How would you improve a 35mm camera?

[Brian Rose]

Affordability. 35mm movie cameras are SO expensive new. How about something like that Ikonoskop 16, it probably wouldn't work out costing much more.

 

And 100% viewfinder coverage should always be essential. What you see in the viewfinder should be what you get.

 

Here, here. An affordable, 2 perf camera, designed for students and the ultra low budget production. I'm convinced that 2 perf could breath new life into film, by making 35mm closer in cost to 16mm, which would be a boon for film students. And all built into a nice simple, stripped down camera outfit, with a zoom lense, fixed shutter, and a crystal sync motor. Wouldn't even have to be sound proofed, necessarily. Could sell a blimp housing extra.

 

I'd pay good money for that camera!

 

BR

[David Mullen ASC]

Here, here. An affordable, 2 perf camera, designed for students and the ultra low budget production. I'm convinced that 2 perf could breath new life into film, by making 35mm closer in cost to 16mm, which would be a boon for film students. And all built into a nice simple, stripped down camera outfit, with a zoom lense, fixed shutter, and a crystal sync motor. Wouldn't even have to be sound proofed, necessarily. Could sell a blimp housing extra.

 

I'd pay good money for that camera!

 

BR

 

I don't think the blimp idea would be a good one -- the last thing a low-budget person on a short schedule (or a student) wants to deal with are blimps, hence why people get old cameras like Eclair NPR's rather than Arri 16BL's. Blimps are a total pain. People like the option of shooting dialogue with a handheld camera.

 

But you should be able to design a small 2-perf camera that only took 400' loads that was quiet. Cheap, I don't know.

 

Basically someone should talk to Aaton to see if they can make a stripped down version of the new Penelope.

[Brian Rose]

I don't think the blimp idea would be a good one -- the last thing a low-budget person on a short schedule (or a student) wants to deal with are blimps, hence why people get old cameras like Eclair NPR's rather than Arri 16BL's. Blimps are a total pain. People like the option of shooting dialogue with a handheld camera.

 

True. I guess I have a masochistic affinity for those old giant cameras. I was watching a behind the scenes doc on the making of "Ryan's Daughter," and there's an awesome shot of two camera assists hauling a massive Super Panavision 70 camera in its soundproofed housing onto set. Beautiful!

 

Second on the letter idea! Maybe a group petition?

 

Brian

[Paul Bruening]

Lens bags. They come with some SLR lenses. I've got a bunch of 'em kicking around. They have lightproof, fake leather outsides with some kind of soft insides. The seams are usually light tight. The bag is already in the right shape to fit over the eyepiece and has a draw string. That's what I use on Frankenmitchell even though it has a little flip-close knob.

[John Sprung]

Here, here. An affordable, 2 perf camera, designed for students and the ultra low budget production.

 

Alas, that's in part what killed 2 perf back in the 1970's. It was ideal for ultra low budget productions. The labs and rental houses found out the hard way that productions that couldn't afford 4 perf tended to end up bankrupt and unable to pay their bills. Selling to a niche market of people unlikely to actually pay you ain't exactly a smart business plan.

 

 

 

 

-- J.S.

[Tony Brown]

No one wants to do anything at all in-camera anymore, so why add improvements that people aren't going to want?

 

You think?? It seems to me everybody is desperate to do EVERYTHING in camera..... Speaking as an 'in camera' fan..... I'm getting bored with it......

[Simon Wyss]

It might not be seen with delight that I pick up an older thread, although this one is not What camera should I pick for porno movies. That was hilarious.

 

To me it’s simply interesting to note that a small trend towards wide film formats has come by lately, you remember Scott Pickering and others. So between 16mm thriving relatively well these days and 65mm origination, predominantly five-perf pull down, more or less Sperduto nel buio, I am wondering what really would enhance 35mm production camera-wise.

 

We have some advocates of the Bell & Howell - Mitchell legacy. Some are very much favorizing the compact French designs. Still another group would never touch anything else than Panavision or at least Arricam. Can I politely ask for your opinions about perhaps less known makes? Cunningham, Le Blay, Officine Galileo 300, Askania Z, Newman & Sinclair, Rodina, Cameréclair, Bourdereau, Institute, Vinten, Šlechta, Ultracam Leonetti, you name it. Practical ideas here and there