I shot on the M, S, and BL all through undergrad. Great little cameras, workhorses. Great to see this video celebrating one of them! Thank you for this!
The rubber coupling for the motor blew my mind. A precision instrument with gears, teething, pins and sprockets uses that to drive it. I thought that it would have something more precise and secure, with mechanical grab not just friction between metal and rubber, wow! Awesome video, Sean!
@@CworthDynamics - it's the same reason oneg is acetate and not polyester. If you had a camera film jam, with polyester film it would literally tear camera apart, but with acetate film, the film simply breaks.
I remember shooting on these cameras back in film school at NYFA. That was in 2005!! I still remember how to load the film stock in the dark. And keeping it cool in the fridge haha. Man, what an era to be in as a filmmaker...compared to the digital age when Arri brought out the Alexa classic in 2010...I was really thinking about buying one just to get the classic nostalgic look with the film grain...something you don't see very often with digital sensors.
CORRECTIONS - 1) the model I am showing IS the ST which was the standard model - later came the SB which had one ARRI bayonet mount lens port. 2) I'm bad at guesstimating weight! The S weight about 9 pound unloaded and without the magazine.
Hey Sean! I just picked one of these up a few weeks ago and tested it out yesterday. I have seen an old post on your site in finding more information about this camera and only recently put together that the site I was looking at was from someone on Tested now. Anyways, I wanted to add a note about the old stock plug: I am literally 3d printing test replacement connector right now to replace the cable I have now that was made for it's original battery pack. The prongs fit with a 3mm and 3.5mm banana plug socket, so I hope to be able to put out a cheap solution soon for those of us with a camera without the XLR modifications.
Shot these and 70mm still cameras made by Arriflex while serving in the US Navy. Very useful for documenting training and various other assignments. You would have hated the old steady cam, like wearing a boat anchor.
Man this video is taking me back. I used to use these all the time in film school. I don’t miss loading the film, but enjoyed having 3 lenses. Over all it was our means of working back then. Digital was just on the verge of 3CCD development and it was soon to take over. By the time I finished the film corse the RED camera made its first intro, and the Canon GL2 and XL2 was available to purchase. I went with the GL2, but ended up using the XL2 on most projects before the RED camera came out. Regardless 16mm film cameras is what we all did most of our projects on. So this was one of the first I learned on. It’s all coming back to me as it’s being described lol
I never shoot with motion/cinema camera, but still shoot with 35mm and 120 film camera like Nikon F2 and Rolleiflex. Assuming these cameras are serviced regularely (and 5 decades later films are still being manufactured), then they are still fully usable at least for 50 years starting from now. How many digital equipments survive that period? :)
Takes me right down memory lane. Filmed some spools of Kodak Vision on an ARRI ST back in 1998 in Asbury Park. Found out later, that the lens had a defect and all of it was blurry AF. Good times, when you could hear the silver dollars rain down the drain, every time you hit the start button.
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 this Arriflex 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.
I love those lenses. I noticed their slightly leaning away from each other before you pointed it out, but the fact it’s to prevent getting other lenses in your shot make me like it even more.
Nice one - I've seen some misleading run downs of this camera that are too long and make it difficult to share accurate resources with my students - really thankful to see this and you have some lovely clean ones, Sean!
The first truly professional 16mm camera was the Kodak Cine Special, which had interchangeable magazines, reflex focusing, a wide array of magazines, options for wind or electric, full backwind, variable shutter, etc. introduced almost two decades before the Arri. They were used extensively by Disney for nature documentaries, and hand-built on order through the early 1960s.
In "Rebel Without A Crew" Rodriguez detailed how on El Mariachi he always recorded the audio without the camera running. He would shoot each camera set-up, then when he stopped the camera, he would move in with his tape recorder and microphone and ask the actors to replay the scene as exactly as they possibly could. This ended up being close enough to the same speed and cadence that he could later manually sync the wild sound with each shot.
Yes, the West Germans undoubtedly developed analog technical industrial products in the 50s and 60s that set a whole new standard for quality. This applies to cameras as well as to cars - and was/is quite impressive even today. I think they are now on their way to doing the same with electric cars. Tesla is now in many ways state of the art, but the Germans are learning fast and they will not give up without a proper fight. The way they are now rolling out one competent electric car after another is impressive and eventually they will undoubtedly have a quality that other car manufacturers lack.
Oh the memories, I had one of these back in 90's for film school. I bought it about the the time US military dumped a whole lot of them on the market (IE the US military was divesting itself of a lot of old equipment at the time). At the time, getting batteries for these was a huge pain, but you alter a cord to handle rc car batteries instead and while they wouldn't last as long as big cell or a battery beld, you could get a lot of them cheaply and recharge them in your car cigarette lighter when on location.
I have a factory ARRI 16S sync motor for my 16S so sync sound was available as well as a hard sound proof blimp. They were expensive back in the day so few were produced. The arri sync motor is powered from a 117 volt wall power socket and also output a 1 volt 60hz pilot sync signal for a Nagra 3. There were also the Tobin Cinema Systems sync motor and the Jensen crystal sync motor both third party solutions.
A beautiful piece of German engineering and craftsmanship. I would have loved to own an Arri 16mm, never could afford one and shot on a Paillard Bolex. Thanks for the video and keeping the old tech alive.
I too have an Arri S! I bought it years ago. I love it. I can't check at the moment, it's in storage, but I think mine has a crystal motor. This was a cool video! Thank you, Sean!
Funny I should see this right now. I **JUST** (minutes ago) finished watching The Shining for like the 50th time and saw at the end of the movie the credits mention "Shot with ARRIFLEX cameras" Oh, life, what you do to me!
Thanks for this, I guess? What sadens me is I´d probably have to buy this from USA- as being German seems weird and prices will take off quite fast after videos like this make a round. It doesn´t even matter: if someone explains old stuff (especially old media gear) sellers get dollar sign eye balls. That´s what sucks. It is nice that this old stuff gets appreciated but the dark side is prices always become stellar. Even for Super8 which was quite popular in Germany which (to my knowledge) no one makes film anymore. Please correct me if I´m wrong, I tried time ago because it seemed attractive to me to get into the film hobby. Fun fact: what seperates hoarding from a museum is the curator. As such the collection gets maintained but most sadly gets in the dumpster after the collectors death. Aaand now I´m completely off topic. Cheers!
Itd be super great if you guys teamed up with a company like Visual Products to take a look at some 35mm cameras and maybe some of the later 16mm as well!
Great video - to give an illustration of the uses to which this type of 16mm camera was put, have a look at documentaries about the Vietnam war (sad though that subject might be) - a great deal of the footage shot in Vietnam (at least by American and European crews) was taken on the Arriflex ST/SB models.
I always wanted one of these! I got a Beaulieu instead as it was more in my beer budget. That was about 1970 or so. I was able to shoot sync sound using a sync pulse generator a sound Barney and a few tricks!
Man, it's a lovely display piece. But those lenses still could get use today, even some of the S16 lenses cover MFT. And being able to control the Motor while shooting is something no digital camera can do. Means you can do speedramps(and aperture pulls to control exposure) to get some effects without any of the issues you end up having on digital post processing now. Maybe that's a tinker project. Handcranking a digital camera (with coupled electronic ND like Sony FX6,FX9)
I also have 2 of these things! Couple 400'mags, battery belt, film etc. I have the angeniux 12-120mm. Had them for about 15 years ish now, haven't shot them yet! But I'm dying to
fantastic video! I love this camera and I'm getting ready to shoot my first test roll! Unfortunately my model doesn't have the little white lines to help me form the loop :( kinda nervous
Adam, I own an Arriflex 16BL which has sound heads. I used it to shoot news for ABC. Just a few weeks ago I obtained an Arri 16M body and magazine. The lenses, optical view finder and motor had been removed. I really want to shoot with this camera, so I am restoring and replacing missing parts. I did find a constant speed motor: cleaned the brushes, commutator and slip rings for the governor. It is an eight volt direct current motor. It runs very well right now. I still need a view finder, either straight or periscope. They are not easy to find. And the lenses, I have called all over for fixed or variable (zoom) lens. The problem is there is a lot of uncertainty about the lens mount. I have learned that one lens mount is positive lock; is this correct? While two lens ports are "standard." I have no idea what standard means. I am aware the Arri S lens turret and the Arri M turret are identical. However, people who sell lenses are never sure what mount they have. And, I don't know for sure either. Can you explain this to me? On the subject of lenses most sellers are asking sky-high prices for lenses that may have a limited number of buyers. Is my assumption correct? And lastly, do you still repair Arriflex S or M? Or maybe you can point me in the direction of someone you know and trust. I know, this is a long post, but I'm really passionate about film. Thanks so much for your valuable time. Ross du Clair
Oh the one thing that kind of sucked about these camera was the old optics. Most of the lenses you could buy or rent were not fully coated and not always the sharpest either as most were designed and made back in the 50-70's. On the good side, Arri S could use the older Zeiss and Arri 35mm lenses.
Hey Adam, somebody I know who fixes these things told me to put heat shrink tubing but I thought he told me to put it around the rubber boot but you are saying to put it around the tip of the motor. I'm not sure if I misunderstood or if both ways are possible. Your way seems easier. I have a 16S and 16SB. I tested the SB with a first gen sync motor. It runs but it didn't hold sync. I had the Tobin checked out and it is ok and the guy said he suspected the motor was slipping so it wouldn't hold constant speed.
as long as the brushes and contacts get some love from time to time, these old motors will run for decades without a hitch. Longevity of electric motors is more about the mechanical parts, like the ball bearings.
@@Marcus2750-u1t I own some old electric motors and had to change the brushes once in 30 years or something. Cleaning up the contacts is useful, too, especially if you went a little overboard with oiling the bearings or the motor got dirty. So i'm not that knowledgeable on cameras, but i'm into electronics in general and the step-motor in a camera is not that far from step-motors in robotics/automation.
@@caligo7918 yeah I agree with that, I have experience in motors due to rc cars, planes and boats….. I grew up with brushed motors and have experience in that myself…… Ive even winded my own motors etc but I have zero in old camera equipment lol so thanks for your input.
Thank you for this info! I'm new to film and I didn't know they were that loud. Do they make 16mm cameras that aren't very loud so I can film dialogue scenes?
Hello, I finally was able to purchase my first Arriflex 16s. After watching your video, I got an idea on how to use it, but I have one question. The mirror on my Arriflex not always stops in front of the film to stop the light from exposing the film. Is this normal? I use Bolex cameras and whenever I let go of the shutter button, the shutter blades close, stopping the exposure. Any info will help. Thank you
My guess would be: for the same reason that learning to be a mechanic involves manually filing parts from blocks of metal despite the CNC sitting in the next room or CS students having to design a sort algorithm on the white board despite of thousands of ready made libraries: it teaches the basics and you actually appreciate what goes into the technology you use on a daily basis. After a couple of decades working in the real world I really appreciate those colleagues who actually know all the basics and could apply this knowledge if necessary - their solutions are usually much more reliable, efficient and more elegant than those coming from someone who just uses the most modern stuff and ignores the history of their field - even if they end up using the same tools in the end.
@@KonradTheWizzard Thanks, but I have done film and video production and I can't imagine why someone doing a production with an ARRI digital would benefit from shooting a 16mm film. Stop motion must be the answer.
@@MrMartinRome You can do stop motion much much better with a digital still camera. Even time lapse is probably easier and more efficient with digital equipment. Forcing students to use this hopelessly outdated technology has a very different benefit. You are forced to plan your shot, since the film material is quite expensive and you don't get instant feedback. If you really want to use film efficiently you have to learn about the photo-chemical processes and properties of the film. You are forced to be very careful while loading the film and you will ruin at least one roll by accident - reinforcing this lesson. You have to learn how optics work. You have to slow down and think before you do anything, you have to learn how things work before you use them. Since you are working more deliberately now, you are open to learn about composition of a shot and aesthetic rules. All of that knowledge is applicable to digital - even learning the photo-chemical properties of film teaches you that different films and different sensors will have different color reproduction. Almost none of those students will ever use analog film again, but the benefit of using analog film in school is that it forces you to actually learn the art and craft of filming. It is a vehicle to learn a lot of other very useful stuff. (Disclaimer: I have never produced any professional or semi-professional video, my experience with analog film comes from still photography more than 20 years ago. At least for photography I still benefit from it.)
@@KonradTheWizzard sorry, but that’s nuts. Why would you teach film processing to a digital photography professional. The tech involved in digital photography is WAY beyond film work. All my annual reports for Fortune 500 companies were shot in digital. It’s like teaching a race car driver to use a buggy whip.
@@MrMartinRome ...more like teaching the race car driver how to drive and maintain a steam locomotive. Why would a modern carpenter learn about tools from the middle ages? Why would a computer animator know about how van Gogh mixed his paints? And why in HELL have I spent the last 2 years learning how to create little cute blinkenlights from discrete transistors and wires when I am supposed to be an engineer using modern computers and elaborate software to automate factories? That's 60'ies tech! The technology stone age! Why am I wasting thousands of bucks and hours on this? Am I crazy? Back in the real world: I'm just finishing a project for which I was the ONLY qualified engineer in the company because I know some basic electronics. Was it necessary for me to know this? My colleagues seem to get by fine. Was it fun? You bet! Does it make me a better engineer? Absolutely! And my boss seems to agree. If you can't see the value of knowledge you will be doomed to a life of mediocrity. Especially when it pertains to the history and principles of your own field of expertise. The hopeful part is that you watched this video on a channel made by notoriously curious people. If it inspires you to do something crazy - go for it! You might be surprised by the results.
I used to work for a place that rented cameras for the film industry. That was in 1999-2000 and I still have flashbacks when I see the names of the cameras he rented out. My boss was a former cinematographer and complete douche nozzle named Marty Oppenheimer.
First models ran on low octane B&W stock. Then electricity was invented. This is why you don't buy a timepiece with a mechanical movement. We have microwave ovens and electric cars now too. Crank up the model T and get the splicing tape.
10:20 What was the name of the sort-of fiberglass material of the cogwheels 7 gear wheels in the camera? I once knew the name, forgot it, PLEASE! That material is awesome.
I've heard this kind of material generically called "phenolic"... some kind of fiber or cloth-like material embedded in some kind of resin. Modern types include Micarta, FR4 (common PCB material), G10, depending on the type of fiber and resin...
excellent video, thanks for sharing, I have a question: I have an arriflex s 16mm with s mounts and I create a b, is there any way to adapt lenses from other mounts such as pl, or c mount? Thanks in advance for your answers. Greetings!
Watch this episode in virtual reality here: www.oculus.com/experiences/media/832039084183044/
leve it to yourself, isrel
I shot on the M, S, and BL all through undergrad. Great little cameras, workhorses. Great to see this video celebrating one of them! Thank you for this!
The rubber coupling for the motor blew my mind. A precision instrument with gears, teething, pins and sprockets uses that to drive it. I thought that it would have something more precise and secure, with mechanical grab not just friction between metal and rubber, wow! Awesome video, Sean!
It also acted as a safety - if something got stuck in the gears the coupler would eventually slip.
@@CworthDynamics - it's the same reason oneg is acetate and not polyester. If you had a camera film jam, with polyester film it would literally tear camera apart, but with acetate film, the film simply breaks.
The rubber motor coupler idea is not intuitive to me, but I guess it works!
I remember shooting on these cameras back in film school at NYFA. That was in 2005!! I still remember how to load the film stock in the dark. And keeping it cool in the fridge haha. Man, what an era to be in as a filmmaker...compared to the digital age when Arri brought out the Alexa classic in 2010...I was really thinking about buying one just to get the classic nostalgic look with the film grain...something you don't see very often with digital sensors.
CORRECTIONS - 1) the model I am showing IS the ST which was the standard model - later came the SB which had one ARRI bayonet mount lens port. 2) I'm bad at guesstimating weight! The S weight about 9 pound unloaded and without the magazine.
Hey Sean! I just picked one of these up a few weeks ago and tested it out yesterday. I have seen an old post on your site in finding more information about this camera and only recently put together that the site I was looking at was from someone on Tested now.
Anyways, I wanted to add a note about the old stock plug: I am literally 3d printing test replacement connector right now to replace the cable I have now that was made for it's original battery pack. The prongs fit with a 3mm and 3.5mm banana plug socket, so I hope to be able to put out a cheap solution soon for those of us with a camera without the XLR modifications.
I was literally thinking "I wonder if you could use this for animation" then 2 seconds later you said it had an animation motor. Very cool
Shot these and 70mm still cameras made by Arriflex while serving in the US Navy. Very useful for documenting training and various other assignments. You would have hated the old steady cam, like wearing a boat anchor.
That shoulder brace thing Arri made for this camera was horrible
Man this video is taking me back. I used to use these all the time in film school. I don’t miss loading the film, but enjoyed having 3 lenses. Over all it was our means of working back then. Digital was just on the verge of 3CCD development and it was soon to take over. By the time I finished the film corse the RED camera made its first intro, and the Canon GL2 and XL2 was available to purchase. I went with the GL2, but ended up using the XL2 on most projects before the RED camera came out. Regardless 16mm film cameras is what we all did most of our projects on. So this was one of the first I learned on. It’s all coming back to me as it’s being described lol
Great to see something that is old still being used. Don't need to have software updates or serviced only factory rep.
I never shoot with motion/cinema camera, but still shoot with 35mm and 120 film camera like Nikon F2 and Rolleiflex. Assuming these cameras are serviced regularely (and 5 decades later films are still being manufactured), then they are still fully usable at least for 50 years starting from now. How many digital equipments survive that period? :)
Those machines are legendary. Beautiful pieces of engineering
Takes me right down memory lane. Filmed some spools of Kodak Vision on an ARRI ST back in 1998 in Asbury Park. Found out later, that the lens had a defect and all of it was blurry AF. Good times, when you could hear the silver dollars rain down the drain, every time you hit the start button.
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 this Arriflex 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.
I love those lenses. I noticed their slightly leaning away from each other before you pointed it out, but the fact it’s to prevent getting other lenses in your shot make me like it even more.
Nice one - I've seen some misleading run downs of this camera that are too long and make it difficult to share accurate resources with my students - really thankful to see this and you have some lovely clean ones, Sean!
The first truly professional 16mm camera was the Kodak Cine Special, which had interchangeable magazines, reflex focusing, a wide array of magazines, options for wind or electric, full backwind, variable shutter, etc. introduced almost two decades before the Arri. They were used extensively by Disney for nature documentaries, and hand-built on order through the early 1960s.
In "Rebel Without A Crew" Rodriguez detailed how on El Mariachi he always recorded the audio without the camera running. He would shoot each camera set-up, then when he stopped the camera, he would move in with his tape recorder and microphone and ask the actors to replay the scene as exactly as they possibly could. This ended up being close enough to the same speed and cadence that he could later manually sync the wild sound with each shot.
16mm may have been for home use, but it was primarily use for news gathering, local commercials , etc. 8mm/S8 was primarily used for home use.
Would be nice to see some of this presentation actually shot with one of these cameras.
That'd be sooooo expensive haha
Yes, the West Germans undoubtedly developed analog technical industrial products in the 50s and 60s that set a whole new standard for quality. This applies to cameras as well as to cars - and was/is quite impressive even today. I think they are now on their way to doing the same with electric cars. Tesla is now in many ways state of the art, but the Germans are learning fast and they will not give up without a proper fight. The way they are now rolling out one competent electric car after another is impressive and eventually they will undoubtedly have a quality that other car manufacturers lack.
Oh the memories, I had one of these back in 90's for film school. I bought it about the the time US military dumped a whole lot of them on the market (IE the US military was divesting itself of a lot of old equipment at the time). At the time, getting batteries for these was a huge pain, but you alter a cord to handle rc car batteries instead and while they wouldn't last as long as big cell or a battery beld, you could get a lot of them cheaply and recharge them in your car cigarette lighter when on location.
Those are so freaking cool! I loved seeing the internals and gaining the knowledge you shared! Thank you so much you did a great job 💪🏻👍🏻
I have a factory ARRI 16S sync motor for my 16S so sync sound was available as well as a hard sound proof blimp. They were expensive back in the day so few were produced. The arri sync motor is powered from a 117 volt wall power socket and also output a 1 volt 60hz pilot sync signal for a Nagra 3. There were also the Tobin Cinema Systems sync motor and the Jensen crystal sync motor both third party solutions.
A beautiful piece of German engineering and craftsmanship. I would have loved to own an Arri 16mm, never could afford one and shot on a Paillard Bolex. Thanks for the video and keeping the old tech alive.
OMG what a beautiful example of engineering! I had't realized Arri was started in 1917!!
Was an expert for a while in the late 50's operating an Ampro (simple) and an old B&H (complex) 16mm projector. Those were the days.
I too have an Arri S! I bought it years ago. I love it. I can't check at the moment, it's in storage, but I think mine has a crystal motor.
This was a cool video! Thank you, Sean!
Just scanned some film shot on an Arriflex ST last week.
Funny I should see this right now. I **JUST** (minutes ago) finished watching The Shining for like the 50th time and saw at the end of the movie the credits mention "Shot with ARRIFLEX cameras" Oh, life, what you do to me!
Awesome talk through my friend 👍🏾
Great review. Do you have an Angénieux
Beaulieu? Would love to see an overview of that striking camera.
Thanks for this, I guess? What sadens me is I´d probably have to buy this from USA- as being German seems weird and prices will take off quite fast after videos like this make a round. It doesn´t even matter: if someone explains old stuff (especially old media gear) sellers get dollar sign eye balls. That´s what sucks. It is nice that this old stuff gets appreciated but the dark side is prices always become stellar.
Even for Super8 which was quite popular in Germany which (to my knowledge) no one makes film anymore. Please correct me if I´m wrong, I tried time ago because it seemed attractive to me to get into the film hobby.
Fun fact: what seperates hoarding from a museum is the curator. As such the collection gets maintained but most sadly gets in the dumpster after the collectors death.
Aaand now I´m completely off topic. Cheers!
Itd be super great if you guys teamed up with a company like Visual Products to take a look at some 35mm cameras and maybe some of the later 16mm as well!
Nice demonstration. I have an unused Arriflex 16 ST -APEC from ARRI's last production run for sale
Great video - to give an illustration of the uses to which this type of 16mm camera was put, have a look at documentaries about the Vietnam war (sad though that subject might be) - a great deal of the footage shot in Vietnam (at least by American and European crews) was taken on the Arriflex ST/SB models.
I always wanted one of these! I got a Beaulieu instead as it was more in my beer budget. That was about 1970 or so. I was able to shoot sync sound using a sync pulse generator a sound Barney and a few tricks!
I used one of those in film school back in 98. And also a Bolex.
Man, it's a lovely display piece.
But those lenses still could get use today, even some of the S16 lenses cover MFT.
And being able to control the Motor while shooting is something no digital camera can do. Means you can do speedramps(and aperture pulls to control exposure) to get some effects without any of the issues you end up having on digital post processing now. Maybe that's a tinker project. Handcranking a digital camera (with coupled electronic ND like Sony FX6,FX9)
This was super cool, thanks. Gonna check out that last video about the other camera.
I also have 2 of these things! Couple 400'mags, battery belt, film etc. I have the angeniux 12-120mm. Had them for about 15 years ish now, haven't shot them yet! But I'm dying to
fantastic video! I love this camera and I'm getting ready to shoot my first test roll! Unfortunately my model doesn't have the little white lines to help me form the loop :( kinda nervous
Great insightful vid my man. Thank you for the info!
721 Broadway represent! -what did they do with the Arri S's? I remember the SRs locked in the back....
Adam, I own an Arriflex 16BL which has sound heads. I used it to shoot news for ABC. Just a few weeks ago I obtained an Arri 16M body and magazine. The lenses, optical view finder and motor had been removed. I really want to shoot with this camera, so I am restoring and replacing missing parts. I did find a constant speed motor: cleaned the brushes, commutator and slip rings for the governor. It is an eight volt direct current motor. It runs very well right now. I still need a view finder, either straight or periscope. They are not easy to find. And the lenses, I have called all over for fixed or variable (zoom) lens. The problem is there is a lot of uncertainty about the lens mount. I have learned that one lens mount is positive lock; is this correct? While two lens ports are "standard." I have no idea what standard means. I am aware the Arri S lens turret and the Arri M turret are identical. However, people who sell lenses are never sure what mount they have. And, I don't know for sure either. Can you explain this to me? On the subject of lenses most sellers are asking sky-high prices for lenses that may have a limited number of buyers. Is my assumption correct? And lastly, do you still repair Arriflex S or M? Or maybe you can point me in the direction of someone you know and trust. I know, this is a long post, but I'm really passionate about film. Thanks so much for your valuable time. Ross du Clair
Can you talk about the buckle switch over ride switch.
now this is what dreams are made of
Love the camera videos!
Oh the one thing that kind of sucked about these camera was the old optics. Most of the lenses you could buy or rent were not fully coated and not always the sharpest either as most were designed and made back in the 50-70's. On the good side, Arri S could use the older Zeiss and Arri 35mm lenses.
This is very interesting! Thank you, Sean!
Hello Sean thanks for the great video on a Ari's film
You mention working on CalArts’ Arriflexs. Are you in that area? I would love to have a good tech in town for my Arri.
Wild! Thanks for sharing
Hey Adam, somebody I know who fixes these things told me to put heat shrink tubing but I thought he told me to put it around the rubber boot but you are saying to put it around the tip of the motor. I'm not sure if I misunderstood or if both ways are possible. Your way seems easier. I have a 16S and 16SB. I tested the SB with a first gen sync motor. It runs but it didn't hold sync. I had the Tobin checked out and it is ok and the guy said he suspected the motor was slipping so it wouldn't hold constant speed.
I love these they are probably my favorite arricam
I need this camera
Great condition
Cool stuff!
Could you replace the brushed old motor with a new brushless for reliability or are those motors already reliable?
as long as the brushes and contacts get some love from time to time, these old motors will run for decades without a hitch.
Longevity of electric motors is more about the mechanical parts, like the ball bearings.
@@caligo7918 True - I never had the brushes go - the barrel is basically one big rheostat and that would cause problems first.
@@caligo7918 Thats so cool I didn’t know that and Im sure you could service the brushes. Thank you for answering question these cameras are so boss.
@@Marcus2750-u1t I own some old electric motors and had to change the brushes once in 30 years or something. Cleaning up the contacts is useful, too, especially if you went a little overboard with oiling the bearings or the motor got dirty.
So i'm not that knowledgeable on cameras, but i'm into electronics in general and the step-motor in a camera is not that far from step-motors in robotics/automation.
@@caligo7918 yeah I agree with that, I have experience in motors due to rc cars, planes and boats….. I grew up with brushed motors and have experience in that myself…… Ive even winded my own motors etc but I have zero in old camera equipment lol so thanks for your input.
Ok weird arriflex.
🤣🤣🤣🤣🤣🤣
I see what you did there.
Thank you for this info! I'm new to film and I didn't know they were that loud. Do they make 16mm cameras that aren't very loud so I can film dialogue scenes?
Do you have/want any information on the "blimp" that was used to reduce the motor noise?
Hello, I finally was able to purchase my first Arriflex 16s. After watching your video, I got an idea on how to use it, but I have one question. The mirror on my Arriflex not always stops in front of the film to stop the light from exposing the film. Is this normal? I use Bolex cameras and whenever I let go of the shutter button, the shutter blades close, stopping the exposure. Any info will help. Thank you
The thumbnail looked like the bottom of a really detailed model rocket or something lol
Which film camera would you recommend that’s not as loud ?
Nice if I find one and needs to be serviced where do I send it?
Any recorded videos we could see ?
I imagine you have to load that thing in the dark? looks like a pain lol...
Very interesting to see the internals though! nice vid!
With 100 ft daylight spools totally darkness is not necessary actually.
There was a black bag with long sleeves so it could be done on a flat surface.
Wonder if this video would have made up its cost if it was shot on 16mm film. Just missing a shot of the tachometer winding up & wiggling.
Thanks Sean, nice to go down memory lane. Why would a school still be using a 16mm film camera in class? To teach stop motion animation perhaps?
My guess would be: for the same reason that learning to be a mechanic involves manually filing parts from blocks of metal despite the CNC sitting in the next room or CS students having to design a sort algorithm on the white board despite of thousands of ready made libraries: it teaches the basics and you actually appreciate what goes into the technology you use on a daily basis. After a couple of decades working in the real world I really appreciate those colleagues who actually know all the basics and could apply this knowledge if necessary - their solutions are usually much more reliable, efficient and more elegant than those coming from someone who just uses the most modern stuff and ignores the history of their field - even if they end up using the same tools in the end.
@@KonradTheWizzard Thanks, but I have done film and video production and I can't imagine why someone doing a production with an ARRI digital would benefit from shooting a 16mm film. Stop motion must be the answer.
@@MrMartinRome You can do stop motion much much better with a digital still camera. Even time lapse is probably easier and more efficient with digital equipment.
Forcing students to use this hopelessly outdated technology has a very different benefit. You are forced to plan your shot, since the film material is quite expensive and you don't get instant feedback. If you really want to use film efficiently you have to learn about the photo-chemical processes and properties of the film. You are forced to be very careful while loading the film and you will ruin at least one roll by accident - reinforcing this lesson. You have to learn how optics work. You have to slow down and think before you do anything, you have to learn how things work before you use them. Since you are working more deliberately now, you are open to learn about composition of a shot and aesthetic rules.
All of that knowledge is applicable to digital - even learning the photo-chemical properties of film teaches you that different films and different sensors will have different color reproduction. Almost none of those students will ever use analog film again, but the benefit of using analog film in school is that it forces you to actually learn the art and craft of filming. It is a vehicle to learn a lot of other very useful stuff.
(Disclaimer: I have never produced any professional or semi-professional video, my experience with analog film comes from still photography more than 20 years ago. At least for photography I still benefit from it.)
@@KonradTheWizzard sorry, but that’s nuts. Why would you teach film processing to a digital photography professional. The tech involved in digital photography is WAY beyond film work. All my annual reports for Fortune 500 companies were shot in digital. It’s like teaching a race car driver to use a buggy whip.
@@MrMartinRome ...more like teaching the race car driver how to drive and maintain a steam locomotive.
Why would a modern carpenter learn about tools from the middle ages? Why would a computer animator know about how van Gogh mixed his paints?
And why in HELL have I spent the last 2 years learning how to create little cute blinkenlights from discrete transistors and wires when I am supposed to be an engineer using modern computers and elaborate software to automate factories? That's 60'ies tech! The technology stone age! Why am I wasting thousands of bucks and hours on this? Am I crazy?
Back in the real world: I'm just finishing a project for which I was the ONLY qualified engineer in the company because I know some basic electronics.
Was it necessary for me to know this? My colleagues seem to get by fine.
Was it fun? You bet!
Does it make me a better engineer? Absolutely! And my boss seems to agree.
If you can't see the value of knowledge you will be doomed to a life of mediocrity. Especially when it pertains to the history and principles of your own field of expertise. The hopeful part is that you watched this video on a channel made by notoriously curious people. If it inspires you to do something crazy - go for it! You might be surprised by the results.
Wild America
What happened to the raptor costume build videos?
Did any of these such cameras record audio ?
what is the shutter angle and can we change it?
I used to work for a place that rented cameras for the film industry. That was in 1999-2000 and I still have flashbacks when I see the names of the cameras he rented out. My boss was a former cinematographer and complete douche nozzle named Marty Oppenheimer.
Love this!
First models ran on low octane B&W stock. Then electricity was invented. This is why you don't buy a timepiece with a mechanical movement. We have microwave ovens and electric cars now too. Crank up the model T and get the splicing tape.
what is your website I,m looking to buy a arriflex 16 soon from a friend might need it serviced
Please show us your Krasnogorsk K4 😲
Krasnogorsk K3M
Cool
You still doing repairs?
I have one of those i have no lens tho.
10:20 What was the name of the sort-of fiberglass material of the cogwheels 7 gear wheels in the camera? I once knew the name, forgot it, PLEASE! That material is awesome.
I know it under the name Pertinax. But I could be wrong in this specific case
I've heard this kind of material generically called "phenolic"... some kind of fiber or cloth-like material embedded in some kind of resin. Modern types include Micarta, FR4 (common PCB material), G10, depending on the type of fiber and resin...
Is it actually 15lbs?
My 16sr with lens, blimp and mag is 20 flat lol
If you know the specs for the power supply I can make one, especially if you also know the connector type ;)
Hello, The top loop is to big!
excellent video, thanks for sharing, I have a question: I have an arriflex s 16mm with s mounts and I create a b, is there any way to adapt lenses from other mounts such as pl, or c mount? Thanks in advance for your answers. Greetings!
That must take a lot of practice to load the camera in a changing bag.
With daylight spools a changing bag is not necessary actually.
Cine Lenses so the film comes like a roll of film in a canister.
Gluebe... Gluebrication?
Hi