What are your favorite 16mm cameras?

[Andrew Bauer]

I know a few of us here not only like to collect 16mm films, but some of us like to shoot our own too, and the question is:
What’s your favorite camera to shoot with?

For me it’s gotta be the famous Bolex RX5. I also really like my B&H 70HR.

I would love to have an Arriflex and a Cine Kodak special too someday…Or a 35MM Eyemo.

an Eclair NPR would be cool too if they didn’t cost a King’s ransom! Oh well dreaming is free.

[Douglas Meltzer]

Andrew,

Back in the day (way back), I enjoyed using the Eclair NPR and later on the Eclair ACL. It was always fun to shoot MOS with an Arri-S, however my favorite was probably the Arri-SR.

[Andrew Bauer]

Andrew,

Back in the day (way back), I enjoyed using the Eclair NPR and later on the Eclair ACL. It was always fun to shoot MOS with an Arri-S, however my favorite was probably the Arri-SR.

The Arri 16-s is what I have in mind, I know some low budget horror from the 70s such as “Last House On Dead End Street” was shot on one and it’s probably the same price I paid for my Bolex H16 RX5 (before the extra $1000 I paid for a repair and CLA).

Texas Chainsaw Massacre and John Waters Female Trouble was filmed with an Eclair NPR but the prices they usually go for I can’t justify. an Auricon or CP16 seems more affordable.

[Douglas Meltzer]

Andrew,

It's great to talk about these cameras! The Arri-S is also a nice camera to for handheld work. I have used both the Auricon & CP16. With their quick threading and the capability to record single system sound, they were both very popular in broadcast news before the switch to video.

[Kenneth Horan]

I use my Kodak Cine Special II, the Bell & Howell 70 HR and my very special Auricon Cine Voice II.

[Julian Bell]

I have a Krasnagorsk-3 with a 17-69mm zoom, a B&H 240 with the longest wind ever and a Victor model 3 from 1933 still going strong.

[Andrew Bauer]

I use my Kodak Cine Special II, the Bell & Howell 70 HR and my very special Auricon Cine Voice II.

I would love to have a CK Special II to add to my collection! I have a 70HR and have shot footage on it, but need to send it to the lab. Now an Auricon Cine Voice is what I would like too…but all 16mm film you get today is all silent so I don’t know if the sound box part is worth getting.

[Andrew Bauer]

Andrew,

It's great to talk about these cameras! The Arri-S is also a nice camera to for handheld work. I have used both the Auricon & CP16. With their quick threading and the capability to record single system sound, they were both very popular in broadcast news before the switch to video.

I know some low budget filmmakers in the 70s like John Waters and Andy Milligan both used Auricon Cine Voices! But does the CP16 comes with a separate sound module like the auricon?

BTW, I have this old GE exposure meter from the 40s or 50s are these still any good?

[Andrew Bauer]

I have a Krasnagorsk-3 with a 17-69mm zoom, a B&H 240 with the longest wind ever and a Victor model 3 from 1933 still going strong.

I don’t have a K3 but I got a Bell and Howell 240 (the type that takes a weird battery for the auto exposure that’s probably useless for today’s fast film stocks) but haven’t shot any footage with it.

My oldest is a 1926 70a it moves but the film counter is stuck on that one…I also have a 1927 model 70a that seems to work perfectly and I know where to get that double perf film for it!

[Andrew Bauer]

By the way I have this light meter from the late 40s or 50s. Are these still ok to use today or are they very inaccurate due to their age?

[Douglas Meltzer]

Andrew,

I'd compare the readings with a trusty meter to check out the accuracy. I still use my analog Spectra P-251. It's always fun to bring it on set and see the reactions from the younger crew members who are looking for a digital display.

[Ken Finch]

I have only ever used a 16mm camera once. It was an early Bell and Howell model belonging to a school I was teaching at and I used it to film a school journey. It performed ver well. With regard to exposure meters, I have a Weston Master II and it still works perfectly as far as I can tell.

[Ken Finch]

Oops, I posted without signing off. Sorry, must be my age. That’s my excuse anyway!! Ken Finch! 😉

[Alan Paterson]

Back in the day (late 1970's/80's) I had my own Canon Scoopic 16mm camera, which was a nice little camera - but later as a freelance director cameraman I used an Aaton LTR for documentary shoots as well as an Arriflex SR2.

In the early 70's I attended film making courses where a Bolex H16 RX clockwork was the main tool. The course entailed scripting, shooting, editing and recording the soundtrack on a doubleband projector in the space of a week with a public showing at the end. We shot on Kodachrome which was taken to Kodak in Hemel Hempstead at the end of each day and the processed film was returned the following day.

I still have an affection for these Bolex H16 cameras with their c-mount lenses and the need to have no shots longer than 17 seconds as that was when the clockwork motor ran out of steam. I can't really justify buying one now as it would just gather dust, but if I see one I feel a need to have a closer look and have to fight the desire to hold it.

[David M. Leugers]

My go-to favorite for filming with after all is said and done is the Bell and Howell 70 series. Close second is the Bolex, a beautiful work of art and a great camera. Honorable mention is the Auricon Cinevoice. I marveled at how it runs so incredibly smooth and quiet with a rock steady image. Of course, the best 16mm camera is the one in your hands loaded with film! Home movies are truly special shot on 16mm and projected.