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lol @ fixing that film gate issue, eye to the viewfinder and something uttered like ‘….God’. It’s so true, this a story in itself. Thanks for sharing.

Thanks for making this video! I have an Arri SR2 and I was wondering if you have experience in overcranking the camera for doing slow motion? I never really messed around with it because I just fear I might break something.

Help us extend our reach on TH-cam by liking and subscribing. Join our voyage by supporting the rest of Poet in a Modern World's production: mourningdovefilms.com/contribution/

Help us extend our reach on TH-cam by liking and subscribing. Join our voyage by supporting the rest of Poet in a Modern World's production: mourningdovefilms.com/contribution/

Help us extend our reach on TH-cam by liking and subscribing. Join our voyage by supporting the rest of Poet in a Modern World's production: mourningdovefilms.com/contribution/

Help us extend our reach on TH-cam by liking and subscribing. Join our voyage by supporting the latter half of Poet in a Modern World's production: mourningdovefilms.com/contribution/

Thanks for the analysis! Could you help me with something unrelated: I have a SafePal wallet with USDT, and I have the seed phrase. (alarm fetch churn bridge exercise tape speak race clerk couch crater letter). How can I transfer them to Binance?

How did you get that look?

Beautiful

On which camera was it shot on?

what camera is that?

So cool to see the different types of film!

Choose beauty.

Beautiful

For how much please?

Great setup! I have very similar gear. SR2 upgraded to super16 etc.. I even have that Oconner 50 head, lol Where are you processing your film these days? Always on the lookout for affordable labs and scanning. Keep up the good work man! Cheers

Beautiful!

Cinema is a mystery!

The turtorial video looks like from 70s... lol

william afton laugh at 13:23

Wait, so how do you record sound with that noise?

Will, what's all that stuff you got hooked up to the Filmo 70-DR in the beginning?

Thank you for making this video. I recently purchased an SR2 and I was wondering if you could explain the battery situation a little bit more. I still have the default batteries on mine, but I was looking at some of the replacement battery adapter from rencher industries just in case these old batteries fail. What you said about having it go past 12volts and damaging the motherboard has me worried since it didn't occur to me that this would be an issue and I'm not sure what I'm doing when it comes to the battery situation. I have read that people are purchasing gold mounted batteries, but I couldn't really figure out why or how to go about doing it safely. I have only seen Lentequip sell SR2 batteries but they are 14.4 volts. Wouldn't this damage the camera? Could you please explain this and what you would do if you need a battery replacement?

Man, reminded me what I love about the cinema. I mean masterful camera work. Actors amazing, quite a lot done in preparation.

Wow what a scene.

You are a fucking example brother. Thank you for your patience. Let anyone who laughs at your face do as they wish. Never stop.

Hi William, I recently purchased the same fluid head for my Arri SR2. Just wanted to ask if the tilt fights a bit against you, I read the head has a spring system, that's why I sometimes find the tilt up/down a bit tricky as I have to really lock the knob tight

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absolutely beautiful work!

These are some great and very insightful videos on 16mm. I recently acquired the same oconnor model 50 head to use with my NPR and had some questions. Starting from the left, the knobs control pan fluid, tilt fluid, a lock for locking the pan?, and another knob that locks the tilt? It's hard to tell exactly what those last two are doing, because it doesn't seem like much sometimes. Also, what legs do you use/recommend with it? Are you using a sort of bowl size adapter to use with smaller legs? I wish you luck with your productions!

Just want to say I appreciate tremendously how unapologetically beautiful your efforts. I agree, keep choosing beauty.

Insane look, subbed!

What a beautiful camera and a great video explaining how you set it up. Best of luck with the film and thanks for the videos! :)

It's a gorgeous camera that one! It's a bit crazy to shoot 16mm nowadays with a SR, but exactly because of this it must be soo cool. I see some single screw points... I hope you do attach the camera and plates with more than one screw each! I don't know exactly how are the electronics of that video tap, but it's always advisable when connecting cables, to connect power cables for camera and monitor FIRST, and video cables AFTER. And if you have to change a battery or disconnect power for any reason, ALWAYS disconnect sdi before disconnecting power cables or battery. That's according to Arri guidelines to avoid frying your sdi ports, it's a little rule but quite important and it can spare some horrible headache in the middle of a production.

Very comprehensive and methodical. As a large format photographer, I've been using the Photoflex Changing Room for nearly 20 years. It's nicer than the Harrison because it's an oval that just pops up into a cube and it's taller. Nice to see a similar approach here, compressed air, cleaning the edges, etc. Dust is the enemy of film no matter what kind you're using, 16mm or 8x10 sheets. I would think that it would be worth sacrificing some film to practice this in the light before you start messing around in the dark. I have an Eclair ACL and I was never able to figure out which/what battery since the ones it came with were dead. The Blackmagic released the Pocket and I've never used the Eclair. However, this is making want to dig that out and get to it. Thanks for that and for so thoroughly documenting these processes. It's nice to see something that is instructional without hyperbole.

I am currently putting together a tripod and head for my Arri 16 BL. What is the piece you are attaching to the base of the camera before attaching the quick release plate?

One day I'll get a 16S...*sigh*

Nice camera. The most I spent on a camera is $1800 on a bolex Rex 5. If I'm getting an Arriflex I'll get a 16s. An Eclair NPR is as expensive as I'll get!

Damn i just might Change my name to Lucky Luke 'cause i just Pressed the subscribe Button faster then my shadow

16mm cinematographer Tyler Purcell offered additional corrections for this video: "1) The camera is loud for multiple reasons. One of them and most critically is that any dense surface like a table, will automatically accentuate the sound of a motor. A good tripod with thick legs and a good head, will actually reduce the sound. So any sound comparison tests, should be done on tripods, vs hardwood tables. Your camera also sounds like the pitch is out of adjustment, it does have more noise than it should. Good working SR's should be quieter for sure and won't need a barney, tho I really like the one you made. Good job! 2) Most of the SR's actually come with a coreless adaptor in the take up. It's basically a little ring the size of a core, with a lever that locks the film on. When you're done shooting, you simply snap the ring and the film comes right off, with no core. It's kinda not the best thing, but it works well. Only the very old SR's don't come with one and honestly, most SR owners buy coreless adaptors on eBay used because of the problems you describe here. If you wiggle the film, the core should pop right off the core adaptor. Also, if the core adaptor is old and the little balls are stiff, it may need to be rebuilt. 3) One trick, what I usually do when loading and unloading is put the can under the magazine. This way you know which can goes to which roll and you don't just have a stack of cans in the corner. It's important to identify the magazine, roll/reel number and stock number on the can, which of course will be on the tape on the magazine. So what I normally do is stick that label on the can first, then unload the film. Since it's rare to unload ONLY, I will have the new rolls in the bag ready to go, with tape off them and I'll just load the new roll at the same time. Moving the tape label over right away helps to make sure there isn't any confusion. It's not like you can re-load a roll of S16 single perf stock anyway, but it can be confusing for sure. The new mags fully loaded will come out and labels will be made before being put back in a case or going back to set. Make sure the slates are labeled the same way with mag/reel/roll numbers, so that way in the scan if there is something wrong, you know right away. Magazines will scratch, it's very common. So to help solve continuous scratching, you really need to manage/monitor your magazines closely."

Good video, But a WARNING about cleaning the "mags", this 'canned air' or rocket blower solution is ONLY for film cameras!!, NEVER digital (including things like Phase One XF\XT\XC's or Hasselblad H1/2/3 digital backs, OR the 200/2000series film cameras {delicate focal plane shutters}) the air is under pressure, so this sandblasts the sensor, You should ONLY ever use the special wiper sticks with solutions provided by Phase One aka their own cleaning kits, or the sensor can be irreversibly damaged.

nice camera build, but where is the film Magasine?, it is an old "machine gun" after all, and that is what it's meant to fire...16mm 200/400ft rolls of cine film. {that video tap is ONLY meant for observation by focus pullers, or the director to aim the camera right}, if you want digital capture, you should have bought an Arri Alexa, 35/65 or a mini LF, they are turn key digital solutions, better at digital than a hacked film body.

Please keep making these!

Do you have any prime lenses? Just curious. I’m hoping to get the Vario zoom at some point when funds allow for it.

This was a good video. Thank you for doing this and keeping film alive. I was a camera assistant for over 30 years. I started using the Arri SR in 1979 and finished up with the SR III in 1996. It was/is an outstanding camera system, a system I ran 10s of thousands of feet of film through. The steps outlined in the video will get you safely through the day for the most part. I do have to mention a couple of things. 1. Do NOT use Q-tips. Using Q-Tips opens the chance of strands of cotton migrating to the worst place, the aperture. There, they will cast a shadow on the film, creating the dreaded "hair in the gate." By using Q-Tips, “hair in the gate” shadows happened to me twice. Take it from me, you do not want it to happen to you once. Instead, if you must clean the plate or the aperture, use a plastic rod and Dust-Off. If I felt the extremely rare need to clean the plate or the aperture, I would use a chamois cloth or a lint-less cloth instead. While dust is a concern and you must have a clean work area and a clean interior in the changing bag, I never had a significant problem due to dust. 2. There is absolutely no need to tape anything more than the lid latches. The lids are light-tight. It makes the camera look ugly and only slows you and production down. I do use Permacel camera tape that is color coordinated to the film stock I.E. blue for daylight balanced stock, green for low ISO speed tungsten stock, red for high ISO speed stock, etc, etc. On the take-up side, I make a 5"/ 125mm strip and on that I write “R” (leaving a space for the roll number), the film can info, the mag number, process normal, and the date. When finished loading, I put this tape over the take-up latch. This tape then goes on the exposed film can with the report. I put a smaller piece of tape on the feed side latch. 3. When attaching to the camera, make sure the mag's attachment lugs go fully in the locking mechanism. If it does not, there is a visible gap. Try again to mount the mag solidly. Then press the red button to inch it. After inching, run the camera a second to make sure the pull down claw and the registration pin are properly engaged. If you hear a "clack" or "snap," the pull down has not fully engaged a sprocket hole. You must remove the mag, check that the film loop is equal above and below the pressure plate and remount. Press the inching button and then run again to make sure the film is moving properly. 4. General tips. Be extra careful removing the exposed film from the collapsable core. The film should be tight enough but be always prepared that it is not and that the inner part of the roll could spool into a pile of spaghetti. You do not want to untangle that in the bag. It takes too long, you risk cinching the film and you are holding up production. Loose spooling can occur if film has been in the mag for a while and it has gone from cold and dry to warm and humid or back again. This causes the film to expand and contract, causing looseness in the roll. Lastly, make sure you do not ship the mag spindle (the small black metal core) to the lab.

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Career 16mm cinematographer Tyler Purcell offered these helpful tips in response: "- Distilled water and light pressure on a standard qtip, doesn’t clean off emulsion (which is why you need to get off on the mag or gate). You need a solvent like alcohol. A pointed q tip works wonders. - Using a tooth pick on the gate may sound good, but those wooden picks leave debris behind. A pointed tipped q tip with a solvent like alcohol, will do better because the solvent will help prevent anything from sticking. A plastic picking tool actually works the best. - Those art brushes are notorious for leaving behind stingers. So use the brush first, than tap it with air after. - You don’t need to turn the manual engagement of the movement when loading a mag. The “phase” button does the same thing. Just put the mag on, hit phase once and you’re good to go. - SR mags don’t have light leak problems on the door covers themselves, so like other mags like Aatons, the seals do not need to be taped. There is no real benefit besides writing data on it. The Aatons have internal and external seals, which is why the take up side is smart to tape up."