6 seconds. You can shoot some wonderful images and if you are imaginative you can do shorts but forget trying to do anything but the briefest of dialogue. I have seen some really well done shorts with the Bolex H16 which is a popular and common 16mm camera. It has a turret mount that will accept the common C-mount lens, variable speeds and frame by frame option for animation and special FX cinematography. It has an auto load feature for the 100ft daylight spools which makes it fairly easy to load. It doesn't work right everytime so you will have to familiarize yourself with it to get it to work right. These cameras are also very durable and tough, another good feature for a beginning cinematographer. Another great camera is the Scoopic 16. It also had variable frame rates and the auto load works smoothly and perfectly everytime. The problem is that it has one fixed zoom lens and is more expensive because it is battery operated, unlike the H16. At this time we don't have any Scoopics but I recommend them if you can find one at a reasonable price. Any other specific questions, ask me.

B) To rent or buy all depends on how much money you have. If you can afford it, go for it. If money isn't coming out of your ears then you have to decide whether you can justify owning the equipment. How much money are you putting out? How many projects are you going to do? How much money are they going to net you back? Can you rent time to other people? If you plan on doing alot of projects and the price is good, go for it. If you're strapped for cash or don't foresee using it quickly, rent.

C) 16mm is going to be around for a while. The format will probably outlast any camera you buy. I'm surprised to see there is a resurgence in Super 8 and 8mm, BTW. It is very popular these days with low budget film makers. Film in general is on the way out but it will be quite a while before its gone.

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1st 16mm camera
I will be purchasing my first 16mm camera, and I have a budget of $15,000. Can you suggest the best set up with these budget requirements?
>> Read the KB

Buying Rawstock
Do you sell raw stock and if you do how do I order it?
>> Read the KB

Eclair ACL 16mm
I'm seriously interested in an Eclair ACL 16mm crystal sync camera...
>> Read the KB

C-mount focus
It dawned on me recently that if a C-mount lens is screwed in too far or not far enough, even by a hair, the focus will probably be off. How can I optimize focus in a non-reflex 16mm camera?
>> Read the KB

 
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