Wanted to share this rare film I scanned today! Very brittle and bad shape but was able to get a solid scan on first pass.
Happy to help with any film digitizing needs or questions! McKay@LegacyMediaDigital.com

Hello,
So after some issues with my bolex, I dropped it off to get cla’d and converted to super 16. While searching youtube I stumbled onto a video with someone using a small hd monitor directly onto the viewfinder . Has anyone tried this before? I love to get a setup like this going and it seems I’ll need a video tap to start. Would appreciate if anyone has beginner advice how to get this set up going or links

I'd love to find a matte box that is fairly small, and works well with Switar primes. Ideally, it would hold ND filters too, but my first priority is eliminating lens flare. Any suggestions?

I’m new to 16mm and I’m getting conflicting answers about this, so I’d really appreciate hearing from people who actually shoot 100ft daylight spools, especially with a Canon Scoopic.

Camera: original Canon Scoopic 16 (not the M/MS)

Film: Pro8mm Pro16/03 50D color negative, 100ft single-perf daylight spool. I also have Pro16 500T on a 100ft daylight spool.

My main questions:

1. When loading a fresh 100ft daylight spool into the Scoopic, do you actually use a changing bag/darkroom, or do you load it in subdued room light/shade where you can see what you’re doing?

2. If subdued light is okay, what does that mean in practice? For example, would a bedroom with the blinds closed and only enough ambient light to clearly see the threading path be fine?

3. How much of the outer film/leader is expected to be sacrificed during normal daylight-spool loading? I’ve seen conflicting explanations about whether the outer few feet are specifically there to protect the usable film.

4. After shooting the entire 100ft roll and running it completely onto the take-up daylight spool, can I open the camera and remove that spool in subdued light and put it directly into the film box/can, or should unloading also be done in a changing bag?

5. Is a changing bag mainly necessary when removing a partially shot roll, dealing with a jam/loose film, or otherwise handling film that isn’t fully wound onto a daylight spool?

I’m practicing the loading procedure with dummy film first, but I need to be able to see what I’m doing when I load the real roll. I don’t want to unnecessarily fog an expensive roll, but I also don’t want to make the process much harder than it needs to be if these 100ft daylight spools are specifically designed for loading/unloading in subdued light.

If you shoot Scoopics or routinely use Kodak/Pro8mm 100ft daylight spools, I’d especially appreciate hearing exactly how you handle them in the real world.

Hey guys, I’m developing a short film for my honors thesis called Blended Coffee (writing and directing it). It combines the narrative of friends falling out with the structure of thermodynamic entropy. I am on my 5th draft of the script, and am in the process of getting crew together.

I’d like to see if there are any student producers who would want an opportunity on set.

My Instagram is @jmarq2kiv if you would like more information or are interested.

Was in the market for my first 16mm camera ended up buying this for around $400. Hopefully I didn’t over pay and got something half decent! Lmk what you think! Thanks!

I finally decided to commit to the Brakhage bit and just let this be a standalone 30-second film. After one roll shot for another film (called 'In Spite of Hell') came out with a bizarre (and dare I say cool) shutter problem, I had a couple stray meters of 500T in the fridge and decided to try shooting something I thought would look cool with the same stutter effect...and of course it came out without any shutter problems at all...a friend had also loaned me a rewind key at the time so I decided to try that out too. I'm pretty happy with the result, so I'm fine to let this be its own thing.

Shot on a Bolex Rex 4. Hope you enjoy this little experiment.

I have a Canon Scoopic 16mm arriving Wednesday and I’m hoping to find someone local who knows the camera well and could help me that day once it arrives. I mainly want someone to show me how to properly load/thread a 100-foot daylight spool and watch me do it myself once so I know I’m doing it correctly. I’m in Encino and would prefer Encino/Sherman Oaks/Studio City/Valley area if possible. Happy to pay a reasonable fee for 15–20 minutes of your time. If you’re available Wednesday, please let me know.

Made a short film using found footage last semester. I fell in love with the medium and enrolled in a class where ill get to male and process my own film next semester.

I have a Rex 5 that I’ve always wondered what year it’s from. The serial number is 351041. The last year shown on the Bolex collector website is ‘76 so im assuming its from the 80’s? It has a powder coated 13x viewfinder and magazine mount but I’ve seen some that are fully powder coated black. I know these are referred to as “red dot” versions but I can’t really find any info about them online.

I have numerous rolls of 16mm film accumulated over the last few years. I’m never going to get through them at this rate and could use the space! Any suggestions for where to sell in the UK other than eBay?

Fuji f-250D 8862 400ft
Fuji Eterna 250T 8653 400ft
Kodak Ektachrome 7255 100ft
Kodak 7222 400ft
Kodak Vision 3 500t 7219 400ft
Fuji Eterna 500t 400ft (2 rolls available)

£160 for 400ft rolls
£35 for the 100ft

Willing to make a deal on multiple rolls

Manchester, UK based

Check out this short film my buddy and I put together! It’s for our brand CORESHOTMAGAZINE. We shot this on an ARRI SR2 for a friend who is sponsored by A2 bikes. Would love some feedback and if you’re interested in seeing more 16mm stuff check out www.coreshotmagazine.com
My personal instagram is @aidanrunz

Virginia on 16mm Film

That's me, filming with the Bolex Rex5 up on Long Lake in Yellowknife, NWT.

Aftermath is a 1967 UNRWA documentary directed and reported by Palestinian filmmaker Samir Hissen, documenting the humanitarian consequences of the Six-Day War and the displacement of Palestinians into Jordan.

Filmed in black and white on 16mm, it records the emergency camps established for people displaced by the war, including the shortages of tents and other basic facilities faced as refugees arrived. The film places the events within the longer Palestinian refugee crisis, coming less than twenty years after the mass displacement of 1948.

The documentary is also interesting as a historical artefact in its own right. Although directed by Hissen, it was written and produced by Myrtle Winter of UNRWA’s Department of Public Information. The Palestine Film Institute notes that, like many humanitarian films of this period, Palestinians are largely presented through the institutional perspective of the relief agency rather than being allowed to narrate their own experiences.

Seen almost sixty years later, Aftermath provides contemporary footage of what Palestinians call the Naksa, the displacement associated with the 1967 war, rather than a later reconstruction of those events.

CASTING CALL | CORPORATE AD SHOOT

Bangalore | Collaboration

I’m looking for Male & Female Presenters / Narrators and Shoot Assistants for an upcoming corporate ad shoot.

If you love being in front of the camera, enjoy presenting, speak well and have a natural screen presence, I’d love to hear from you.

I’m also open to aspiring filmmakers, creators and production enthusiasts who want hands-on experience on a professional shoot.

What you get:

Featured across the brand’s social media assets

Professional shoot experience

Social media exposure

Travel allowance

Food & refreshments

To apply: Send me your profile + a short video of yourself or any work you’ve done so far — presentation, hosting, reels, acting, filmmaking or anything that showcases your skills.

Male & Female | Freshers welcome

Interested? DM me to collaborate.

I am wanting to shoot 16mm and came across a Bolex h16 non reflex for $500 which is more my budget. However I understand focusing is difficult on a non reflex. Would anyone recommend the non reflex or should I save up and for a reflex? I know they’re very pricey but just wondering if anyone who has maybe used both has suggestions.

Do I miss a washer or something here ?

Ignore the awful cosmetic state of the camera, most of it has been cleaned by now ahah I'm working on this camera for fun :)

I have been an avid lover and observer of this medium for many years and it has felt so liberating and rewarding to finally have taken the leap and tried it for myself. This is the first time I’ve ever experimented with 16mm motion picture film. Shot in the deep west of Lutruwita (Tasmania) in the ghost town of Linda using a very beat up 50s Bolex and a couple hundred feet of tri-x reversal. The exposure is slightly off, but for a camera I’ve never even loaded before and doesn’t have a true viewfinder, I’m extremely pleased with myself. Would love to hear thoughts and criticisms or tips.

Hey! I recently found a Canon Scoopic 16M among my father’s old belongings. It doesn’t have a battery, but I managed to power it on, and it seems to be in perfect working condition. I’m very excited about this find and would love to know if anyone here has used, or still uses, this camera and could share some tips on maintenance, handling, and the best film stocks to use with it. Thank you very much in advance!

I love the 16mm look more than Super 8—but I’m wondering if it actually makes sense at weddings.

I’m a wedding videographer and I’ve been getting increasingly interested in incorporating real 16mm into my films. I absolutely love the look, but I’m very new to shooting actual film and I’m trying to figure out whether this is even realistic alongside my normal digital wedding coverage.

Full disclosure, I’m not particularly film-camera savvy. I even found loading Super 8 a little intimidating the first time, so the idea of loading/threading 16mm during a wedding makes me nervous.

I’m currently looking at a Krasnogorsk-3/K3 as a relatively inexpensive way to experiment. I wouldn’t charge the couple the first time. I’d probably shoot one 100 ft roll just to see whether I can realistically incorporate it into a wedding while still handling my digital cameras.

For those of you who have actually shot 16mm at weddings, especially while also responsible for digital coverage, how practical is it?

Do you normally shoot these cameras handheld, or do you find yourself using a tripod a lot because of the weight? How disruptive is loading/changing a roll during an actual wedding timeline? And is juggling 16mm plus your normal digital gear by yourself realistic, or does it really work better with another shooter covering digital?

I know a 100 ft roll is only around 2:45 at 24fps. If I’m making roughly a five-minute finished wedding film and using the 16mm selectively throughout it, does one roll realistically provide enough usable footage to give the film a meaningful 16mm feel?

I’m also really curious about the creative side of mixing formats. Super 8 feels obviously different from digital to me, which almost makes it easier to mix because it has such a distinct vintage character. 16mm is different. I personally prefer the 16mm look, but good 16mm can also look much closer to polished digital footage.

So for people making hybrid digital + 16mm wedding films: do the two formats actually work well together in the same film? Or do you find that 16mm only really makes sense if you commit to shooting a much larger portion of the day on film?

I’d especially love to hear from people who started as digital wedding filmmakers and then added 16mm. If anyone has hybrid digital/16mm wedding films they’re willing to share, I’d really love to see examples and hear how much of the day you actually shot on 16mm.

If someone is looking for a classic Filmo 70 D, take a look.

I'm helping a friend clear out her father's huge collection of camera gear. He used this in his business up in northern Wisconsin. I've cleaned and oiled the camera according to instructions and checked the lenses. The glass is all uncoated circa 1930's but it is in good condition. The lens apertures are easy to turn and are clean. The lens helicoids could use a disassembly, cleaning, and re-greasing but they all function with some stiffness.

https://ebay.io/m/Dkz5uZ