Joe Walker

We're shooting a music video in a few months and I'm looking at different cameras that can do high speed and have variable shutters. The Panastar caught my eye, but I've never even seen one before. Does anyone know how much this camera rents for per day completely decked out (i.e. w/video tap, matte box, follow focus, primo classic primes, lightweight zoom)? And my second question-not that it matters-but is this camera stricltly MOS or is it quiet at 24fps? Sound is not an issue for us but it would be nice to know for future reference. I appreciate any info that anyone has to offer regarding this camera. Thank you. Joe Walker

I've been told by several sources that when shooting between 4 and 23 fps and 26 and 60 fps that the XDCAM HD (the 350) camera's resolution is halved since it's an interlaced camera. Is there any actual literature or website that can confirm or deny this?

Good point. B)

Does anyone know of another 16mm camera besides the SR3 that has both a variable shutter AND can go higher than 60fps? Does anyone modify ACL's, GSMO's, Arri SB high speeds (the ones that go 80fps), etc to take a variable shutter? Or is it possible to modify an NPR to shoot higher than 40fps? Just a thought I'm sort of toying with in the realm of owning a b-cam with lots of features. Any input would be muchas appreciated. Thanks dudes/dudettes. Joe W. camera pimp

Wow, thanks for all the informative feedback guys. So answer this for me: The vast majority of my work is with SD, HD, and occasionally Super 16. I also like to collect old cameras and such. Anyway, would it be rational to buy an Arri 2B-BV (model with the variable shutter), have it modified by Aranda Film Group in Australia to 2 perf techniscope, have the turret mount removed and replaced with either a hardfront PL or BNCR mount, add a Visual Products video tap, and a Thoma crystal motor? It's primary functions would be mostly for commercials and music videos as well as just playing around and occasionally shooting some obscure artsy short films. I don't intend for the footage to be projected in a theatre via a 35mm projector. I've chosen the Arri 2B-BV for the fact it has a variable shutter (which I've been told the popular 2C does not), is somewhat inexpensive, simple to operate, and should be easy to fix/repair/modify. I like 2 perf techniscope because it saves film and is widescreen. I've learned from my past two music video experiences that having a variable shutter and a camera that can shoot at least 40fps for slow-mo is a real must, not to mention widescreen seems to be popular as well. So does my idea seem rational in what I'm saying here, or do I need to examine other avenues/ideas? Thanks again, Joe Walker

Wow, thanks. Besides the fact that you shoot less film what are the other advantages to techniscope? And forgive my ignorance, but how is Super 35mm different? It's 3 perf right?

Hey guys, If one was to have an Arri 2B converted to 2 perf techniscope, what is the post production/lab process like with this format? Are there only certain labs that can handle this? Also, will all 35mm lenses cover this format? I'm just trying to understand the format a little bit better. Let me know if any of you get a chance. Thanks. Joe Walker

To be a bit more specific, I've already talked to George Zorzoli and yes he can repair the circuit board glitches. I love the GSMO for it's price point. No other 16mm camera can compare to the price point of this little gem. I know, you get what you pay for. But for it's size and price, I love it. Arri's, Aaton's, and Eclair's are all great cameras. I still love an XTR Prod when a client will fork over the money to rent one, but as far as just owning a little 16mm, I think the GSMO is great. If it had a variable shutter angle, I'd be in heaven. Mitch, is it possible to buy a 16mm for under $10,000 that can do mutliple speeds with an adjustable shutter angle and NOT have a giant motor protruding from the bottom?

I may be possibly looking into purchasing another GSMO, I owned one a while back and sold it for reasons unknown. Anyway, does anyone know of anybody who could convert this to Ultra 16mm (my reason being that I wouldn't have to purchase the more expensive lenses that cover the Super 16 frame). Furthermore, I found a camera house selling a C.P. Ultra T Prime Lens set. I was wondering if anyone knows if these lenses have 80mm fronts so that they can interface with conventional matte boxes. Any help or advice would be greatly appreciated. Thank you in advance.