Ian Dudley

Hi, Attach an image of your Arri S and I'm sure someone will identify the mystery bits. Cheers, Ian Dudley

Hi, The consensus seems to be around 320 asa, but as noted elsewhere the HVX does not respond linearly to light. In very low light settings it's closer to 200 asa. cheers, Ian Dudley

I'll chime in too on Rafael's behalf. His gear is top notch and he's very easy to deal with - offering rapid shipping from Russia and great prices. He stands behind everything he sells. regards, Ian Dudley

Hi, That's generally the biggest advantage of primes verses zoom lenses. Primes are generally much faster and can be used with slower film stocks and less lighting than zooms. regards, Ian Dudley

Hi Tim, It's all Arri original and I believe it's just called the super speed prime blimp. No guarantee they have one available at Visual Products. I imagine they're relatively rare, but they do exist. I enjoyed using mine- it protected the lens well and made the 16BL quite the battleship. regards, Ian

Hi, Actually, you CAN use the MK1 Zeiss Super Speeds with an Arri 16BL Blimp housing. It requires only an extension piece that makes it long enough to house the longer Super Speeds. Focus rings are also available for each prime lens that mounts on the housing. I used this exact setup for a couple of years and had no problems whatsoever. You can find it at Visual Products probably. Just thought I'd pitch in.. Ian Dudley

Hi, The MOVIETUBE image element does have grain - otherwise there would be nothing to focus the image on. It is actually quite visible under certain conditions and can be distracting. This imho, is a big limitation of the system. If you can live with it, fine, but in footage I've seen it's a problem. The P&S Technik and the M2 do not have this issue. Regards, Ian Dudley

Hey I thought I'd finally confess too: Kinor 35H Konvas 2m Konvas 1M (parts camera) Kinor 16cx-2m (got really cheap on Ebay) Lots of Lomo glass Panasonic HVX-200 Redrock M2 adapter lots of Zeiss Contax glass Piles of still cameras...35mm, 120, 4x5... This is getting out of control.... Cheers, Ian Dudley PS, Cameras formerly owned and sold or traded: Arri 16 S/b Arri 16 BL Aaton S-16mm LTR-7

Hi, Try slowmotion, inc. in L.A for this type of work, or Les Bosher in the UK. Best, Ian Dudley

Hi, Unfortunately you would have to swap the OCT 19 mount on the lens for the PL mount. Most of the newer Lomos (especially the super speed versions) allow that. No adapter is possible unfortunately. Best of luck. Ian Dudley

Me too. I've owned Contaxes (G2, RTS) for years too with no electronic problems whatsoever. People too often throw around heresay info with no regard for the truth. Cheers, Ian Dudley

Hi again, Yes, I mean the Canon broadcast lenses. Arri/cinema pitch is 32 pitch-, Kinor is 50. It has a much finer pitch than Arri. Cheers Ian

Hi, No, Arri uses 32 pitch gearing and Kinor uses 50 pitch gearing or "Canon" gearing. I hope that helps. regards, Ian

Hi, Check commiecam.com for a complete oiling diagram. I think it's in the resources page. regards, Ian

Kev, Thanks for the kind comments. If you're in the market for a Konvas and need to be pointed in the right direction, contact me off list and I'd be happy to give you some trouble saving advice. best of luck, Ian

Richard, What lens did you use? If it was the Arsat 80/2.8, the optimal stop is f8-11. At f22 the lens is diffraction limited and loses resolution. I've noticed this using the same lens for medium format on my Kiev 88 as well. What I'm trying to say is: don't lose faith in Russian/Ukraininan and ex Soviet glass. One just needs to be selective and choose the best they have to offer. The results will stand up to exacting standards. best of luck. Ian

Hi, Are you using the Arsat lenses in Pentacon 6 mount? If so, you know that they are for medium format and are therefore lower resolution than lenses designed for 35mm. You might want to try the Lomo and Ekran lenses in OCT 19 mount for the 2m. They are very high quality and would certainly give you the snap you require. Ian

Hi, You may need to check the pressure plate on the 400' mags if the registration is not good enough. I've found that you have to have just the right amount of tension in them to get the maximum steadiness. I have 6 X 400' and 4 X 200' mags and they all give the same rock steady image. They just required a little tweaking. Contact me off list if you'd like to discuss the procedure for adjusting the pressure plate. Cheers. Ian