Talking Stone Film

Film Reviews & Headlines


(upbeat music) – Welcome back guys. So now we’re gonna dive
into the history of the 16mm and Super 16mm cameras. So you can kind of see where
the progression has come from. So, tell us a little bit
about this Bell and Howell. – Well, we have right here
a Bell and Howell camera, this is called a film (mumbles). So in the idea they didn’t
have batteries back then so these were wind up. (clicking)
Okay? You basically wind this up
and you get enough time to run and they have three lenses. They didn’t have a reflex system so what you would do is you would have a wide, a medium and a tight, and then you have these
objectives on the side that are in a gear that
is attached to the front. So if you wanted to see and go and switch from a wide or a tight or a
medium you would turn this and it would engage the proper element to be able to view through its element that would simulate
what this lens is seeing because this lens is filming, is capturing the film on this part. So when you would push this button, (machine whirring) (laughing) It’s running approximately 20
frames or 24 frames a second, give or take, especially
with a spring as it was really tight you know
just going down lower, it’s going to, that’s why
we see in the old movies, sometimes the speed changes. – People would speed up or slow down. – Because it’s like this. But this is bomber, this is
what one of my first cameras my dad gave me when I was a kid and it still looks like
the same way as today. You actually have a little
bit of speed changes on here you can do, and you can actually attach later on a motor
instead of being hand crank. That would align to it and a base plate if you wanted to. But you would basically
look through your left eye and it wasn’t very pretty, it’s just a little four, three view and keep in the frame and– – So this is more of a newsreel
camera back in the day. – It could be a newsreel but it’s mostly what people would have as
their home movie camera. – And these are (mumbles). – Oh the glass is beautiful. These are sea mounted
lenses that are tack sharp and you would of course
have to have a meter, measure what the exposure was and changed it on the lens, do your focus without a reflex system and then (machine noise). – And I see here it says
four feet, five feet, six feet kind of thing. – Uh huh.
– That’s funny. – Yes. – Alright, so tell us about these guys. – So actually, this was regular 16mm. – Okay, so (mumbles). – Okay, so now we jump ahead and we get into Aeroflex making this, I think they made this in 1964 I believe with the same idea that
Bell and Howell did. They made a three lens turret. – But you could change the lenses. – Well actually, you can rotate this. The same idea, wide, medium and tight. And the difference between
this one and this one is that you actually had a
through the lens reflex system. So you could see what was happening and do your stop and your focus and inside this camera
would be a ground glass. – [Host] So as opposed to this
guy, this guy you actually are not looking through the lens– – Ever.
– Ever, this one you’re actually seeing
what the lens is seeing. – [Blond Man] But if you were to look back in the days of Citizen Kane and Lawrence of Arabia
and these older films that were shot with 35mm, you didn’t look through
the viewflex system either. – Right, because it wasn’t– – It was called a rack
over, a Rack Over Mitchell. So you would have the lens objectives, you would have the camera. You would rack the camera
over to the objectives, look through it and then rack it back for the lens to film. So you would do this
constantly back and forth when you would, you know, get your focus and that kind of stuff. So this one actually has
through the lens reflex system. This is not a windup. You actually would put a motor into here and the motor was a variable motor, it wasn’t crystal sync. And crystal sync is so
that the camera runs exactly at 24 frames a second and there’s no fluctuation. Since our lighting is a certain way and you know, street
lights are not crystal, you’re gonna get flickering and that’s why movie lights all have a crystal sync so they match up to the crystal motor and you got no anomaly with that. But this was made very well that you could ergonomically put your hand in here, hold it like so, and hold it up– – Done and one. – Use your right eye now,
not your left eye anymore, and you would be able to pull your focus and then your on off would
be right here on the side. So pretty much you would
kind of hold it like this and then on, off, on, off. – Is this a hundred foot? – This is almost like
a transform of the day. This is a hundred foot, daylight spool and, or, to add a 400 foot– – On top.
– Magazine on top of it. So what makes this nice for like, well today this is
Super, this is regular 16 because you see you
have the mount on here, it’s called an Arri mount, B mount, this is like there is no specialty to it, it’s just a way to click onto that, it doesn’t cover Super. And then threading it was really easy. You take the whole door off, you would open up the gate and then you’d put your film through here on a daylight spool such as this one that did not
have to be in the dark. You wouldn’t do it in broad daylight, like in the shade or something. You would take your roll in there, you’d put it in there,
you engage the motor would engage, you have a pull down claw. A pull down claw is what grabs the film and makes it do that. And then close the gate, set your loop, because they have a little line here that shows you where
the film should travel. If it’s lower than that it will scratch. If it’s higher than
that it will also pinch. You would open this up and
thread this through here to your takeup, close
this, take your door, – Seal it up.
– Seal it up and then whamo, you’re recording. This has a, they came out with a lot of different attachments. They came out with a
intervalometer for it, for a time lapse. – Now these are pretty loud. – Well yeah, they’re not– – They’re not for sound. – They’re non sound cameras because at that time again, a blimped camera wasn’t important for, this was like the Maserati
of your home video. – Yeah, that’s a high
end home video camera. – And they made a lot of these and they would use these, again, in old war footage and in films and documentaries and a lot of French films. I think, I don’t know if Fellini had some. I saw it at least in some stuff. – Some stuff, yeah, yeah, yeah. – So this is what it was. Now it ran off of a different voltage, I think it was a 8.4 volts and normally today everything
runs off of 12 volts on a analog film camera and 24 volts on a digital film camera, which is not digital. And digital now runs off
of anywhere from 24 volts or 18 volts and up. – Got it. – So there was a standard for this so you had to have special batteries that would plug into this with a cord and you would go and do this. What we have done here, which is very unique and probably you’ll never find this anywhere else, is we’ve taken these cameras and modified them for Super 16. – So that’s what this guys is. – We did this for the reason because when you want to have a small 16 package and the cameras that we’re
gonna show you afterwards, they get a little bit bigger
and a little bit bigger and you want sometimes
something really small to get into small corners, just like you do like the Epic these days or a Scarlet or something
or an Alexa Mini. – Or Black Magic. – Or Black Magic or something like that and you wanted to be able to do that, there was a, it was not
ever designed for that so we totally change
it to a hard mount PL, we had Sherco make a ground glass for 16×9 to be able to put that because the ground glass which is here is actually, there’s a prism in there. There’s a prism inside of this. So you have to put the ground glass and if you look inside the camera, I mean the, you have a
real, magnifiable eye piece. It doesn’t orientate so if
you’re gonna do low shots you gotta go down and do that. But the inside is all the same except that the gate was opened up more to accept for Super 16. – Yeah you change the gate out and the technology’s pretty much the same. – And then what we did is we added into a universal 12 volt system and they call this a Tobin motor, and this is a crystal motor. Now none of this is made anymore but we have searched it out and found them so this actual crystal motor will go between 12 frames a second up to 50 frames a second
in increments at crystal. – So you did this specifically
for a show that you guys, what were you renting out for? – We were doing Burn Notice here and Roy Wagner needed to
have something smaller and we wanted to make something, you know the A-minima Aaton is small and it takes, actually
(mumbles) 400 foot loads, it takes 200 foot loads, but this even takes 100 foot loads or the addition to a
bigger 400 foot magazine. And then you have now the
access of all PL mount, Super 16 lenses to be able to put on this. And that was the idea, if
you can see here the shutter. The shutter is actually a bowtie mirror. It’s mirrored and while it’s spinning to have it a reflex system
the mirror catches the light for a millisecond, let’s you see it, and then as it spins it opens it up so that the film can be exposed and immediately it’s closed again because the shutter comes into place, the pull down cloth pulls down, it opens up again, and it covers it, pull down claw, and it’s doing this. – All mechanically. – All mechanically. And you just have to worry about oil and the only thing that could ever go wrong with that is the motor. You can drop it, you can run over it. – Just for you guys (mumbles), this has a good weight to it and you could do some damage
with it if you hit somebody. – Yeah, yeah, I can lift it up
and hold it out with one hand but yes, it is all made out of– – Solid.
– Solid, it’s a solid piece. – So which other camera, what’s the next camera
you want to talk about. – So when Aeroflex came out with this, this is a nice, and
then when we made these we made them for the idea
of schools doing Super 16 and the SR is a highly modified camera that has a lot of maintenance
that has to be done with it. – Right. – And you know there’s, you can’t– – This is a lot less maintenance. – A lot less maintenance. – And you can still get an image. – And you an get great images because you’re using the great glass and then the other
drawback would have been, well you don’t have crystal motor. Well we solved that. And the other one would be,
you don’t have the right ground glass markings, you have to pencil it in with a pencil. No, no, no, it’s all done with that. So this is the Arri S. Now the Arri S was in, after
this left came the Arri M. Now the Arri M was very similar to the S
except that it did not take hundred foot spools. You had to use a standard
400 foot, Arri M magazine on top of this. – Just a little bit more serious. – Yes but it plays with all
the same things as you can see. It has the same type of motor system, it has same type of sync,
same type of eye piece, the door did not come off. In this case when you
would go to open this up you would, oh fuck, – I think I got this one open. – Yeah, sorry. So as you can see if
you would open this up you would actually move this to here and the door would hinge open and the ground glass
is now inside the door. And again, these were modified and if you look at the movement, the movement is very, very
much similar to the Arri S and except for the thing
is is there’s not an extra type of gear so it’s faster to load this. – It’s not recording. So we haven’t recorded any of that stuff. – No, I hit record. So it’s faster in recording, it’s faster in loading the mag because you don’t have to
do through another type of sprocket system. You could load the mag. And the day when I remember
renting this out to people, we would use these because
of the profile of it it doesn’t look like a rabbit ear, it was really good for
using in helicopter mounts when you’d put it in to
shoot with Tyler mounts or helicopter mounts out of the side, this is the profile with
a motorized zoom lens, gave you a really easy way because as you’re in a helicopter or in a special situation you don’t want to be messing
with a lot of little things. So we transferred because the Arri M that is the standard one that’s non 16, again had the same idea
of three lens turret. – Sure, sure. – And this is that motor
that’s a variable motor. So that little clicking is on what speed you’d want to go to. You would look at it and see, you have a tacometer, that
tells you how fast you’re going, and a indicator to show you how many feet that you’ve actually run. And then you would wind it up to the, approximately what you wanted to do, or you could go like, which is a really cool gag in camera which is two things
you could do with this, what makes it really unique is you can change the speed fast. So you can get ramping
ideas happening in Super 16, and you could also change the lens around so in, while you’re filming, it would be a mechanical
where you would see the internal workings of the mount and then the new one
would come into focus.

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