#16mm movie camera

[kingsnorthlobotomy]

I shot a movie on 16mm film. Here are some stills from it.

[goshyesvintageads]

Revere Camera Co, 1947

[filmcourage]

I Bought A 16mm Bolex Camera And Now I'm Going To Make A Movie With It - P.M. Lipscomb

Watch the video interview on Youtube here.

[bmaatuga]

The

A collection of home movies came in recently that had some great shop stickers on them. Obviously, these films were processed in Cleveland. The Dodd Company had a lot of irons in the fire: surveying instruments, drawing materials, Kodak supplies, and they were OPTICIANS!  [We’ve actually seen an optician+camera shop label before, on our 28mm home movies.]

The Dodd Company has been around since 1891! And it is still in business with  locations in Cleveland, Chicago, Cincinnati, Dayton, and Columbus.

[funyjuice]

16mm turns 100 today

Here are two of my cameras!

[transhuman-priestess]

Went to the antiques store today. Found a 16mm movie camera.

I did not refrain from purchasing it because it was broken. It was not I did not refrain from purchasing it because i did not want it, i did.

I did not refrain from purchasing it because it was expensive, it was not.

I refrained from purchasing it because 16mm film is a dollar per foot to purchase, process, and scan and the minimum is 250 feet

[mifhortunach]

Horror Short Films You Can Watch For Free - Right Now!

Just a 'small' post collecting some less well known horror short films that you can find mostly on youtube & vimeo! All worth a look!

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SUNGAZER 9min, 2020 (You'll have to log in to vimeo to watch this one!) "A short, wordless horror film about the terrors lurking just beyond the veil of reality." - Or, a man waits, and performs a ritual. Wicked atmospheric, manages to really paint a world despite the run-time. Looks great as well. [TW: flashing lights, body horror, harsh noise]

The Color Out of Space 5min, 2017 "A meteorite, strange vegetation, a colour: an experimental take on H.P. Lovecraft's spiral into madness, shot with a vintage camera on truly unique LomoChrome 16mm film." <- All accurate! Eerie little film.

My House Walk-through: 12min, 2016

Short, sweet, and unnerving!! The person who made this has done a tonne of other (more classical) 'internet horror' shorts, but this is a really wonderful & understated piece. Visually it feels very PT inspired, but its even more about atmosphere and repetition. Worth checking out the making of as well, pretty much the whole thing was done practically!! [TW: unsanitary conditions, blood]

Possibly in Michigan 12min, 1983

Cecilia Condit mostly does weird, dreamy short films. They have a kind of cake with a worm inside feeling, if you get me; things are rotting inside. This one is a cannibal musical! [TW: cannibalism, unreality, insects, murder, animal death]

The Black Tower 23min, 1987

More unsettling than scary. A man finds himself followed by a mysterious building. I really love how this one gets built up visually. The most like a tma episode out of all of these, or something out of Blue Jam. You can read more stuff about it here! [TW: unreality, talk of mental institutions, disordered eating]

Heck 29min, 2020 If you've seen any of these, I think it'll probably be this one. Its the short that originally inspired Skinamarink. I personally kind of prefer this. Digitally gritty and mean. [TW: Same warnings as skinamarink for the most part, there's a kid in danger, a little body horror].

Juliet in Paris 18min, 1967

Juliet moves to Paris for college, is lonely, and keeps losing blood. Kind of a vampire thing? But also not a vampire thing. Vibes and vignette heavy.

[TW: blood, animal death, self harm]

Dawn of an Evil Millennium 20min, 1988 (in 3 parts!)

A palette cleanser! Getting a honourary nomination through me hearing about it on a found footage podcast (lol). A trailer for an 18hr movie that doesn't exist; staring demons, 'olds mobiles', space-travel and cops. Deeply 80s, kind of ooey-gooey, pretty fun! [TW: some vomiting, a lot of fake blood gets splashed about]

Thanks for reading!

[vintage-every-day]

“From 1954 to 1959 my family lived in a house on Darling Avenue in New Rochelle, New York, about as 50's and as suburban of a neighborhood as you could wish for.  My folks had a 16mm home movie camera which they did not use much or well.

Over the course of nearly a decade a grand sum of 35 minutes of film was shot intermittently with little cinematic skill.

In particular, my mother had a habit of decapitating people with the viewfinder. Nevertheless for me it is a precious window back into time where I can see my parents and grandparents, all younger then than I am today and all gone now, and I can revisit my youth.

I returned to the neighborhood to have a look in 2007 when I was on the East Coast. I went with some trepidation. Fifty years had made quite a difference. Trees had grown and so had the houses and no one had ever heard of the McDonalds or anyone else from back in the day. But my heart was warmed to see how nice the place had become and the ghosts were kind.”

[spacefrontier]

A Saturn 1B carrying the crew of Skylab 3 lifts off from Launch Complex 39B, Kennedy Space Center. July 28, 1973.

Skylab 3 was the second crewed mission to the first American space station, Skylab, and lasted 59 days, 11 hours, and 9 minutes. Crew performed experiments in the areas of medical activities, solar observations, and Earth resources.

The crew of Skylab 3. From left: Science Pilot Owen Garriott, Pilot Jack Lousma, and Commander Alan Bean.

Composite image of four frames taken from a 16mm movie camera used by the Skylab 3 crew during their fly-around inspection of the space station. The flapping of the solar shield is caused by exhausted from a reaction control thruster on Skylab.

NASA 1, 2, 3

[broadcastarchive-umd]

#RudyTuesday Okay, so you’re a television station in the mid to late 1940s. You’ve got a 16mm copy of a movie you want to show. You’ve got a 16mm projector. And you’ve got a television camera. But how do we get them to work together?

How about a paper towel tube and some duct tape? No, wait! How about an old-fashioned camera bellows?

Pictured above is a Dumont projector attached to an Image Orthacon camera – an early version of a film chain.

One in a series of photos from the Rudy Bretz papers at UMD.

[brokehorrorfan]

Hollywood 90028 will be released on Blu-ray on November 26 via Grindhouse Releasing. Jerry Martinez designed the new cover art for the 1973 exploitation movie.

Also known as The Hollywood Hillside Strangler and Twisted Throats, the film is written and directed by Christina Hornisher. Christopher Augustine, Jeannette Dilger, Dick Glass, and Gayle Davis star.

The film has been newly restored in 4K from the original camera negative. The three-disc set includes a newly remastered soundtrack CD composed by Basil Poledouris (RoboCop, Conan the Barbarian).

Special features are listed below.

Special features:

Audio commentary by film historians Marc E. Heuck and Heidi Honeycutt

Audio commentary by film historian Shawn Langrick

Interviews with actors Christopher Augustine, Jeannette Dilger, Gayle Davis, editor Leon Ortiz-Gil, and Tom DeSimone

Alternate scenes from original X-rated verison

16mm short films by Christina Hornisher

Outtakes

Still galleries

Theatrical trailers

Radio spots

Liner notes by film historians Marc E. Heuck, David Szulkin, Richard Kraft, and Jim Van Bebber

Soundtrack CD composed by Basil Poledouris

Mark (Christopher Augustine) is a disturbed loner who toils in the sub-basement of the movie business as a cameraman shooting porno films for swinish boss Jobal (Dick Glass). In his off hours, Mark prowls the peep shows and strip clubs of Los Angeles to prey on random young women who he picks up and strangles to death. When Mark pursues a romantic interest in Michelle (Jeannette Dilger), a model who he films in one of Jobal's sleazy movies, the grim reality behind the fantasy leads the frustrated cinematographer to shoot a different kind of Hollywood ending.

Pre-order Hollywood 90028.

[kingsnorthlobotomy]

Remembrance Sunday 12-11-2023 Shot in Maidstone, Kent, UK, on a silent 16mm movie camera on a very dreary day

[albiclalepsza]

New York City in the Summer of 1979 - a foreword to The Legendary 1979 No Nukes Concert on CD/DVD

I showed up in New York City in the Summer of 1979 and asked a friend who had a tiny apartment on West 90th Street if I could sleep on his couch for a few months while I try to pursue my dream of becoming a fillmmaker. He said yes but... he didn't have a couch. Luckily we found one down the block that was left out with the trash and we hauled it up to our 2nd floor walkup. We dubbed the apartment "the roach motel" and it would be my home for a little while as I set out on my journey. I was 22 years old and began looking for work as a production assistant.

Working on film sets of NY was how I learned my craft. The city looked very different back then. Abandoned buildings and vacant lots on the Upper West Side surrounded our "roach motel". NYC was in disarray but it was exciting and electric. In the Summer of '79, William Freidkin was shooting Cruising with Pacino in the West Village, John Cassavettes was making Gloria with Gena Rowlands, Brian De Palma had Dressed To Kill, Sidney Lumet was shooting Just Tell Me What You Want, and right around the corner from my humble apartment, Scorsese and De Niro were quietly making Raging Bull on Columbus Avenue and 89th Street.

In 1979, NYC was where art was being created 24 hours a day, 7 days a week. Films were being made by a new generation of independents. The graffiti of Keith Haring, Jean-Michel Basquiiat and many other artists was on every wall and subway station. Music from punk to disco was exploding in downtown clubs and out onto the streets, changing fashion, language and attitudes.

The city was a mess. It was broke, it was dangerous, but it was alive and filled with young people with a dream. It was a great time and place to be a filmmaker in training. After few day jobs as a production assistant on a couple of movies, I got a call for a position on a music documentary that was in the works. It sounded unbelievable - I was to be right in front of the stage during 5 sold out concerts at Madison Square Garden, on a headset, coordinating between a cameraman and the director. If that wasn't enough, I soon found out the headliner for two of the nights was to be my beloved home state rockers, Bruce Springsteen and The E Street Band. And I was going to be paid 50$ a day for this! I had made it! Dream come true!

Our film crew had a meeting the day before the shows to try to map out who would be where. There were 8 camera crews, but only 2 would be in the pit in front of the stage. Each camera crew had an operator, a camera assistant and a production assistant. All crews were operating hand-held, 16mm cameras that needed to be slated to sync up with the separately recorded sound. Each roll of film was only good for about 9 minutes of shooting before rolling out and then needed a hand thread re-load. This was low tech, old school, documentary movie making at its most challenging. This was FILM. The decisive moment. No second chances. Get the shot or you've missed it forever. No digital cameras that never run out, no giant techno-cranes swooping in, no robotic cable cams flying across the stage, and of course no cell phones. the audience didn't even have still cameras. They were completely locked into what was happening on stage. In the moment.

We all were. This film was 100% hand-made by our crew. It was 100% discovered on the spot. The camera operators had to improvise every second. We captured the moment in its purest form. The music and the energy on stage told us where to go and what to shoot. And in the case of Bruce and the band that energy was almost impossible to keep up with. There are times in the film when the camera crew was either reloading or simply couldn't get to a solo in time (apologies to Stevie for not covering his brilliant guitar solo on "Jungleland"). Several times the action on stage was so fast that out cameras couldn't keep up.

The film you're about to see was shot over two nights. Friday, September 21, 1979, was the first live show for Bruce and the band in the NYC area since the Palladium and The Capitol Theater more than a year before. In 1979 the band was in the studio recording The River album, still looking for their first Top 10 single. There had not been ANY live peformances in 1979. There had never been a Bruce and The E Street Band concert captured live on film this way. It was all about to happen now in Madison Square Garden, the world's most famous arena.

Night two, Saturday September 22, was the evening leading to Bruce's 30th birthday. Magic was in the air. The energy on stage and from the crowd was beyond measure and description. I had been to many great Bruce/ E Street shows before and since but as you will see, that night in The Garden has to be at at the top of the list. Pure adrenalin. "That rush moment that you live for" was about to unfold. As Bruce turned from 29 to 30 years old in front of 20,000 screaming fans at MSG we witness one of the greatest live rock shows on the world's biggest stage.

My crew's position was in the pit, center/stage right, meaning right in between Clarence and Bruce. The Saturday night show opened with poet and songwriter Gil-Scot Heron, then reggae musician Peter Tosh in a cloud of pot smoke. Next a beautiful set by the great Bonnie Raitt followed by kick-ass Tom Petty and The Heartbreakers.

But the crowd and the night belonged to Bruce. There was a short break to prepare the stage for Bruce and the band - Roy, Max, Danny, Steve and Clarence.

The anticipation was building. Chants of "BRUUUUUUUCE" had been filling the Garden all evening. We got our camera ready. The first few shots of the film are the Garden crowd. Then a close up of yours truly in the pit in front of the stage, headset on, big smile, ready to roll. This is not the language of a conventional concert film. This film is raw. Camera operators responding to the energy and emotion in the moment. True cinema verité. The best of documentary filmmaking. No rehearsal. No stage marks. No choreography. No plan. We show up and shoot. Whatever will happen on stage no one knows. There was magic in the room those two nights. I will never forget it. I'm so glad it's been rescued from the archives for all to share. Enjoy the show. And belated happy 30th birthday, Bruce.

All my best, Jon Kilik

[lonestarflight]

"SKYLAB IV - INFLIGHT

This view of the Skylab 4 Command/Service Module in a docked configuration is a frame from a roll of movie film exposed by a 16mm Maurer camera. The other four components of the Skylab space station in Earth orbit are out of view to the right. This picture was taken by astronaut Gerald P. Carr, Skylab 4 commander, during the final Skylab extravehicular activity (EVA) which took place on Feb. 3, 1974. The crew members -- Gerald Carr, Edward Gibson and William Pogue -- were the first NASA astronauts to spend New Year's in space. A week earlier, they became the first crew to perform an EVA on Christmas day."

Date: February 3, 1974

NASA ID: S74-17457

[slackville-records]

Grateful Dead - Weather Report Suite (Winterland 10/18/74)

Produced from the camera-original 16mm negative film, this beautiful and powerful rendition of the entire Weather Report Suite was the Dead's final performance of this Wake Of The Flood masterpiece. A couple of nights after this performance, the Dead packed it in as far as touring went for almost two years. When they returned to the road in the Summer of 1976, they brought with them the final part of the Suite, Let It Grow, but left the first two parts behind. Thankfully this performance was filmed during production of The Grateful Dead Movie, as well as recorded to 16-track analog tape." - David Lemieux

[sofiewilde]

John Kratz flickr

Bell & Howell Filmo № 75

The beautiful Filmo 75 is a 16mm movie camera, produced in Chicago beginning in 1928. It was intended for amateur use, but the quality of its construction makes it easy to see why Bell & Howell cameras were the tools of choice for Hollywood studios in the early days of motion pictures. Although rather heavy by today's standards, the 75 was quite compact for its time, and was marketed as a ladies' camera. Its ornate leather covering was available in Walnut Brown, Ebony Black, and Silver Birch (seen here). Truly a work of art.