Super 16mm Masterclass :: Arri SR Camera Overview - Indie Film Hustle
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- Опубликовано: 16 окт 2016
- To download the rest of the online course on Super 16mm Film goto: www.super16masterclass.com
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Are you look for knowledge of how to shoot with actual film?
Do you want to learn how to work 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 to 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 or 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
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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!
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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!
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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.
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I remember the days of shooting on a Mexican Panaflex, the CP 16R hard-cabled to a Nagra in college. I loved the Cinema Products' GSMO too. Mighty small with the short Angenieux zoom. Used to shoot the Drag Races at Lions and at Pamona. I grew up with a dude who worked at the NBC affiliate in town. They always had twice as many camera kits as cameramen (no women then) and I always had free access to that gear, always. I subbed in the darkroom there. Processed my film there too. I bought my own film too. His family owned the station. I bought my own used Angenieux orientable viewfinder for the CP and a twin-reeled, hand-cranked Moviola for editing . I used their sound head. Sandburg's Lincoln was filmed with a CP 16. California Institute of the Arts had the French Eclair NPR and ACL cameras. We called them Irish Panaflexes. USC and UCLA had Arri 16 S and BL cameras. Got to go to AFI. They had EVERYTHING! I remember when Panaflex first came out with their 16mm 'Baby' Panaflex. Beautiful. Garret Brown rigged a Panaflex 35 to one of his very first production Steady-Cam systems. Gordon Willis' eyes almost popped out! That guy could dance ballet with that rig!! Go Garret, go! The good old days.
I miss these cameras. Used to work with them extensively up to the mid 2000s. Whole kit would fit on a Rubbermaid cart. Lots of TV series and MOWs. And 1000s of mile of film loaded.
= )
LTR 54 No. 1087. And then an XTR that I hated.
minor correction, Bolex is a Swiss brand, not French.
Other minor correction, it's an orientable viewfinder, not an oriental finder.
Caught that too. Old 1st AC here. Likely he meant the Beaulieu. Knew when he flipped open the takeup for the feed side it had been a while for him. I cringed thinking about the hit the latch dogs took when he slammed the Arri 3 mag door. Plus you ALWAYS can the exposed stock with a core in the roll. Try not to reach under the roll. Tight flat palm it and tip the roll out onto your hand if you can't get it free. I miss the physicality of film. Loading mags. Building the camera. And like the uniquely engineered Harley rumble, the reassuring sound a Panaflex Gold made when the dove tail "thocked" as it locked into place on the head. Suhweet.
'The SR is a silent camera' - sort of. I used to be a location sound recordist and I can tell you that the SR is not silent, even with a blimped mag. OK outside but in small interior locations it was far from silent and so microphone choice and positioning was all important, especially on close up dialogue shots. It was also imperative to get the film loop the right size or it sounded like a diesel engine - but any camera assistant worth his salt got the loop size right first time every time.
On one occasion our documentary film cameraman was asked how to get the look of a hand held camera when using a 35mm BL - the commercials company had tried rocking and shaking the camera on its tripod and nothing looked right. Our cameraman said that the only way to get the look of a hand held camera was to hand hold it. He then got the job of hand holding the 35mm BL. This called for great strength and skill because of course the hand holding cameraman is always trying to keep the camera as still as it would be on a tripod. We spent four days filming the Acropolis Rally with up and past shots on a tripod while car servicing servicing and interviews were filmed on the shoulder. Rothmans were pleased with the results and used the footage for a cigarette commercial in the cinema whilst the rest of the footage was reduced to 16mm for half hour TV film of the event. Happy days, especially for me as I only had to carry round my Nagra 4.2 plus a bag of tapes and batteries, mic and short boom etc. while the camera assistant had the joy of carrying round a large tripod with a very heavy head plus spare mags, batteries and all the little things needed for his job. And yes there was usually a lengthy walk between our crew bus and each location.
Thanks for making this video! I've never worked with film cameras but would always drool over them in American Cinematographer.
The shield fx series was pretty much all in super 16
I wish I had one of these for my 16mm film project
Cool cameras!
Hey! Loved this video, super informative. Do both Arriflex SR and Arriflex SRII cameras take the same type of film? I assume yes, and the only difference is the size of the frame? Thanks!
Very educational.thanks.
I want to make my own Frankenstein camera. How exactly did you build that?
What is the light behind them?
Any good resources to even find any of these cameras? It’s kind of difficult!
I want one.
Wow, such a convincing performance from Robert De Niro, doesn't he look young!
Any Aaton or Moviecam series?
Nice video! So I assume, all these Arri SR cameras shoot Super 16mm, they are not like others who need to be converted for that, right?
Correct me if I'm wrong but I believe the original SR and SR2 are regular 16mm cameras but can be converted if need be at great expense. Though the SR3 was designed as a Super 16 camera.
@@anzaeria Right you are. Give the man a cigar.
Does anybody reading this have any idea (or even a guess) how much the first Arriflex 35MM movie camera of 1940 weighed? What was the weight in and out of its case with tripod? Also I'm wondering what powered it? Was it electric, and if so, did it need a generator to shoot outdoor scenes? And how much did the generator weigh? Educated guesses will do. Thank you, Don
About 14 pounds unloaded, 20 to 25 pounds with film, 50 plus pounds with tripod. The first Arriflex 35 was in essence the first lightweight camera. Before it's development, most silent cameras had been 200 plus pounds. Arriflex camera's got heavier over time due to more complexity/capability, and some sound dampening installed for sync sound. I've shot with the first Arriflex 16 model to be insulated for sound and it weighed over 50 pounds fully equipped. The old wooden tripods are 35 pounds at the very least, and many are well over 50.
Egon, back in the past millenium wasn't your dad working out of FL?
Hello. Could you tell me for which price Arri SR are sold?
$2000-$5000 =)
Thank you!
Full kit I think. You'll have to take a look.
how much does a Arriflex 435 go for? :P
@@ryanjardine4206 hey do you have still?
Can I put a video assist on arriflex sr2 ??
A little late here, but yes. Remove the standard viewfinder almost like pulling a lens and screw on the combo tap/viewfinder. Don't expect high quality video. Maybe not even color but B&W.
Dan Davenport do you know where can I get this compo tab / viewfinder??
5+
The people that dislike this video can't be serious about filming and video production. 🤣
Film camera 🎥 is dead
No it isn't. Not at all.
Ignorance! Digital scanners are going to Die!!
My super 8 film camera is very much alive. Actually, I used it over a week ago.