Alright, does anybody wanna be our guest and spill some beans on whatever Arri is going to announce on the 28th?

Edith blazek · January 26

I know it's probably a camera given the camera centric people in charge of the livestream and it's theorized it will be a lite version of the Alexa 35 (and I hope 265 given all of those new expanders out there) and Arri liked a comment on its post saying that it will have the revised alev3 sensor so maybe it will be 265 or lf but with the revisions but if anyone has more info please, be our guest.

Albion Hockney · January 26

I don't know anything of this, but if they are releasing a smaller and/or cheaper version of the 35 I would be shocked if the sensor was bigger. I think it will be another generation before there is a larger version of the alexa 35 chip since they can't be stitched.

Brian Drysdale · January 28

It's now announced, basic info here: https://www.redsharknews.com/arri-announces-new-alexa-35-entry-model

On the Arri site: https://www.arri.com/en/camera-systems/cameras/alexa-35

Edith blazek · Tuesday at 03:21 AM

Looking back, you know what id think would be cool? If arri did what they did with the a3x sensor for the 265 and did that with the lf a2x sensor and gave it 120 fps (or at least 90 like the current full sized LF) full height opengate and put it in the 35 body, anyone agree?

The 35 Xtreme is actually pretty unique right now for having 120 fps open gate full resolution WITH minimal compression ratios. The Venice 2 can't do that and the thing about the raptor no one talks about wrt the 8k 120 is that you have to use lq compression in order to have that framerate at 8k in full width. If you shoot a square crop of 8k you can get 120 frames per second with the lowest compression.

The primary reason I'd want an lf is that while yes the 35 is superior in every way, there is one area where it isn't actually, resolving power. Despite the slightly higher pixel count on the 35, the a2x lf sensor resolves more on the sensor level by about 471 line pairs at 50% contrast (and that's not to account for that the actual resolving power the 35 maybe lower as stated by the article).

Edited Tuesday at 03:31 AM by Edith blazek

John Rizzo · Tuesday at 12:04 PM

Recent article on were Arri should be going due to the changing landscape for high end cameras.

https://ymcinema.com/2025/12/02/arri-prosumer-cinema-camera-strategy/

Edith blazek · Tuesday at 06:15 PM

6 hours ago, John Rizzo said:

Recent article on were Arri should be going due to the changing landscape for high end cameras.

https://ymcinema.com/2025/12/02/arri-prosumer-cinema-camera-strategy/

They don't even need to do allat. Just make exceptional lights again because the last few products were mediocre

Tyler Purcell · Tuesday at 07:32 PM

Arri's done, the owners want out of the business. They're selling off the light division now, next will be the accessory branches. They probably will be able to dump the rental houses easily as well, someone like Keslow will want them for sure.

If I were to hedge my bets, Arri as a camera company is purchased by private equity and sold off in pieces. The "Arri" we knew from the film days is long gone anyway, so the only thing left is a technology company in a world FULL of technology companies.

Put it to ya a different way; Blackmagic can manufacture a cinema camera for around $3500 dollars (guesstimate of how much they sell to vendors) that is superior to the original ARRI ALEXA Mini LF in every way, which was probably has a cost to manufacture close to $60k. Now Arri has caught up, the Alexa 35 Xtreme is WAY closer to the competition, with a vastly improved codec, higher frame rates, better dynamic range, better resolution on the S35 version, but only with an S35 imager. Customers can't buy the 265, so it's kinda worthless even discussing. But how long will it be before Blackmagic makes a triple preamp imager camera for a consumer price of $7k or something like that?

I don't see the high end camera industry surviving, I just don't. We've democratized the tech down to the point where you can make a theatrical run IMAX movie on a toy camera and nobody will bat an eye. So the benefit of Arri is... umm, some old hat workflow? Red already broke that trend and it worked. Now Blackmagic will too, the next generation BMD camera should be even better than my URSA Cine, which honestly is already phenomenal.

So yea, Arri is going to be going away shortly, I give it a year or so and we should start to see it dismantled and it sucks. I wish they had just stuck to their guns with film cameras, kept that shop up and running so they could make cameras still and done the digital project separately. Film cameras are the specialty business, not digital. They should have seen that years ago, but they kept pushing because they were making money, but they had no foresight and unlike Red, didn't patent troll. So the only real long-term asset they have is their brand recognition.

Edited Tuesday at 07:37 PM by Tyler Purcell

Edith blazek · Tuesday at 07:41 PM

5 minutes ago, Tyler Purcell said:

Arri's done, the owners want out of the business. They're selling off the light division now, next will be the accessory branches. They probably will be able to dump the rental houses easily as well, someone like Keslow will want them for sure.

If I were to hedge my bets, Arri as a camera company is purchased by private equity and sold off in pieces. The "Arri" we knew from the film days is long gone anyway, so the only thing left is a technology company in a world FULL of technology companies.

Put it to ya a different way; Blackmagic can manufacture a cinema camera for around $3500 dollars (guesstimate of how much they sell to vendors) that is superior to the original ARRI ALEXA Mini LF in every way, which was probably has a cost to manufacture close to $60k. Now Arri has caught up, the Alexa 35 Xtreme is WAY closer to the competition, with a vastly improved codec, higher frame rates, better dynamic range, better resolution on the S35 version, but only with an S35 imager. Customers can't buy the 265, so it's kinda worthless even discussing. But how long will it be before Blackmagic makes a triple preamp imager camera for a consumer price of $7k or something like that?

I don't see the high end industry surviving, I just don't. We've democratized the tech down to the point where you can make a theatrical run IMAX movie on a toy camera and nobody will bat an eye. So the benefit of Arri is... umm, some old hat workflow?

Y'all have been hammering on about democratization and how it's supposedly been game over the high end for over a decade at this point by using cherry picked example since the DSLR revolution. If and when, but never is

Tyler Purcell · Tuesday at 08:16 PM

29 minutes ago, Edith blazek said:

Y'all have been hammering on about democratization and how it's supposedly been game over the high end for over a decade at this point by using cherry picked example since the DSLR revolution. If and when, but never is

I mean it is now, Arri has already made a public statement saying they're done. The fact they developed the Alexa 35 Xtreme is mind boggling to me, as my friends are desperately trying to get ANYTHING for their Alexa 35's because nobody wants them.

Red is done, got acquired by Nikon and probably won't get any more development on the US made cameras.

Sony has already proven the FX3 can make big blockbusters, dozens of TV shows and features, including movies shown on IMAX screens, have been shot with consumer grade cameras like the FX3. The Venice is their only real professional cinema camera and it'll get all the same updates the 35 Xtreme got shortly, you'll see, Sony isn't going to seep on that.

So that leaves Blackmagic and they have already proven it can be done. So give it a generation? What does Arri have besides a name?

Aristeidis Tyropolis · Tuesday at 11:30 PM

3 hours ago, Tyler Purcell said:

Film cameras are the specialty business, not digital. They should have seen that years ago, but they kept pushing because they were making money, but they had no foresight and unlike Red, didn't patent troll. So the only real long-term asset they have is their brand recognition.

So in the next 5 years are we going to see a boutique-style player come up with a 16mm camera (based on trends)? Feels like there's some space for that. Who knows maybe buy the ARRI brand for film and come up with a parts scheme.

I am kind of worried about the parts future on 35mm and 16mm cameras made by ARRI.

Imagine, lots of people keep fretting about the electro-mechanical SLR film apocalypse (no new parts, shutters etc) but theres literally millions of them. Cinema cameras are in much more danger, especially the ones made in the 80's, 90's I gather...

Edited Tuesday at 11:33 PM by Aristeidis Tyropolis

Tyler Purcell · Wednesday at 12:01 AM

13 minutes ago, Aristeidis Tyropolis said:

Cinema cameras are in much more danger, especially the ones made in the 80's, 90's I gather...

As someone who services them for a living, my livelihood depends on it. So yea, I know the challenges well.

I don't think anyone is working on a commercial 16mm or 35mm camera. There are some non-commercial camera builds, one of them is very nice but 100ft daylight spools only. We are developing something unique/new as well, but I doubt once we present the prototype, people will be willing to fund it. I'm doing it to demonstrate what a "future" camera could be like. We're just waiting for our CNC machine to start making it. Hopefully we'll have more details next year, but it's been a lot of work.

It would probably cost $80 - $100k each body to make a new production grade camera out of house. The savings are by having all your own machines, the moment you do anything out of house, you're basically raising the cost substantially. What allowed companies like Bolex and Arri to make such great products was the fact that it was mostly done in-house. The investment to get that all back up and running again, even if you just use CNC machines, is huge. Affordable machines like the MR1 we are going to be getting, are slow and not designed for production runs. Higher end CNC machines, are faster, but at a huge cost. Now you're renting a specialized building, with special power, with special ventilation, the whole thing gets out of control financially. This is why it's just not feasible unless you're already a full on machine shop, which is what Logmar has. Even they were unsuccessful at creating something worthwhile that shifted the paradigm of the film industry.

The other thing that is constantly on my mind is simply film stock cost increases. We are expecting a bump shortly, but how many more bumps will there be before consumers simply can't afford it? I'm blessed to live in Los Angeles, film is everywhere, but in other places of the world, that's simply not the case. So if one were to invest in let's say a 5 year plan to make a new camera, will there be MORE people interested in buying it then vs now? I honestly think if there were a new camera out this instant, which was fully developed and ready to go, it would sell. However, in 5 years? It's hard to predict.

Anyway, Arri will probably survive in one way or another, it's not going to die completely. It may just be a small office to support pre-existing cameras, but I feel the days of them making new cameras are probably over.

Aapo Lettinen · Wednesday at 12:43 AM

The key to cost effective machining is that you determine for each individual part what the finishing quality and tolerance needs to be and then have multiple different places with various capabilities and reliability to outsource the work. If something needs to be swiss-clock-style-precise with jewelry-like finish then you use the best expensive place and if the soviet-style angle grinder finish is fine then you outsource those to China no questions asked.

People don't value artesan cameras nowadays enough to pay premium for them. They want stuff that works and does not fail most of the time so that they get the job done. They don't care if it has a bit rougher surface finish on inside parts which only technicians see. The parts which must be mirror polished will be but other stuff left with basic finish.

Some people don't like my designs because I don't make them with ultimate jewelry finish and use years designing. The shade of grey or other finishing color may not be just the perfect coolest trendy one and may change from batch to batch. It is not about 'not caring' , it is about making stuff which works, on a budget, fast.

Arri people have never liked my stuff much but Aaton and Eclair and CP16R users etc like them. They are also more open to modifying cameras and accessories to keep them working. The whole Arri culture is a bit like "if it is not original spare part or accessory it cannot be used". Every freakin washer needs to be original Arri one 😂 I get it they are like Ferraris, one simply does not mix heretic parts with them but the end result is just the mentioned death of the technology because the infrastructure is lost.

I mean how many Eclair ACL users there would be in 5 or 8 years if they all would be unwilling to change the motor to a off-brand newly made one? I think it is pretty close to zero. Same with cp16r. Some nprs with original motors maybe left. The technology was never meant to last forever, it was designed to be upgraded and changed regularly. People just forgot that after the 90s and thought the 60 years old electronics were supposed to last to eternity. Then buy another used original motor when the technology designed to last 20 years failed them after 50 or 60 years.

Aapo Lettinen · Wednesday at 12:55 AM

Personally I see the completely newly made complete cameras more as "cool gadget projects" than really helping redefine the film origination. Especially on the low budget level. Maybe 10 or 15 rental houses would have them total? They would make a small difference but it is just a tiny droplet in the ocean.

The key would be to get more of the old cameras restored and working instead. There would be thousands of them, maybe more. That would matter, a lot. Making a cool gadget camera which 10 people use would be cool and empowering but would not really change anything other than some old arri sr retired because it was replaced with the new gadget. Probably the net amount of working cameras did not even change by the new gadget, it just replaced older stuff like video cameras replace the previous year's models

Edith blazek · Wednesday at 02:51 AM

6 hours ago, Tyler Purcell said:

I mean it is now, Arri has already made a public statement saying they're done. The fact they developed the Alexa 35 Xtreme is mind boggling to me, as my friends are desperately trying to get ANYTHING for their Alexa 35's because nobody wants them.

Red is done, got acquired by Nikon and probably won't get any more development on the US made cameras.

Sony has already proven the FX3 can make big blockbusters, dozens of TV shows and features, including movies shown on IMAX screens, have been shot with consumer grade cameras like the FX3. The Venice is their only real professional cinema camera and it'll get all the same updates the 35 Xtreme got shortly, you'll see, Sony isn't going to seep on that.

Where can I find this statement that arri says they're done? Also in what way? Did they say they're no longer producing new products?

Also, I wouldn't bet that there would be no new red development as remember, Nikon bought Mark roberts motion control and they're still making new products, the big thing would probably them making new more affordable products at the behest of Nikon like with the raptor xe.

Besides the creator (which bombed btw), where is this revolution of features and tv shows using the fx3 as their a-camera? You can't point to absolute usage as a mark in its favor as films and tv have been using smaller DSLR esque cameras as crash cams for forever, none of this is new (and I say this as someone who would prefer to buy a hypothetical fx3 esque camera if it just had opengate, xocn, and genlock over a hypothetical Alexa mini lf Xtreme btw).

Edited Wednesday at 02:56 AM by Edith blazek

Tyler Purcell · Wednesday at 06:14 PM

14 hours ago, Edith blazek said:

Where can I find this statement that arri says they're done? Also in what way? Did they say they're no longer producing new products?

The owners want out, I'm assuming whatever they had in the pipeline already will be released, but after that, they'll start laying off in the preparation for closing up shop IF they don't get a buyer. It was pretty public news, just google search a bit, you'll find it.

14 hours ago, Edith blazek said:

Also, I wouldn't bet that there would be no new red development as remember, Nikon bought Mark roberts motion control and they're still making new products, the big thing would probably them making new more affordable products at the behest of Nikon like with the raptor xe.

Well, there is nowhere to go. Red bet the farm on a limited dynamic range global shutter imager as the future, it's not.

Nikon hasn't really done much with the Red tech at all, the very nice ZR is based on their own tech, nothing to do with Red. They are using a hybrid stacked imager for the first time, but dynamic range is still pretty limited at around 11 usable stops, unless you dive into noise reduction which can gain you an additional stop.

Nikon doesn't have the budget of Canon or Sony, so their development is way slower. So where Nikon did save Red from probably being acquired by someone else, it hasn't been the "win" everyone has expected. With that said, Nikon's new facility in So Cal opened this year, so maybe there is just a delayed schedule? I just don't see any direction for Red to go outside of perhaps making a high speed camera like what Arri did and what BMD is doing for next year.

14 hours ago, Edith blazek said:

Besides the creator (which bombed btw), where is this revolution of features and tv shows using the fx3 as their a-camera? You can't point to absolute usage as a mark in its favor as films and tv have been using smaller DSLR esque cameras as crash cams for forever, none of this is new (and I say this as someone who would prefer to buy a hypothetical fx3 esque camera if it just had opengate, xocn, and genlock over a hypothetical Alexa mini lf Xtreme btw).

Edited 14 hours ago by Edith blazek

I agree, for theatrically bound movies and TV shows, the list is very short. Obviously there are far more uses of the camera, but as insert shots, not full production. Here is the list I found by doing a quick dig for commercial production only.

NYAD
Venus Effect
The Creator
Kandahar
Blink (national geo graphic feature)
Dopestick (Hulu series)

The Creator bombed at the box-office due to the ongoing strikes at the time and limited screens the film was showing in. It actually did better over seas than in the US. I don't think I'd blame the issues with the movie on the camera system. The movie looked great and its the first example I can think of, where the toy camera was not noticeable in the final cut. Now obviously, it basically was a visual effects movie, so they did a lot of cleanup work. I just think it's a good example because the film does look really good when it needs to.

I think we will see smaller cameras get more performative shortly, higher resolution, stacked imagers, with dual or triple preamp groups, will be able to process with faster tech shortly. The big thing that holds them back is why the URSA CINE is so damn big; you can't fit a desktop grade SOC into a small body. Blackmagic were like; ok... let me show you the way. Until companies move away from FPGA's which need to be developed in-house, taking lots of time/energy and into off the shelf SOC's which are very modern and unload the burden of development from the manufacturer, the camera tech won't change much. With a modern SOC, everything can be done with one chip and upgrades are infinite depending on the chip's potential.

Shortly, we will see a doubling or even tripling of transistor density (N2 GAA) and backside power (A16/A14 nodes) in mainstream desktop/laptop chips by 2027. This tech will generate higher yields by 2028/2029, which means it will trickle down to the camera industry shortly after. Obviously it does come down to cost, but I think everyone will be pushing for this tech, even in the FPGA world because of the density benefits, smaller packaging, less power consumption and with backside power, less thermals. So I don't think we will see any ground breaking tech (unless it's in a big body like the Alexa 35 or URSA Cine) until then honestly. I feel everyone is on the "let's do minor updates" path currently until they can finally crack that nut on the future generation of processors. Sure, partially stacked imagers are here, but even the ZR is still over 9ms in full imager mode, that's an improvement over the non-stacked imagers, but still for that tech we should be seeing under 5ms. There is also a dynamic range hit with stacking evidently, so the ZR struggles in that department.

So yea, I think we're in for a few minor updates for the next 2 years and then we'll see huge leaps in processor speed which will unlock way more potential, especially in smaller cameras.

Aristeidis Tyropolis · Wednesday at 10:23 PM

21 hours ago, Aapo Lettinen said:

Arri people have never liked my stuff much but Aaton and Eclair and CP16R users etc like them. They are also more open to modifying cameras and accessories to keep them working. The whole Arri culture is a bit like "if it is not original spare part or accessory it cannot be used". Every freakin washer needs to be original Arri one 😂 I get it they are like Ferraris, one simply does not mix heretic parts with them but the end result is just the mentioned death of the technology because the infrastructure is lost.

This is the interesting part for me. I don't have enough information to ascertain whether the SR2's and SR3's and 416's can survive a failed part that is crucial to their operation in the next 5 years- whether mechanical or electronic.

For me frankly the issue is that from a range of 3-6K there are no light S16 crystal synced camera options, bar finding some éclair or SR "as is" and maybe fixing it and spending an ungodly amount to make it S16. But, really how many of those "as is" still exist and what about their parts?

I for sure hope we can somehow live with whatever can be fixed/enhanced today looks be damned, just make the thing sturdy and dependable

Robin Phillips · Thursday at 01:13 AM

one imagines new electronics can be made for the SR line if someone has the $$$ to do it. as I understand it, there are still NOS and spare parts electronics out there. When my SR3 Adv had to go in for some electrical surgery early this year, CE said they did have boards available if it wasnt fixable (fortunately it was). Granted, I didnt ask how many boards they had so for all I know the number was 2.

heres hoping if Arri more or less decides to call it quits that someone bothers to inventory and list any remaining film camera parts for sale instead of throwing them into the dumpster.

Aapo Lettinen · Thursday at 07:31 AM

8 hours ago, Aristeidis Tyropolis said:

This is the interesting part for me. I don't have enough information to ascertain whether the SR2's and SR3's and 416's can survive a failed part that is crucial to their operation in the next 5 years- whether mechanical or electronic.

For me frankly the issue is that from a range of 3-6K there are no light S16 crystal synced camera options, bar finding some éclair or SR "as is" and maybe fixing it and spending an ungodly amount to make it S16. But, really how many of those "as is" still exist and what about their parts?

I for sure hope we can somehow live with whatever can be fixed/enhanced today looks be damned, just make the thing sturdy and dependable

The sr cameras have pretty sturdy electronics so people want to see how long they can go with the originals and hesitate any newly made option. Thus there is not enough demand to develop new sr electronics because raising the funding is too difficult.

On eclairs and cp16 there is lots more demand and thus people are willing to pay for the developing work. Thus we have newly made motors available for those cameras and some spinoff versions which fit lower demand cameras like konvas and krasnogorsk.

It is a paradox really. Sturdy stuff is less future proof than slightly unreliable gear. Because people need repairs often for unreliable stuff so there is replacements and newly made options available. On sturdy gear there is one original spare part in the world and once it is gone your camera is bricked.

I will likely start making cp-gsmo version of my cp16r electronics in January if everything goes well. I know there is lots of these cameras needing update, in the past one other person discussed with me about update options and they had like 6 of those gsmo cameras in storage. Some scoopics as well. Other people have gsmos too. So would expect the update to restore from 10 to 15 gsmo cameras, some of which would be sold immediately.

I am selling some of my own cameras next year as well. At least the cp16r with 45speed update but probably also the eclair acl and some konvases. Thinking of keeping the npr but will sell lots of motors for them, probably around 15 to 20 if everything goes well. The kinor16 I already sold. Then have the photo sonics 1vn which I will restore at some point and sell.

There is definitely cameras available, they are just mostly hidden as people kind of save them or collect them instead of listing for sale.

If people are more interested in updating the krasnogorsk cameras with 4speed motor then would have dozens more sync cameras available. I could make the 4speed fit Bolex too but the bolex users have not preordered those kits so I don't have the developing budget for the mounting kit and the bolex version is on hold. Hopefully people would order it before Summer so that I could still have time to make it. That bolex version would pretty much explode the sync sound shooting as there is tons of those bolexes easily available and the same motor kit would work with H8 bolexes too

Aapo Lettinen · Thursday at 07:40 AM

6 hours ago, Robin Phillips said:

one imagines new electronics can be made for the SR line if someone has the $$$ to do it. as I understand it, there are still NOS and spare parts electronics out there. When my SR3 Adv had to go in for some electrical surgery early this year, CE said they did have boards available if it wasnt fixable (fortunately it was). Granted, I didnt ask how many boards they had so for all I know the number was 2.

heres hoping if Arri more or less decides to call it quits that someone bothers to inventory and list any remaining film camera parts for sale instead of throwing them into the dumpster.

Yes new electronics can be made for SR. I investigated this briefly a while ago when asked about it. The only thing needed is time and reference camera body and enough money up front to start the work. I have not been able to secure those so could not proceed further yet.

Same with the Aaton LTR electronics. I can make new electronics for it and I even have aaton ltr here. But my camera is fully working and I absolutely won't rip it apart and ruin the original electronics unless I get money up front so that I can be sure I have budget to finish the new electronics as I can't just put the originals back and expect it to work once it it taken apart.

It is about money and time windows. Ticking clock and people being hesitant, having cold feet at wrong time and the time window was lost. For example the LTR and SR electronics take so long to design and test that if the project start goes past June they probably won't be made at all

Aapo Lettinen · Thursday at 07:49 AM

I mean film cameras are mechanical devices. You can always get them working some way no matter what. If one starts nitpicking about the replacement not being exactly the same than what was originally on it 50 years ago then it may be much more difficult or even impossible. It is much easier to design completely new stuff than to try to replicate vintage electronics 1:1 without schematics or original parts available

Old soviet camera run with a modified battery drill because original motors cannot be found anywhere

Uli Meyer · Thursday at 03:45 PM

https://www.cined.com/arri-cuts-150-jobs-and-closes-two-german-facilities-amid-ongoing-production-decline/

Tyler Purcell · Thursday at 07:15 PM

17 hours ago, Robin Phillips said:

heres hoping if Arri more or less decides to call it quits that someone bothers to inventory and list any remaining film camera parts for sale instead of throwing them into the dumpster.

They did a huge sale not long ago, blowing out lots of film camera/parts inventory. I doubt they have any wear-item related service parts left. Last time I checked, Andree bought all their BL belts and SR3 motors/mirrors are pretty much all gone. Those are really the "critical" wear items that a tech would need which are expensive/hard to get new.

Arri has called it quits already, they're done. It'll take time to find buyers for each part of the company, but we don't know what they want for the brand itself. Maybe they'll not want to sell it and keep the IP away from being sold over and over again. We do know they're actively looking for buyers, especially for their ancillary brands like lighting.

Aapo Lettinen · 2025-12-05T10:08:40Z

as a general note, it is usually easier to make replacement motors for cameras where the motor is externally mounted to the side than for cameras where it is built-in. External motors are also usually much cheaper, from half to 1/3 of the price. If wanting to future proof camera purchases it is clever to buy a camera where the motor is external and at least some mechanical parts could be replaced with off-brand or newly made ones. The Arri SR is particularly difficult because it has tiny electronics base and special-ish motor with belt drive, a bit difficult to replace and to fit new electronics and everything needs to be very carefully custom designed. If one could attach some extra axle to the SR to get reasonable motor drive axle to the outside of the camera then could just attach my Universal motor to it without further thought. Makings things too small and handy has its drawbacks and really bite the arris in the leg in this case...

As for availability of special belts for stuff like 35BL. I would just make replacement mechanics which replace the special belt drive with one using more common standard belt. It is cheaper than letting the camera collect dust in any case. A 98% working system is better than 0% working so as long as it can be restored to usable condition it will be fine. Collectors can collect empty shells of cameras, no need to reserve the fully working ones for them.

Same with CP16 cameras. they have the magazine drive clutch belt which is difficult to get but when thinking about it, that belt is used only for takeup and for mechanical footage counter. If you don't need the footage counter you don't need the belt because you can rig a small electronic motor to run the takeup. Or some other type of belt which runs directly to the takeup and no need to bother the footage counter. One can use electronics counter like my Aaton counter even with the original electronics so the mechanical counter is not mandatory if it is difficult to arrange.

-----

I decided to take the risk and try one more time with the Bolex crystal motor project. Either people need them or not, have to test now when having the last chance of designing them as otherwise it would be bugging me for the rest of my life 🙄 If they don't want it then case closed and no reason for them to whine about the unavailability of crystal sync bolexes anymore 😄